Preparing a brief for the composer is an important task and if not done correctly, could easily lead to a cascade of revisions, lost time and mediocre results. The solution, as usual is – the simple the better! There is no need to make a huge document with plenty of explanations, showcases, etc, but focus on the key points which are crucial for that’s expected.
Some of the thing to always have in mind:
- Exploration-first – the music should not feel tiring in long game sessions.
- Intensity spikes – clear designation of the mood levels of the music, based on gameplay intensity.
- World identity – defining elements for the musical world for the game at hand – instruments, overall mood, visuals.
- Readability – do not use sounds which could clash with the sound design of the GUI or in game SFX.
Defining a set of tracks that would be needed for the game:
- Main menu / Title
- Hub / Safe zone
- Exploration loop(s)
- Combat (light/heavy/boss)
- Key narrative beats (reveal, sadness, victory)
- Trailer music (if it’s included)
That way the scope is more clear, focused and hardly can there be a surprise for “missing content” later in the development process.
Even Light (hybrid) adaptive approach could uplift the quality of the music in-game.
What we usually do is:
- Vertical layering – adding or removing stems depending the intensity.
- Horizontal resequencing – skipping between the different sections or tracks: explore → combat → boss (transitions or fades)
- Hybrid – a combination of both
If you request the music for your game to use this the adaptive approach, you need to let the composer know how many layers would be needed (ex. explore (calm) → explore (danger) → combat)
Preparing reference tracks (or the most important “hint” for the composer)
Selecting and putting reference tracks in the brief is extremely important! Describing the genre and other requirements for the music with words is a good start, but nothing is more beneficial for the composer than having actual music tracks that he can listen to, analyze and define.
It’s also a good practice to give some explanation “why” you like the different reference tracks:
- “the harmony is medieval-ish, like we want it”
- “the tempo and pace is perfect for us”
- “ambient feel of the music is similar to what we’re looking for”
We could also add “anti-references”: what not to do!
The bare minimum which could “save” the project is always based on:
- Deadlines – alpha/beta/release dates.
- Milestones – style test and approval → main theme → batch deliveries.
- How do we schedule feedback and revisions (if needed) – per delivery, fixed time periods or other.
- Comment on the number of revisions (for example “one major change and two smaller revisions” are within the acceptable
A good, full brief is not “limiting” for the composer! On the contrary – it gives a certain framework, where the creative spark could evolve! A good brief is making the whole composing/production process way faster, with less deviations, and ensures a better quality music with much more impact on the players.
