itch.io

In this episode of the Gamerheads podcast, host Roger Reichardt welcomes me back and we discuss my extensive career in game music, including his experiences with live performances, the challenges of composing under pressure, and the emotional journey of conducting my own pieces. I also reflect on the evolution of my creative process, the importance of enjoying the music, and the balance between professionalism and personal satisfaction in my work.

In addition, I share the intricacies of composing music for video games, emphasizing the importance of creativity, curiosity, and understanding game design, potential impact of AI on music composition and the need for composers to maintain a human touch in their work. 

https://open.spotify.com/show/1FntKnmaH3dN5PSeN2SbIX

https://podcasts.apple.com/us/podcast/dialog-tree-interviews-creators-within-video-game-industry/id1186106962?uo=4

I have released a new single from the AGROUND ZERO OST! In celebration of Bandcamp Friday!

The new piece is called "Alchemization of Energy"

I will be doing a mini dev-blog about how this track came about but for now enjoy the new release!

https://bandcamp.com/EmbeddedPlayer/album=1124482586/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/track=822754506/transparent=true/

Be sure to play the AGROUND Zero on Steam! New Update coming next Tuesday!

https://store.steampowered.com/widget/1795570/

Recently, I was featured as a podcast guest for Beyond the Threshold with the host Sidney Evans in this episode I discuss:

- My early experiences as a video game composer with music experimentation that set the stage for my career.

- The significance of chance encounters and internships that led to my first paid gig in the video games industry.

- Insights into the technical aspects of my work, from using capture cards for streaming to creating game music demos like this one.

- The broader challenges I faced as an Caribbean American in the audio industry and the widespread undervaluation of audio work.

To hear the full episode tune in wherever you listen to podcasts or at

https://www.soundbysid.com/pod/chasebethea

I hope you enjoy!

Happy Halloween!🎃 Please add & share the "I Can't Escape Darkness OST" to your Horror game playlist🙏

• Spotify
• YouTube
• Tidal
• Apple Music
• Amazon Music
• Bandcamp

Hi Devs,

I'm doing some research and I am hoping to get some constructive feedback. 

I am curious. What are some of the hiccups, setbacks, and/or fears for some of you, who do not create or want to create game music, have when you have a budget and are looking to hire a composer? 

I am not looking for cheeky answers. I genuinely want to know and I am looking to have a productive conversation. Please kindly do not reply if you do not have something helpful to contribute.

Thank you kindly in advance for your response.

Sai, You’re alive!!!! Great devlog! I appreciated seeing the slowdowns and anti-lessons. It’s crazy to see how far you have come with the project and it’s good to know you’re still working on it. Great points the productivity / time . Working on something a little bit a day does help but persistence is the key element. I look forward to seeing the next devlog. Happy developing.

P.S. Please answer your emails even if you have to automate the brief reply :)

Welcome to Music Dev Log #2 for Aground Zero. If you missed the first blog, you can find it here.

As I mentioned before, I really enjoy some devlogs and do not feel that music is highlighted or valued as much in games anymore. So, I'm doing these to change that instead of complaining.

I'm starting the music design for Orbit which I have titled “Over the the Earth”.

Typically before writing a note, I need to think of what the music title will be. This will eliminate having to re-name a folder or software files later and keeps the process copacetic.

It used to be difficult to try and come up with names but for inspiration, I found that perusing through game magazines spark cognitive wheels. (Rest in Peace Game Informer)

For this piece, the reference is “Mass Effect” - Main Theme. (Everyone loses their freaking minds here) I know how popular the game is. However, it was mentioned on the audio asset list (which EVERY game developer should be using) that they wanted something “orchestra and epic”. (Example of Audio Asset list below)

So, as a solid communicator, I wanted to double check to ensure I did not miss anything and I explained that, the piece isn't "epic "(i.e. BIG HUGE and BOMBASTIC). It's very relaxed and there are not many orchestral instruments (if any) in this reference theme. The piece has a synth drone and some light choirs with other synth elements. So, I inquired if this is the right reference for Orbit track and if it was the tempo, pace and mood they were thinking.

The project lead confirmed that it was the right reference for the general tempo and mood. However, they would like me to to experiment with more orchestral instruments (because they felt like orchestral instruments always go well in space) The project lead went on to explain that the track should definitely be more relaxed - as they don't have a lot of action planned in Orbit right now. In Aground Zero, the player gets to build a spaceship and space station and look down on the planet Earth. Lastly they explained that by “epic”, they meant something awe-inspiring, not tense/action packed. Note: Music in the video below is not the new music! It is from the original Aground Soundtrack.

Whew! What a relief. I am glad I confirmed and asked. If I just went off trying to make something like Lorne Balfe or Henry Jackman, I would have been way off! However, this will bode to be interesting as all the previous pieces of Aground Zero, including pieces from the original Aground soundtrack, do not have any orchestral instruments at all. Yay for the project lead wanting me to experiment. As a video game composer, this is the coolest thing you could ask for but cohesion is one of the practices maintained for game projects. The focus is to seamlessly blend the music with the other artforms (story, mechanics and graphics) as well as maintain a subconscious momentum for the player to not pull them out of the experience.

And so, we begin building an orchestral palette on top of the sound palette that I have already established five tracks into the game.

Custom music matters. Don't underestimate it.

Until then, the Aground Zero Original Soundtrack is available for pre-order.

And don't forget to play the game! New Demos are updated almost bi-monthly. Beta Multi-player is now available! https://store.steampowered.com/app/1795570/Aground_Zero/

Follow on Spotify and add some of my work to your VGM Playlist - https://open.spotify.com/artist/4mU9ci0mlYOPZIHHdRqs2g?si=oBuGpqa3Rp6AWjGPHAxUHQ

License tracks for your game - https://chasebethea.gumroad.com/

Thanks for reading. Keep it here for the next one.

Happy Developing

Welcome to my first Aground Zero Dev Log on how I designed the latest track of Floor 5 - Communications (for video game Aground Zero)

I really enjoy some devlogs and do not feel that music is highlighted or valued as much in games anymore.

My direction for this piece was that it should be reminiscent of “The Blue Marble”  from the Aground Deluxe Original Soundtrack

https://chasebethea.bandcamp.com/track/the-blue-marble-2

The hardest thing I’ve been learning the past several years as a video game composer is to write better than myself. However, many walks have opened my mind to ideas when I listen to music I composed before on those walks.

It was in those moments that I discovered the quickest and easier way to incorporate the “Blue Marble” was to

1. Use music stems of my previous works

2. Use the same synth, if I could, with the MIDI information so that I could transpose the melody quickly.

Once I did this it became a lot easier to have a building block. That’s what you hear here (Watch both videos to compare)

It wasn’t until (2:00) [Listen here---->https://chasebethea.bandcamp.com/track/up-with-down-without] that I discovered the theme is related to communications. Since this is the focus of the area it seemed fitting. There are nuances of communication within the piece and I felt this was brilliant.

Players would appreciate the multiple musical layers of things happening. The callback to the bombardment mixed with the sounds of communication.

Every sound especially around (0:25 - 0:47) [https://chasebethea.bandcamp.com/track/up-with-down-without] exhibits a sonic theme of continuous devastation with the booming drums and the synth texture rhythms. Literally every synth edition movement is a communication reference to the scenes and tasks in the game.

View video below to see the meteor falling and how I got the inspiration to correlate to the booming drums

Although I had some revisions, I took a week to break away in between each revision to cleanse my ears to be sure I would achieve the fervor the player would feel. I was asked to increase the tempo, which is a composing technique that almost always works, but I did something else too. I thought I would have to add more sounds to give the feeling of euphoria and to be transpicuous. I did not think I could make it more exciting.

My belief was that by this (1:54) [https://chasebethea.bandcamp.com/track/up-with-down-without] the track was already in a happy place even though it was a slower tempo. The player just spent several floors deep and who knows how many hours battling wyrms, bots  bats and who knows what else. You can hear this at this (timestamp) it just takes some optimism .

So for this by 3:10 [https://chasebethea.bandcamp.com/track/up-with-down-without] for the freedom feeling after the tempo was revised I played three happy chords but I got stuck.

Then, I decided what if I took a little bit of the drums from the previous places of the track to remind the player of other sections of the music. Even though it's dynamic and tied to specific player actions, more on that later.

However, this then led me to tying the opening synth to the beginning so that when it loops there is some cohesion. Finally by this time I felt a proper groove and designed a transition that would glue it together. It’s still unconventional but in juxtaposition it definitely feels like Aground sonically which I think the player will appreciate most.

Player cohesion is very important even if it’s subtle. It’s a subconscious puzzle that occurs and if anything feels off the immersion is broken. These are not normal loops that most game developers throw in, these are meticulously designed cognizant music pieces that are structured for the player to comfortably enjoy for hours as they craft, deconstruct and more importantly progress in the game. Cohesively even with the dynamic sections the Floor 5 music piece does this regardless but also functions as game mechanic in a metastatic form.

Custom music matters. Don’t underestimate it.

Until then, the Aground Zero Original Soundtrack is available for pre-order

https://chasebethea.bandcamp.com/album/aground-zero-original-soundtrack

Follow on Spotify and add some of my work to your VGM Playlist - https://open.spotify.com/artist/4mU9ci0mlYOPZIHHdRqs2g?si=oBuGpqa3Rp6AWjGPHAxUHQ

License tracks for your game

Thanks for reading. Keep it here for the next one.

Happy Developing

Happy Friday, Devs

I’m sorry if there was confusion or my thread was too long aka tl:dr but I’m only accepting paying clients for feedback at the moment. 

If you want to work together, want to and can pay and are able and comfortable negotiate we can discuss fee rates that work within your means. 

If you want experienced help you have to pay for it. Just like you want people to pay for your game for the time you put in. It's a really simple concept.If you choose not to invest in yourselves others will not invest in you.

Let's level up! Happy Developing!

Thank you for emailing and sharing. I have replied.

Typically, video games but I am open to doing table top as well.

Thank you for sharing your game. However, this does not answer my question.

Happy Friday, Devs

When offered to help devs before there was a myriad of responses.

Once I offered services the responses dropped 90% 

So, I'm curious to know, can someone share what is the fear? I'm trying to understands the mindset/hesitation.

Happy Monday, Devs!

If you're still on the fence for my offer don't be. I have your best interest at hand. I want you to succeed and I am in it to uncover problems that you can solve for your future game player audience can enjoy. The people I have helped in this thread have at the least engaged with me and you can read their gratitude for the things I uncovered for them. I hope to help more of you too.

Happy Developing!

Great! I am glad that you received it. You're very welcome.

Weird indeed. I tried sending it again just now.

This email here - leonardo@plotkids.com

Awesome! Wishing you some great sales ahead :)

Hi,

Having play-tested your game before, I think the price could be dropped by $1.00. You're up against a market that is very competitive where some developers charge the same and has slightly better art and smoother game mechanics. Video games are very visual so if you are not capturing people with graphics first then, you are mostly at a disadvantage and game players are mostly very cheap and there is a business mindset disconnect. Most developers do not want to invest in proper assets or contractors but want game players to invest in their game.

It's not always about the amount of levels or content, it is about the presentation. Your game has to look fun for people to want to give their money and unfortunately they will not know the fun until they play it.

I believe with some better art assets and some more polish, this game could be priced at $5.00. I deeply believe games should be priced higher to keep the value of art sustained but I will keep it relative to your question at hand.

I hope this helps.

Thank you kindly for the reply. Yea, I have done scores for tabletop games before. Players have enjoyed it. If you're interested, let me know. I have some cool ideas.

Happy Monday, Devs!

I have finished my third round of helping some developers with feedback for their game. I am now available for work. Here is a recap of my Skills.

[Skills] 

I have done QA / play-testing for Disney, Naughty Dog and Warner Bros for several years as a contractor. I’ve also done QA for many small indies.

[Qualifications]

 I have shipped over 20 games thus far and have consulted with many indie teams. In addition, I own over 800 physical copies of retro games and I'm steadily playing through the library. I have been playing games since I was six years old so, I know a lot of about design and can offer some valuable feedback to improve your game.

[Quote Range]
$50 - 150 flat-rate (depends on the length of the demo or the game - inquire for more details)

[What You Get]

• Video Feedback 
• Live Call Video Feedback (Only offered at the $100 - $150 tier)
• Feedback from an 13 year industry expert
• Read what other developers found valuable above. I am sure you will find it to be the same for your game. (I am happy to provide video examples of what I did for other devs)

I have a few slots open. If anyone else is serious about their game, see this as an investment and are in need for feedback especially if you did not attend GDC, PAX East, SXSW, Summer Game Fest but are looking gear up for PAX West, Game Con Canada, GamesCom, reach out.

Contact Method - Email me : lilcj2r@netzero.com (I will reply within 24 hours)

Hi, I finished the feedback and tried to send you an email today but it said it was not delivered.

You're very welcome. I am happy that I was able to provide the proper and solid feedback you were looking for.

Hi, received and replied. Thank you kindly.

Thank you for reaching out. I replied to your email.

Thank you for the kind words. I am happy that I was able to provide you the feedback you were looking for and that you found it valuable.

Happy Wednesday Devs! I just finished another round of play-testing a few more developers. I have a few slots open. If anyone else is in need for feedback especially if you did not attend GDC, PAX East, SXSW but are looking gear up for PAX West reach out. 

Contact Method - Email me : lilcj2r@netzero.com (I will reply within 24 hours)

I am very excited. I'd love to score this!

Thank you for the reminder. I just opened up the requests. It will be opened for 24 hrs

Great! Thank you for the peace of mind there too :) You know how to get in touch. We discuss further from there.

Happy Thursday Devs! I have two slots that just opened. If anyone else is in need for feedback especially if you did not attend GDC, PAX East, SXSW but are looking gear up for PAX West reach out.

Contact Method: DM on Discord @gamercomposer 

Thanks a million for the kind words! Cat Powered UFO was a pleasure to play! Great story and solid pacing.

Happy Sunday, Devs!

I have a NEW DEMO MUSIC REEL exhibiting many genres I am competent to write in Game Music! I am available for work.

Contact me if you are looking to give your game proper sonic identity in addition to, some dynamic music that can align to game mechanics and would like to collaborate.

In this DEMO MUSIC REEL I cover genres from

Folk Hybrid

Cozy/Chill

Tribal

Horror

Ambient

Bossa Nova

Caribbean / Pirate

Sci-Fi - Orchestral

Retro (NES, Game Boy, Sega Genesis, SNES, Atari Lynx, PlayStation, Xbox [2000])

50s / Orchestral 70s Funk

Japanese / 80s

Fantasy Adventure

and more!

Any others music style inquiries feel free to send me an IM or contact me via my website (http://chasebethea.com).

If you think you cannot afford the rates, do not assume, just ask. You might be surprised

If you are looking for music licensing options for the moment, check out my growing  Music for Games catalog https://chasebethea.gumroad.com/

Thank you in advance for watching. I hope to connect with you on your next project

Thank you! I do help with direction too. Feel free to keep my contact and reach out when ready. Thank you.

Sure. Send me a message on Discord with the name of the game and we will go from there

Hi, I went out of town and missed the submission. My track is complete. May still submit??

Yoiiii, I am a freelance quality assurance play-tester. I've been working in the industry for over a decade. A lot of you are making games and/want some and may need some professional feedback to make your project better and stand out. I can offer that.

[Skills] 

I have done QA / playtesting for Disney, Naughty Dog and Warner Bros for several years as a contractor. I’ve also done QA for many small indies.

[Qualifications]
I have shipped over 20 games thus far and have consulted with many indie teams. In addition, I own over 800 physical copies of retro games and I'm steadily playing through the library. I have been playing games since I was six years old so, I know a lot of about design and can offer some valuable feedback to improve your game.

Contact Method: DM on Discord @gamercomposer 

Hang, Chill, mayyybeee work or just vibe to. I got you game dev community. It's FREE TO LISTEN!

• Spotify

• YouTube

• Bandcamp

• Tidal

Happy Saturday!

Sav’saaba!

I'm pleased to share a new composition for developers to use for their Folk - Fantasy (Fifth / Sixth Generation Retro Console) composition or what they feel the music will fit best for their project. This is a non-exclusive license.

About the composition

Imagine walking through a dense tropical forest in the evening, insects swirling around your head, and as you reach out to spread the last layer of foliage aside and make your exit, an outlandish town stands before you, with the setting sun directly behind its buildings and roads. Walking alone through this newfound oasis, you pass shop windows, street vendors and chefs, all offering a variety of unfamiliar wares and foods. As you take it all in, a smile grows on your weary face, and you know you'll be comfortable staying here for a good amount of time, if not permanently.

A Retro piece that fits on platforms like

• PlayStation

• N64

• Dreamcast

• PS2

• Panasonic

• Goldstar

• Sega Saturn

• XBOX

• GameCube

If you're a developer, this music could work for games like :

• Grandia

• Suikoden

• Final Fantasy (VI,VII, VIII, IX)

• Wild Arms

• Lunark

• Flashback

• Fable

Deliverables

It comes as [WAV] for trailer uses and OGG loopable for game development implementation. Preview listens are available. Non-Exclusive License for the track is below.

https://chasebethea.gumroad.com/l/greenhouseaces

Hi, I am a freelance quality assurance play-tester. I've been working in the industry for over a decade. A lot of you are making games and/want some need some professional feedback to make your project better and stand out. I can offer that. I have shipped over 20 games thus far and have consulted with many teams. In addition, I own over 800 physical copies of retro games and I'm steadily playing through the library. I have been playing games since I was six years old so, I know a lot of about design and can offer some valuable feedback to improve your game.

Skills: I have done QA / playtesting for Disney, Naughty Dog and Warner Bros for several years as a contractor. I’ve also done QA for small indies such as SpriteWrench, Pushing Vertices, Arcade Renegade and more.

Length of availability: I am available Mon - Sun 10am - 7pm PST

Rates/Payment Method: Paypal is acceptable but you will have to pay the PayPal fees unless sent via Friends/Family, Cash App, Venmo is okay too. *Half upfront. Outstanding balance upon video delivery.

-$20.00 flat rate - 1 hr only w/ recorded video to use for notes to improve your game.

-$45.00 flate rate - 1 hr only to be in the same virtual call to watch me play-test and receive recorded video of play-testing for playback notes to improve your game.

Contact Method: DM on Discord @gamercomposer

For obvious NDA reasons of previous clients mentioned in the AAA and some independent games, I am unable to showcase all the play-test work, but I do have one game, I can share. You can view that here https://we.tl/t-GBbHVtcwaw

I look forward to collaborating with you and your project!