Mentoring / Classes:

There are 4 things i offer atm.
Feel free to reach out via mail or instagram to talk about details

1 – Session Insight (1 on 1)

1-2 hours / Session

// We look into a past project from me (you can choose sth) and look at what i did & why i did these things & talk about anything that pops up in your mind regarding my work

2 – Mentoring (1 on 1)

1-2 hours / Session

// A Mentoring session i prepare, based on your “personal needs” (goals, current skill level, etc). Can also take place repeatedly if desired or if the topic is a larger one

3 – Creating a Track from scratch (1 on 1)

2-5 hours / Session

// we create a track from scratch for a fictional project situation (for example a specific game OST track) and talk about how i approach things etc

4 – Creating a Game OST from scratch

2-5 hours / Session (4-12 Sessions)

// We’ll work on a fictional project & go through the process of a Game OST production from start to finish. In addition to this general plan, we will talk about things like:

How does one become a composer?
How do you deal with customers?
How much money should you charge for your work?
What is there to do besides composing?
What are potential pitfalls?

1) Creating a concept, with all possible framework conditions: What instruments should you use & why? How do they fit the story/coloring/mood of the game world? Which ideas/characters/locations are they possibly linked to? What kind of melodic leitmotifs do we have? What kind of tracks do we need in general? To what extent do we use the possibilities of dynamic/adaptive music etc? How many minutes of music will it be approximately? What role does the music have at which points? We’ll talk about what’s important and what to keep in mind when scheduling a soundtrack.

2) We will start the actual production of the soundtrack. We’ll cover music for scenarios / situations / locations / characters of the fictional game project (1 per day). As soon as we are at this point, you can also work on the respective track (e.g. town theme with day/night variation, linked by a melodic leitmotif, with instrumentation that suits the city and the fictitious game), whereupon I will give you feedback.

Example Topics for 2-4:

Creating a Concept

This topic may cover what to think about before actually starting the production. Which instruments & why, which musical motifs, which form of adaptive music, etc., based on various factors of the video game.

Instrumentation: Which instruments and why?

This topic is about considering which instruments to use for your soundtrack & how to connect them to certain things (ideas, characters, feelings).

Leitmotifs in Gamemusic

We may also talk about how to combine (mostly melodic) themes with elements of the game world and use this for a more intense gaming experience.

Dynamic/Adaptive Gamemusic

As part of the joint music production, we will devote ourselves to methods of adaptive/dynamic music production and use them. For example: layering / branching / parallel composing.

How to become a game music composer?

One of the most asked questions. There is no shortcut, so much in advance. That said, we can of course talk about what I did to become a full-time game music producer & what to avoid/try to do.

Reading scenarios and pictures

While working on the music for the fictional project, a lot will be about interpreting the given game world “correctly” and writing the best possible music for it. How do you reinforce visual impressions? How and when do you consciously break with them?

Role and function of video game music

The accompanying overarching theme: what is the role and function of video game music & how best to use it? (signal function, Couleur Locale, mood technology, emotional atmosphere, etc.)

How do I compose?

You can get direct insights into how I work and my thoughts on this work, while you can ask questions any time.

Game Composer Setup: What Should You Buy?

You can spend an incredible amount of money in creative tech fields. There are a few things that you can safely skip at the beginning.