A Moment With Composer Danny Pelfrey
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DMN: How do you go about composing for games? What are the steps involved from beginning to end? [an error occurred while processing this directive] DP: I usually develop themes just like I would do for anything else, and conceptualize about where they need to go and what the journey needs to be. More often than not, game creators don’t know exactly what they want, but they usually have a shopping list of things they need. The good producers, however, have a way of making you aware of the effect they’re after and how they want the music to contribute to their story. I go about developing those themes through different moods and adventures in the game. My experience with the major studios has been as long as you keep them in the loop, they’re generally happy.
DMN: What is the most challenging aspect of composing for games?
DP: I’d have to say the timeframe. Usually music is the last thing to be thought of and the last thing to be put in. I’m rarely given as much time as I would like.
DMN: What is the biggest mistake a game composer can make?
DP: Underestimating the impact that his music will have on the game/story.
DMN: What equipment do you use to compose for games? What hardware and software?
DP: Digital Performer, Digital Video, Giga Studios, E4’s, Roland 760’s, Lexicon 960, Neve 33609, Apogee PSX100
A computer with appropriate music sequencing software and the right sound generating devices is essential. It is important to produce the highest quality sound possible. People have surround sound on their computers, and listeners are becoming more discerning.
Danny Pelfrey Composer, is CEO of Earmark Productions, Inc.
Web: www.dannypelfrey.com
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