Today IndustryGamers is happy to present you with a new feature series in which we'll be profiling the many careers available in this wonderful video game industry we're all so passionate about. Music, of course, is needed for many media, but it takes a special talent to properly create music for an interactive medium. Chance Thomas is one of the leading composers in the field, having created the music for titles like James Cameron's AVATAR: The Game, Lord of the Rings Online, X-Men, King Kong and more.
Thomas was nice enough to take some time out of his busy day to answer our questions about music composition in the video game industry.
IndustryGamers: What attracted you to the game industry and composing game music in particular?
Chance Thomas: I find the games industry to be a vibrant business filled with intelligent, creative and visionary people. For the most part, it also strikes me as a genuine meritocracy. I love such a high-level, level playing field.
As for composing music, it’s really what I’m best at. I’ve worked as an in-house Audio Director twice, and I think the people I worked with would say I did a quality job. But my audio directing has never won any major awards, whereas my contributions as a composer have often attracted that kind of attention.
IG: What's your day-to-day like?
CT: Normal workday may include things like reading IndustryGamers, connecting with my clients, composing, recording, mixing, doing research, staying in tune with new music and games, etc.
IG: What kind of education is required to be a game music composer?
CT: The first degree of education is to understand the dramatic function of music as thoroughly and fundamentally as possible. It’s also useful (and fun) to explore the canon of game music which has developed over the brief history of our business. I also advocate a constant exploration of the current state of the art. Becoming familiar with and even proficient with tools of implementation will add depth and value to your skill set. And it’s easy to get access to these. You can download free dev kits for both FMOD (www.fmod.org) and Wwise (www.audiokinetic.com) and start learning these powerful tools now.
I also think the insight and perspective you gain from an in-house position can boost your value significantly. Understanding the game dev process from the ground up - including how music gets plugged into that process - will make you a more informed contributor and more relevant partner. Job boards at sites like GANG (www.audiogang.org) and (www.gamasutra.com) post audio positions with surprising frequency.
IG: What are your essential skills and other necessary tools of the trade?
CT: I would list good people skills among the top tools of the trade. Big video game projects can require months of long hours and intense effort. As pressure mounts and problems arise, good people skills will help you manage interactions with the development team, keeping everything on a positive and professional level.
Other key skills include understanding how everyday adjectives translate into musical terms, mastery of a defined musical style or genre, and an ability to quickly generate large amounts of quality music in a hurry.
In terms of software, I use Pro Tools on every project, along with lots of quality plug-ins. I also use Digital Performer and a bookshelf full of great sample libraries.
IG: What's the most challenging and the most fun aspect of your job?
CT: Most challenging part of the job is opening new doors, getting people who don’t know me to take a moment and preview some brief samples of my work (www.HUGEsound.com). People are so slammed, so busy, it can be tough to find an entry point.
The most fun part of the job is collaborating with developers and helping them create magic moments in their game. I first got into music because of the thrilling feeling that great music put into my heart. When I help create those kinds of moments for others, there’s just nothing like it.
IG: Are there many opportunities in this field?
CT: Yes! From Rock Band Network to iPhone apps to MMOs to the next AAA console title – there is something cool happening every day of the year somewhere on the planet in this industry. And it all needs the right kind of music to make it magic. So yes, the opportunities are there.
IG: What's the typical pay range for game music composers?
CT: Composers of game score are generally paid by the finished minute. Rates typically range between $1000-$1500 per minute. Composers in high demand can get more than that, sometimes much more, especially if the composer can add some marketing value to the equation.
IG: What advice do you have for aspiring game music composers? CT: Get educated about the nuts and bolts of this business. Attend GDC on the audio pass going to as many sessions and talking with as many veterans as you can. Join the Game Audio Network Guild and troll the forums and blogs. Read what people are up to, introduce yourself, and start to build your network of contacts. Be patient. It may take a while for opportunities to unfold. Believe in yourself and your talents. Don’t be afraid of your unique voice. There’s room in this industry for a dizzying diversity of musical styles and takes. IG: Thanks Chance.
