Hello, everyone! My name is Arthur Baryshev and I’m a music composer and sound designer. I compose sound tracks for video games, and I’m the manager of the IK-Sound studio. I’ve been collaborating with MagicIndie Softworks for a long time now and I would like to share my experience with you about how I compose tracks for the games forged by these guys.
You have to know that my music is “born” even before I write the first note of it. First, I study whichever game I have to compose music for. I am usually given the short description of the game, the concept art, the list of needed tracks, and some other references. Immediately after that, I brainstorm any ideas I have and get a general image of the music I am to compose: the style, the musical instruments I am going to use, the mood, and so on…
I often lean back in my armchair and soak in the concept art’s slide show. The first impressions are extremely important because they usually are the most powerful and close to what I have to create.
From the very beginning, it is crucially important to maintain a clear dialog with the main game designer. If we understand each other then we are already half way through. The result could be a stylistically unified soundtrack, which highlights each action that you take in the game. Just like in Brink of Consciousness: Dorian Gray Syndrome, by the way, you can hear the soundtrack for this game here:
Just click on the image below
![85736_1361445455_brink-consciousness-dor]()
After all is set into motion and everything is agreed upon, I start composing. My cornerstone is my virtual orchestra. I use orchestra and “live” instruments in virtually every track I compose. This gives my tracks a distinctive flavour and truly brings them to life.
I send my sketches, which usually are about 15 to 30 seconds long, to the developers. And only after they give me their seal of approval I do finish them. After I’ve decided upon the final version of the track, I bring it to perfection by polishing or adding new details to it.
Many soundtracks are based upon leitmotifs – melodies that set the tone of the game. Speaking of leitmotifs, a reasonable example would be the soundtrack, which I wrote for Nearwood. In the main menu, from the very first second, you can hear a very memorable tune, catchy even. This melody is, afterward, used in various cut-scenes which gives them a distinctive mood. You can listen to the tunes from this game here:
Just click on the image below
![nearwood-collectors-edition_feature.jpg]()
Developing a particular song or tune for a game one should keep in mind the following:
Now I am working on the Cyberline Racing and Saga Tenebrae projects, which are currently in full development. They both are set in different worlds, which requires entirely different approaches. I compose heavy metal and electronic music for one and soulful and fantasy music for the other. Guess which is for which??
Here’s a sneak peek at a fresh battle composition from the upcoming Saga Tenebrae game and demo OST (half the OST I'd say) from the Cyberline Racing:
Just click on the images below
![artworks-000067634085-5kyszy-t200x200.jp]()
![artworks-000063798800-6eb6yt-t200x200.jp]()
And before I go, I will say that composing the music is only half the work. The second half, which is as important as the first, consists of the sound design and sound effects. I’ll talk to you about the sound design a bit later. Good luck and stay awesome! ;)
How it begins?
You have to know that my music is “born” even before I write the first note of it. First, I study whichever game I have to compose music for. I am usually given the short description of the game, the concept art, the list of needed tracks, and some other references. Immediately after that, I brainstorm any ideas I have and get a general image of the music I am to compose: the style, the musical instruments I am going to use, the mood, and so on…
I often lean back in my armchair and soak in the concept art’s slide show. The first impressions are extremely important because they usually are the most powerful and close to what I have to create.
From the very beginning, it is crucially important to maintain a clear dialog with the main game designer. If we understand each other then we are already half way through. The result could be a stylistically unified soundtrack, which highlights each action that you take in the game. Just like in Brink of Consciousness: Dorian Gray Syndrome, by the way, you can hear the soundtrack for this game here:
Just click on the image below
Some words about the process
After all is set into motion and everything is agreed upon, I start composing. My cornerstone is my virtual orchestra. I use orchestra and “live” instruments in virtually every track I compose. This gives my tracks a distinctive flavour and truly brings them to life.
I send my sketches, which usually are about 15 to 30 seconds long, to the developers. And only after they give me their seal of approval I do finish them. After I’ve decided upon the final version of the track, I bring it to perfection by polishing or adding new details to it.
Many soundtracks are based upon leitmotifs – melodies that set the tone of the game. Speaking of leitmotifs, a reasonable example would be the soundtrack, which I wrote for Nearwood. In the main menu, from the very first second, you can hear a very memorable tune, catchy even. This melody is, afterward, used in various cut-scenes which gives them a distinctive mood. You can listen to the tunes from this game here:
Just click on the image below
Developing a particular song or tune for a game one should keep in mind the following:
- How the music will fit with the overall sound theme;
- Whether it will be annoying and intrusive to the person who plays the game;
- Will I be able to loop the track;
- And so on, and so forth…
Well, that's all ... Oh, wait!
Now I am working on the Cyberline Racing and Saga Tenebrae projects, which are currently in full development. They both are set in different worlds, which requires entirely different approaches. I compose heavy metal and electronic music for one and soulful and fantasy music for the other. Guess which is for which??
Here’s a sneak peek at a fresh battle composition from the upcoming Saga Tenebrae game and demo OST (half the OST I'd say) from the Cyberline Racing:
Just click on the images below
And before I go, I will say that composing the music is only half the work. The second half, which is as important as the first, consists of the sound design and sound effects. I’ll talk to you about the sound design a bit later. Good luck and stay awesome! ;)