This portfolio aims to investigate video game composition in an industry context. I chose to research this career path as I study film music however, I understood that there are some major differences between the two industries. Video game composers write music accompanying gameplay to create a specific mood/atmosphere. This is typically ambient or action music, but they also write music that may be more melodic during cutscenes to convey the thoughts and emotions of characters. This differs from film and TV composition which can be described as “passive viewing experiences” (Berklee, n.d.) meaning the audience cannot change what is happening on screen – it is already predetermined. Instead, video games are interactive meaning composers must write music that can change dynamically as there is no set timeline for when a player may perform an action. Syncing up musical events with player actions is done by manipulating segments of audio in a middleware which a composer must learn to use in conjunction with their chosen Digital Audio Workstation. Depending on many factors (e.g. team size, budget) composers may be expected to perform various other audio-related roles. However, composers’ responsibilities are not all music related. They are often responsible for “negotiating the contract, fees, rights, hiring musicians, preparing the music for recording… testing the game and fixing any bugs in the delivery of [their] files.” (UK Music, n.d.). This shows that being able to write a great track is not enough to succeed in this industry – they must be able to excel in both creative and business aspects of work.

Game composers are expected to possess a range of technical abilities and specialist knowledge which aid them at every step of a project. UK industry-led body for visual media ScreenSkills (n.d.) explains “Though it’s not essential… it would be useful to get an A-level or Higher in music” also recommending “Vocational Level 3 Qualifications”. Achieving qualifications can provide aspiring composers with the foundation of “composition, orchestrating, mixing and production skills” (Schmidt, 2015) which industry veteran Brian Schmidt emphasises as being a given in the game music field. In addition, ScreenSkills also clarifies “having a degree will be very useful, especially if it has a component of audio engineering”. Audio engineering alongside instrumental proficiency is invaluable. By multi-rolling a composer streamlines the often costly and time-consuming recording process which in turn broadens the range of clients willing to work with them. Therefore, while “There is no set route into this job” (ScreenSkills, n.d.), education is an accessible way to develop a strong foundation. Nevertheless, these skills alone do not guarantee success within the industry and are often seen as a bare-minimum requirement.

Instructor led online education platform ELVTR comments “Success hinges on a diverse set of skills that extend far beyond musical talent alone” (n.d.). This makes it evident that there are many industry-specific skills a composer must be capable of which have not been taught historically in conventional education and are usually practiced out of an individual desire to learn. There are two main pieces of software that games composers should have a comprehensive understanding. The first is middleware specifically the industry standard programmes WWise or FMOD which allow composers to create complex adaptive music systems. ELVTR recommends composers approach learning them by exploring “interactive music systems that respond to player actions, game states, and environmental changes.” (n.d.). However, the music being imported must first be written in a way that makes it easily loopable and any subsequent sections or additional layers must have similarities in tempo and key to ensure seamless transitions. Secondly, being able to work within game engines such as Unity and Unreal Engine allows composers to be communicate more effectively by being able to translate between the languages of music and game design. Composers will also gain experience of audio optimization and file compression techniques which are needed to finalise audio. It is also important to learn unique aspects of games engines such as “distance-based attenuation and spatialization to create realistic 3D soundscapes.” (ELVTR, n.d.) This will also be of great use to composers doubling as sound designers as these features are used to create a sense of immersion within the sound world of the game.

Personal attributes are equally as important when working in this industry. It is necessary for a games composer to be an “excellent communicator” and be “able to react to constantly changing briefs” (UK Music, n.d.). Schmidt describes composers as needing “thick skin” (Schmidt, 2015) as they may face rejection when their creative ideas don’t align with the audio/game director’s. It is easy for a composer to feel demoralized when they have written something they are proud of which does not make the final cut. Emotions are innately linked to creativity so being able to manage them well and let go can help to get a composer back on track with a project. This links back to communication as having excellent client relations can help to reduce any friction over creative decisions. “Clear communication, reliability, and the ability to interpret and fulfil client needs effectively” (ELVTR, n.d.) are skills that can make the difference between a one-off project and long-term professional relationship, yet I would go further and state that, especially when starting out, a composer should be inquisitive about projects the client is working on and find out what they are passionate about before discussing employment. This establishes that the composer is passionate themselves about the industry and is not drawn to opportunities exclusively due to financial incentives. Consequently, it is imperative that a games composer has a certain level of humility when communicating with others as it can be easy for things to get heated when working in a high-pressure environment.

A working day for a composer can include a variety of tasks including spotting, playing the game, composing, researching and integrating music. The order in which these tasks are completed and how they are approached is completely subjective. Composer and sound designer Joris De Man explains in an interview that he likes to get inspired by listening to pieces of music or finding sounds that he’d like to use before starting the composition process (De Man, 2020). This could help him by immediately stimulating a sense of discovery which allows him to keep his mind open to any new ideas that may arise. On the contrary, a composer might prefer to start writing when their mind is clear of any musical associations and begin exhausting initial ideas before they begin research, thinking of how they can implement these isolated musical ideas into the appropriate stylistic context. Therefore, the daily life of a composer can be flexibly structured to suit what works best for the individual.

Most games composers (being freelancers) are responsible for promoting their work through an artist website, social media or in person. A customary way of presenting musical material on a website is through the format of a demo reel. It is worth noting that “an employer will typically look primarily at your demo reel or portfolio” (Schmidt, 2025) with any qualifications being secondary. This indicates it must contain up-to-date work of the highest quality and be attention grabbing but compact as employers will usually switch off quickly if they’re not blown away due to the sheer volume of competition. One way to stand out is to have a complete game (or demo) that you have worked on as part of the portfolio. Berklee describes“when it comes to showing off one’s ability to create a mood and enhance a story or setting, a game or game demo cannot be beat” (n.d.) which highlights both the fact that ultimately the closer your portfolio is to the project you want to work on the better as well as the importance of keeping it up to date with new projects so clients have a clear idea of where you are currently at in terms of ability.

While a demo reel can often land the job it is important to increase outreach through social media. Platforms such as Instagram and TikTok are useful for bringing followers in but are not necessarily targeted for game developers however they can be an effective way to promote other profiles such as YouTube and X. YouTube is effective when used to both display work in full in addition to provide behind the scenes content. Taking a two-pronged approach to promoting work can help to develop more personal connections with potential clients who are more likely to see these whereas strictly professional contacts such as employers are typically communicated with via email. In order to make a lasting impression it is also important to “maintain a consistent brand across all platforms” (ELVTR, n.d.) this can be achieved through creating posts with a similar stye/aesthetic as well as keeping bio info and profile pictures consistent and up to date – building a sense of cohesion around a composer’s work.

Becoming involved in both online and real-life projects can help to establish a composer within the gaming community. Game jams such as Ludum Dare and Global Game Jam give composers a taste of industry experience with lower stakes but still working to a strict deadline. Furthermore, “The unique constraints of game jams often lead to creative solutions” which will bolster a portfolio by demonstrating how a composer can fully utilise the means provided to them. ScreenSkills recommends “attending events, including games conferences and expos” as networking and speaking to industry professionals in person makes interactions more memorable. Alongside memorability, these are the perfect conditions to ask questions and learn new things. Overall, promotion is a significant part of getting known as a games composer and while it is useful to vary self-promotional methods, each method must represent a composer in a cohesive way.

Freelance composers are expected to set their own rates and negotiate how they are being paid. Contracts may offer a flat fee or percentage based of a game’s sales or even a combination of both. Flat fees can be enticing due to a large sum being readily available but may be the only pay a composer receives whereas a cut of the game’s overall profit can pay much more in the long term but if the game’s sales underperform a composer may receive even less than the flat fee. In terms of pay rate charging per minute of music is one of the most common ways of gauging this. “55%” of smaller indie freelance composers charge by the minute while of the high-budget AAA freelance composers this figure is 81%. (Schmidt, 2025). This may be because it one of the easiest to measure and unlike standard hourly pay, rewards the composer for completing a project faster.

An understanding of contracts is vital before going into the industry. Elements of game music contracts can include specific details of what needs delivering, how much of the rights to the music the composer will keep, deadlines, payment terms and how the composer will be compensated for extra revisions. Data from GameSoundCon Game Audio Industry Survey 2025 shows “36% of freelance indie composers… licensed music to the developer/publisher.” This means that the composer retains the ownership rights however in many cases there is no transference of rights as under a Work for Hire Contract “the developer/publisher is considered the ‘author’ from a legal perspective” (Schmidt, 2025). It is critical that composers understand this framework as owning the rights to their music will allow them to benefit of it financially for the foreseeable future.

In conclusion, I have discovered that it takes much more than just composition skills to be a successful games composer. Additional skills such as negotiation and communication are practiced through experience of working in any form of team. Despite this, competency using middleware and game engines is highly specialised meaning overcoming their learning curve requires a high level of self-confidence and resilience. I have realised this is where I can make improvements to my own employability as well as putting together a professional demo reel instead of having scattered tracks across my online profiles.

Bibliography

ELVTR. “Breaking into the Video Game Music Industry: A Beginner’s Guide | ELVTR.” Elvtr.com, ELVTR, 26 Mar. 2025, elvtr.com/blog/breaking-into-the-video-game-music-industry.

“Music Industry Career Roles – Berklee Online.” Online.berklee.edu, online.berklee.edu/careers-in-music/roles/composer-video-games. Accessed 7 Jan. 2026.

Schmidt, B. “GameSoundCon 2025: Game Music and Sound Design Jobs Data Analysis.” GameSoundCon, 26 Aug. 2025, www.gamesoundcon.com/post/gamesoundcon-game-audio-industry-survey-2025.

—. “How to Become a Video Game Music Composer.” Gameindustrycareerguide.com, 2015, www.gameindustrycareerguide.com/how-to-become-a-video-game-music-composer/.

ScreenSkills. “Music Composer in the Games Industry.” ScreenSkills, www.screenskills.com/job-profiles/browse/games/audio/music-composer/. Accessed 7 Jan. 2026.

UK Music. “Composer for Video Games.” UK Music, www.ukmusic.org/job-profiles/composer-for-video-games/. Accessed 7 Jan. 2026.