Adaptivity is not a feature you add later
In a game the player decides the length. A cue has to rise, recede and hand over to another state at any moment — and that has to be composed in, not glued on afterwards with a crossfade.
- Vertical layering — instrument layers brought in and out with tension
- Horizontal re-sequencing — musically correct transitions between states
- Stingers and event accents — short elements answering player action
- Spatial audio — Dolby Atmos and other spatial formats where the project needs them
Integration
We deliver more than files. Material arrives prepared for your audio engine (Wwise, FMOD) with a state diagram and documentation — and if there is no audio programmer on the team, we implement it ourselves.
Common questions
Do you work in Wwise or FMOD?
Both. If the team has already chosen an engine we work in it; if not, we advise based on the size of the project and its platforms rather than habit.
When should a composer join the project?
Earlier than it feels. Adaptive structure is cheapest to build while the state logic is still being worked out, not once the levels are assembled.
Not only screen games
A tabletop game, a collectible card game and a roleplaying session ask something different from music than a video game does: it has to play for hours without getting in the way of people talking. That means long, loopable beds with no sharp events — and separate short accents for turns or story beats.
- Tabletop games — themes that carry a session, sound accents for turns.
- Collectible card games — short recognisable elements that repeat every match.
- Roleplaying games — atmospheric layers for sessions: long, loopable, quiet under speech.
- Outdoor and live games — sound for a space with no headphones and no screen.
Work in this area is listed on the Work page.