Tag Archives: royalty-free game music
If you need game music for kids, be sure to check out my latest tracks – They’re available for instant previewing and download right here:
Fantastic Fun Toon
A festive, up-beat cartoony theme for children, featuring marimba, tuba, piano, flutes and pizzicato – great for kids’ TV, games and animations!
A playful track for kids featuring an ukulele melody, piano, percussion and pizzicato. Great for all kinds of projects for children – especially ones with a science or inventive theme.
A sweet melodic track for kids, played with acoustic guitar and piano. Works really well to create a warm, comfy atmosphere – perhaps for bedtime stories or cozying up with the family.
And if you need more music for children, there are many more tracks available for you right here.
Hope you like them and put them to good use in your project
Posted by Asbjoern on March 4, 2013 - Contact
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If you need some Christmas music for your project – for use in your game, with greeting cards, on your web page, or for other marketing and promo purposes, for example – I’ve just made a special collection of 15 tracks that you can start using right now.
Hear the Christmas tracks below – and if you want to license a track, click the black BUY button to hop on over to the licensing page.
Hope you enjoy them, and happy holidays!
Posted by Asbjoern on December 10, 2012 - Contact
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Getting into royalty-free music can be a good approach if you’re a game composer looking to earn more, and potentially land new clients as well.
But there’s one thing you should carefully consider before embarking on your royalty-free music adventure: Do you want to sell your royalty-free music exclusively or non-exclusively?
When signing up as a new author, many stock music sites ask you if you want to be an exclusive or non-exclusive author on the site. For any royalty-free music site, having unique content is a valuable asset, and that’s why they really want you to go exclusive.
Being a non-exclusive author means that you put your music up for sale on the royalty-free music site, but you can freely sell the music elsewhere as well. Being exclusive means that only the given royalty-free music site can sell the tracks you submit to the site (note: You can still do whatever you want with tracks you haven’t submitted for exclusive sale on a site).
The commission is of course higher if you’re an exclusive author rather than a non-exclusive one (50%+ commission vs 33% commission per sale), so it could be tempting.
But don’t go exclusive, unless you know exactly what you’re doing and have a clear plan in mind!
If you do, you could be severely limiting your options for making money off the music in other contexts.
Here are three reasons why you shouldn’t go exclusive:
1. You can’t try out different sites
There are hundreds of royalty-free music sites around, and picking the right one for you is almost a science in itself.
Some sites offer great commissions on tracks, but may not have a huge number of potential buyers, others sell tracks at a higher price and have bigger-budget buyers who purchase fewer tracks but are willing to pay more, while others still may attract a certain crowd of buyers who are going for very specific genres.
It can be hard to tell from the get-go what works best for your music, so you want to test the waters before uploading all your music and locking yourself in with just one site.
Upload a good selection of tracks to each site and see where your music sells. When you find a site that generates good sales numbers, focus on building your catalogue on that site.
If you go exclusive from the beginning, you lose this important way of determining what site is right for you.
2. You can’t sell direct to your clients
As a game composer, there’s a clear advantage in maintaining a catalogue of tracks you can sell on a non-exclusive basis. Perhaps you’ve been brought in as a custom composer on a game project and the client wants more music than initially planned. Only problem is that the client has almost used up their entire music budget. Being able to offer a few tracks on a non-exclusive basis ensures that they get the music they need, and you make a sale in a situation where you wouldn’t have otherwise if you had to compose all-new music for them.
Just make sure your client is aware that they’re getting those tracks on a non-exclusive basis to avoid misunderstandings down the line.
And the best part is that you can sell that music again and again, so while the initial price may be low, you can still turn a healthy profit on it from repeat sales – and keep your clients happy at the same time.
3. You can’t sell your music on your own site
Royalty-free music sites take a large chunk out of your profits in commission (40%-70%, depending on the site). And what do you get from the money you’re essentially paying them for selling your tracks? They do the legwork of bringing in buyers for your tracks, allow you to have a nice-looking profile on their site and sometimes even feature your work to allow you sell more.
But what if you’re pretty good at marketing yourself?
If you’ve got the skills and the right eyeballs on your website – ie. game developers -, maybe you’d be better off selling your music on your own site.
That way, you can set your own price, cut out the middleman eating half or more of your profits – and get more direct contact with your clients too.
Build a catalogue of your tracks, sort them and label with fitting descriptions, tags and other relevant info, define your licensing terms and allow your visitors to buy the tracks via Paypal or similar services. You can even do this while still having music up on stock music sites.
If you’re an exclusive author on a stock music site, you just can’t do this with material you’re selling exclusively on that site. So you’d be missing out on yet another way of reaching potential buyers.
If you find that a royalty-free music site is really good at selling your stuff, you can always change your mind down the road and go exclusive. You just have to stop selling your selected tracks via all other channels. Alternatively, you can set up a separate account on your favorite music site where you upload tracks that are only sold through that site.
I hope this has given you an idea on why going non-exclusive is probably the best approach for you. How are you going about selling your music as a games composer? Share your tips and ideas in the comments below.
Good luck with your music!
Posted by Asbjoern on October 8, 2012 - Contact
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If you’re looking for dramatic music for your game, British composer Russell Bell is releasing some really great stuff. Here is a collection of his royalty-free tracks in a dramatic, cinematic style which work great in a game context. Check them out below and click the black BUY button to get the currently-playing track.
Posted by Asbjoern on August 29, 2012 - Contact
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If your game takes place in an exotic setting, one of the best ways of recreating the atmosphere is through music.
Here is a collection of new tracks that you can license, hand-picked for their great atmospheres and high production quality.
Click the black BUY button on the player to purchase the currently-playing track for your game project.
1. Arabian Nights by Art-of-Sound
An atmospheric track, evoking images of desert scenes and Arabian mysteries. Features a middle-eastern backing and beautiful playing on a Ney, an Arabian flute.
The following tracks are composed by Wellman
A groovy African track, featuring great percussion, kalimba and native African chanting. Also includes a loopable version.
Brilliant percussion in this Brazillian Batucada track – great for that groovy carnival ambience!
4. Salsa Resort
Looking to infuse your game with some Latin music? This track features congas, bongos, timbales and brass and really sets the tone. The composer also offers looped versions of the track on request.
If you need more world music for your game, you’ll find many more in the collections on top of this page. Click the ‘World’ button in the top-left corner on this page to hear hand-picked tracks spanning pretty much all corners of the world.
Hope you enjoy the tracks, and if you’ve come across – or have composed – some great royalty-free game music, let me know! You’re also very welcome to leave a comment below.
Posted by Asbjoern on July 9, 2012 - Contact
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Making use of royalty-free music as a game composer
This is part two of my guide to making the most of royalty-free game music. It started with the following question: ‘Is royalty-free music a threat to game composers’, and in the first part, I examined how game developers can get great results with royalty-free game music.
In this second part, I’ll show how it can be a very useful tool for game composers to land new projects, keep your composing skills sharp and sell more music.
If you’re a game composer, the knee-jerk reaction when faced with the thousands of high-quality, dirt-cheap, game-friendly royalty-free tracks available is probably along the lines of: How the heck am I supposed to compete with that!
Running a studio, buying the gear and paying the bills is costly, and composing the music, doing the revisions and mixing and mastering it all takes time. Time you’ll want to be paid for.
And how’s that humanly possible if you’re up against some site offering a track for $14 dollars?
Well, I think you have to look at it differently. It can actually be a way of getting you MORE work. Here’s why:
Royalty-free music targets a different market niche – and you want to be there too
You probably won’t find many big-budget game projects resorting to using royalty-free music, unless the developer needs music in a hurry and/or simply can’t find the right music elsewhere. What you will find, though, is smaller indie game projects choosing royalty-free music as an option for getting great music in their game at affordable rates.
Developers like these likely won’t have the budget to hire you to do a fully-fledged score for their game, so you’re not really losing a customer in this regard anyway. But.. you may use royalty-free music to gain one.
* Use royalty-free music to market yourself
Stock music sites such as Audiojungle have thousands and thousands of visitors each month – and they’re all looking for music. By putting your music up there, you’re making yourself visible to an audience you probably wouldn’t have reached before: Clients with limited budgets, looking for quick-and-easy music for their projects. Why not reach that audience too?
Of course, you need some music to put up there, and here’s how you can do it:
* Make use of your back catalogue
If you’ve been composing for a while, you probably have a catalogue of tracks that ended up not being used in the projects you worked on. Maybe they didn’t exactly fit what the client was after, maybe you came up with a better idea for that theme song for the game, or maybe the project never got off the ground.
The reasons can be many, but the fact is that many of us have unused tracks lying around. Well, it’s time to dust off those tracks and put them to work.
First off, sort through your unreleased work and weed out the duds.
And let’s face it. We’ve all done tracks that, well, just plain suck. Maybe we had a great idea that just didn’t come out right, or maybe we just screwed up somewhere in the process. Whatever the reason, it’s part of the creative process, and hopefully it’s been something we’ve learned from to make our stuff better down the road.
In any case, you shouldn’t pick tracks you wouldn’t feel comfortable about selling, so leave out the ones that don’t work for you.
Pick the tracks that you like, check the levels and mixes – and tweak if necessary so they’re production-ready. Write down fitting descriptions and tags for the tracks, and you’re ready to unleash your work to an unsuspecting stock music audience.
Tip: When signing up at a royalty-free music site and you’re being asked if you want to be an exclusive or non-exclusive author, I’d strongly advise you to choose non-exclusive. This allows you to sell your royalty-free music tracks on other sites, and sell them yourself directly to clients too. In a future blog post, I’ll dig more into the exclusive vs non-exclusive author situation as a game composer.
* Use it to keeping yourself sharp while building your portfolio in the process.
Another way of building your portfolio is by doing music specifically for sale as royalty-free music.
If you’re like most composers, there are times when business is slow. Maybe you’re in-between projects, or it’s just a slow time of year. If that’s the case, don’t run off to the beach, or, at the other end of the spectrum, spend sleepless nights wondering if it’s all going down the drain.
Composing music is a skill that need to be worked on continuously to stay sharp, so use the available time to your advantage instead: Compose specifically for royalty-free music sale when your time permits it.
That way, you’ll keep improving your composing skills and build your catalogue of music at the same time.
If you’ve started out with unused tracks from your back catalogue, you may already have an idea of what’s selling on the site you’re targeting. You’ll also want to browse the Popular Music category to hear what kind of music is in demand at the moment. Then, whenever time permits, compose away and upload the results to your stock music portfolio.
It’s always tempting to listen to the top-sellers, and simply do stuff in that vein. However, that’s what many new authors are doing when joining the world of stock music, so competition is fierce within those popular genres.
When you’re a game composer, I think you’ll be much better off carving your own niche. Consistently upload great-sounding game music and market it as such, and you could have a successful business going within that field.
Since music can be used in so many different contexts, chances are you’ll be selling to non-game developers as well.
An important point to note is that, essentially, you can put up any kind of music for sale as royalty-free music, as long as the quality is good. So if you’ve been composing game music your entire career, royalty-free music can your playground where you take a break from the games stuff and try out other genres – and make money in the process. Not a bad scenario, if you ask me.
* Keep non-exclusive music handy for custom game music projects
Another advantage of having a catalogue of non-exclusive music – which is what royalty-free music is – is that you have yet another item on the shelf as a composer. When you’re working on custom music projects, your client may need an extra track or two before wrapping up – but can’t find the money for you to compose custom tracks. That’s an opportunity for you to sell some of your non-exclusive tracks and keep your client happy doing it.
You’ve probably also had game developers ask you for a quote, only to turn it down as they simply couldn’t afford custom music for their project at all.
Now, with non-exclusive music in your audio toolbox, you won’t have to lose a client like that again, or have to resort to selling your custom work too cheaply.
If the client’s budget is too limited for custom music, offer them some tracks from your non-exclusive collection. Since the whole business case for this kind of music is that you can sell your music at a very low initial price, but then make money on repeat sales, make them a good offer on your non-exclusive music.
That way, you retain a customer you would’ve otherwise lost to someone else – and if they like what they’re getting, they’ll probably be interested in working with you again in the future. And who knows, perhaps they can afford a custom soundtrack the next time around.
Market your work
If you want to really make use of royalty-free music, you can’t just upload your music and be done with it. You have to market it as well, and turn it into a tool that will land you new clients.
To do this, you’ll want to
1) Encourage feedback, collaboration and in-game attribution
From a composer’s perspective, one of the biggest drawbacks on royalty-free music sites is the anonymity of the buyers. You won’t really know who’s buying and where your music is being used. That’s just part of the setup, but there are ways you can work on forming a closer bond between you and the buyers:
When you set up your profile on a royalty-free music site, be sure to encourage buyers to give feedback on your work. Also let them know you’re open to doing custom music, and encourage them to credit you in their productions and let you know where your music is being used.
Mention this in your individual track descriptions too, as buyers may never end up seeing your profile in the first place.
Also let your buyers know if you’re willing to do track modifications for free, such as length adjustments.
It all works to make the client think about getting in contact with you. And it’s in both your and the buyer’s interest to start talking together, as this may open up interesting collaborations and land you custom projects later on, if they like what you’re doing.
2) Promote your material where your clients are
Another way of gaining sales is by marketing your content where your clients hang out. Upload previews to Youtube, Vimeo, link to your portfolio in your forum posts, email signatures and so forth.
There are many ways of doing it, and I’ll leave this for a future blog post.
Always remember to do your promtion wisely, and DON’T spam your prospective buyers.
If you’ve released a track that you feel would be awesome for a game project, be sure to let me know about it as well. If I like it, I might feature it in the collections of great game music on this site. I can’t guarantee that I’ll include it, though, but it’s definitely worth a shot.
Finally, let me make one thing very clear: You WON’T see massive sales from the get-go (if at all), and VERY few composers can make a living solely from royalty-free music. Competition is fierce, and it takes a lot of time and effort if you want to make it in royalty-free music. Someone wisely said about royalty-free music:
Royalty-free music is a MARATHON, not a SPRINT.
Think about it: You’ll have to sell a LOT of music at $14 per track – of which you give half or more to the stock music sites – to make a decent income.
But if you set realistic expectations and think of royalty-free music as another tool in your music arsenal, you can use it to market yourself, land new clients and stay sharp as a composer – and have fun doing it.
Best of luck with it, and do I’d love to hear how you’re using royalty-free music in your career, so leave a comment below.
All the best,
Posted by Asbjoern on July 3, 2012 - Contact
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I’ve been a game composer for many years, and it’s always been a platform I’ve really enjoyed working on.
However, a few months back I came across something unexpected:
I was listening to a track on Soundcloud with an embedded audio watermark from a stock music site – and it didn’t suck.
This is in no way meant to be disrespectful of stock music composers, I just hadn’t been paying attention to how much the quality of royalty-free music had gone up. I was expecting stock music to still be the cheesy, plasticky stuff I’d heard many years ago. This was not the case here, so I was puzzled.
If such great-sounding music is available to game developers at rock-bottom prices ($14-$70 per track, depending on the license), what does it mean to me as a game composer, and to game developers and the way they are finding and using music? And ultimately, is it a threat to my business as a composer?
In my view, the answer is a resounding NO, and in this two-part guide I’ll show you how royalty-free music can benefit both game developers and composers alike.
First off is a bunch of tips for game developers:
MAKING THE MOST OF ROYALTY-FREE MUSIC AS A GAME DEVELOPER
Let me start out by stressing that if you have the budget, I think you should go for having music custom-composed for your project. You’ll get high-quality, unique material that can be shaped and fitted to exactly match your project requirements. But if your budget is limited, or you’re in a real hurry, royalty-free music can be a great option.
A quick primer on what royalty-free music is:
Royalty-free music is music you buy on a non-exclusive basis, meaning that it can be used in your project – and since it’s non-exclusive, everyone else is free to license the music for their projects as well. So you won’t be getting unique, exclusive content for your game, but you’re getting music that’s extremely affordable and flexible.
You pay a one-time fee (often extremely low compared to having custom music composed for your game), and that’s it! There are no royalty-fees to be paid to the composer down the line, and no bonuses to be paid if your game is selling like hotcakes.
So it’s simple way to find, use and buy music for your game – and here’s how you can make the most of it:
* Quick, easy access to great game music
Royalty-free music sites offer you a way to get great, hugely affordable music for your game, fully-licensed and ready-to use. Some sites offer more than 50,000 tracks that are available in pretty much every style imaginable, so there’s loads to choose from.
There’s no waiting around for a composer to finish the music for your game – you can simply download the tracks instantly and start using them straight away.
It’s not all stellar material, of course – far from it, actually – but most sites employ reviewers to maintain a fair level of quality.
* What you hear is what you get
Having a composer do the music for your project has its pros and cons: You’re getting unique music content, and – if you’ve picked the right composer – high quality material as well. But you can’t be absolutely certain what you’re going to end up with.
With royalty-free music, you can preview the tracks in advance, so you know exactly what you’re getting. Don’t like a track? Don’t buy it.
* Finding the best game tracks
One of the biggest challenges when it comes to royalty-free music is finding the good stuff. As mentioned some sites have thousands and thousands of tracks of varying quality, and game music is not a top priority – at least not on the sites I’ve seen.
For instance, on Audiojungle, which is my current favorite for royalty-music, the biggest-selling category is motivational and uplifting corporate music – so that’s what a lot of composers are going for. Hardly the best music for a game.
But there’s lots of relevant music for game projects as well, and that’s why I’ve launched Great Game Music, where I feature tracks that specifically work well in a gaming context.
At the very top of this page, you’ll find an audio player where you can preview my selected tracks. Click the yellow buttons to change categories, and click the black BUY button on the player to go the purchasing page for the currently-playing track.
Navigate to the top of this page and have a look. You can use this page to find useful tracks for your game project, or as a starting point for further exploration.
A WORD OF ADVICE:
* Always check the license terms
Many sites offer tracks at incredible prices. Again using Audiojungle as an example, you can license a 3-minute track for $14 dollars. And believe me, that’s CHEAP for a three-minute track.
But beware: A Regular License only allows you use the music in a FREE game – so if you planning on selling your game (as I’m guessing most devs are), you’ll effectively be in violation of the license if you include that 14$ track in your paid game. An Extended License will cost you around $70 depending on the track length, and this allows you to freely use the track in the game you’re planning on selling. Other sites have similar terms, so be sure to check that you’re getting a license that fits with how you plan on distributing/selling your game. Otherwise it could end you in hot water down the road.
* Make royalty-free music a shortcut for unique music for your game
One of the tricky things with royalty-free music is getting a consistent sound for your game, as you’ll likely end up with tracks from many different composers in your final music package. And since each composer has his or her own sound, this might be noticeable in your soundtrack.
If that’s the case, I’d suggest a different approach.
Go exploring on stock music sites, and when you come across a composer who’s doing music with a style and sound that would be a great match for your game project, stop searching and get in touch with the composer. License the royalty-free tracks you want to use from the composer on the site, and ask him or her to compose some custom tracks to sort out your remaining music needs.
It’ll cost you more than just using royalty-free music, but a) you’re getting custom music for much of your game, b) you ensure that your game gets a consistent sound, and c) you’re still saving money compared to having everything custom-composed.
You also reap the benefits that custom music have to offer, such as tweaking if needed, unique content, and music that fits with the durations, timing and moods you want. And if it’s not important for you to have the music exclusively (which you won’t get with royalty-free music anyway), you may be able to negotiate a deal with the composer, where he or she creates custom tracks for you, but is allowed to sell the tracks as royalty-free music afterwards as well.
That way, you’ve effectively turned royalty-free music sites into massive music showcases that allow you to find the very best composer for your game – and save money doing it.
* Don’t use royalty-free music as an excuse to postpone your game audio
In general, I think one of the biggest mistakes when finding music for your game is doing it too late in the process. If you’re a week away from your deadline and you still haven’t found the right music, it’s going to be hectic. And that’s whether you work with a composer or use royalty-free music.
Getting a composer to create the right music for your game takes time and planning, and it ALSO takes time on stock music sites. Why? There’s simply so much content to choose from that finding stuff that fits with your project is not a one-day process. You’ll want to listen to a lot of tracks to find your direction, you’ll want to find a collection of tracks that go well together – and you want to try the music in your game to see if it really works in the context of your game.
So don’t make music for your game a last-minute decision, just because you’ve chosen to use royalty-free music. Bring it in early to make your game sound its very best.
I hope this has given you some ideas on how you can integrate royalty-free music in your game development process – and helped you decide whether it’s a direction you want to go in at all. I think that, if done right, it can be a valuable tool for finding the right music for your game.
In part two, I’ll show how royalty-free music can be a way for game composers to land new projects and keep their game developer clients happy at the same time. Read the guide for game composers right here.
Meanwhile, I’d love to hear how you’re using royalty-free music in your projects. Do share your comments and thoughts below.
Posted by Asbjoern on July 2, 2012 - Contact
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Just a heads up that I’ll be posting a two-part, in-depth guide next week for both game developers and game composers, showing how royalty-free music can be made a brilliant resource for getting and making awesome game music.
I’m a game composer myself, and at first, I was a bit concerned that royalty-free music would be a threat to my custom game music projects. After all, royalty-free music is incredibly affordable, and if you look in the right places, you can find some really great stuff. But that has far from been the case.
I’ll tell you all about it in the guide I’ll be publishing next week, so stay tuned and will be looking forward to your feedback on it!
All the best,
Posted by Aurie on July 1, 2012 - Contact
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So.. you’ve been developing your game for a while, and now the time has come to add some music to it. But how exactly do you go about finding the right music for your game? Well, there are essentially two ways of going about it:
1. Hire a composer:
If your budget allows it, having a composer on board for your project is in my view the best way of getting consistent, high-quality music in your production. When you find someone who has a style that matches your vision for your game, you’ll be able to work with the composer to sculpt the music exactly the way you want it. If you find an experienced composer, be sure to use whatever input the composer has, as he or she is a specialist in music, and may have ideas you wouldn’t have thought of yourself.
In my experience, the best way of getting the right sound for your game is by using music references. Music is such an abstract concept, and your definition of a “fun, cheerful menu track, with lots of cowbell – but not too much! Oh, and with a jazzy edge as well” may mean something entirely different to you that it does to your composer.
So don’t waste time (and money) having him or her compose loads of drafts without properly setting the direction first.
You can do this by picking existing tracks from other games, film or commercial artists – the source doesn’t matter, as long as the references fit with how you want the music to sound – and present them to the composer. That way, you’ll know he or she understands the direction you want to go in.
Game composing is a time-consuming task, so be sure to bring in the composer as early as possible, and make sure you set delivery deadlines that allow for additional tweaking of the music.
When it comes to the music budget, write a detailed description of your requirements (this guide might help) and ask your chosen composer for a quote. You’ll probably find that he or she charges a per-track production fee, or – as is more common – a production fee per minute of completed music.
He or she will probably also ask for a usage fee, depending on where/how the music will be used and where your game will be released. Some composers offer full buy-out on their music. This means that you pay a one-time fee, and you are then free to use the music where and how you want to.
Another model is to negotiate a profit-sharing model, where the composer is only paid a small inital fee for the music, and then gets a percentage of the profits from each copy sold. The advantage of this is that it allows you to make a smaller initial investment in the music, and that the composer will have a vested interest in the game doing as well as possible.
* Custom work: Allows you to get a custom score for your game that is tailor-made to your vision for the game.
* Expert advice: You get an expert on board who can take the game music to a level you wouldn’t have thought of yourself.
* Music that fits: Get tracks that fit exactly with your menus, ingame and cutscenes when it comes to lengths and style.
* Expensive: Unsurprisingly, composing game music takes time + composers need to get paid for their work and be able to run a studio and pay the bills = it all adds up.
* Time-consuming: Turn-around varies from composer to composer, but most composers can do 1-3 minutes of completed music per day, depending on the complexity. Then factor in revisions, the composer’s schedule and additional tweaking and you’re looking at weeks, if not months to get the music done – especially if your game needs a lot of music. This may not be a problem, as long as you remember to bring in the composer early on in the development process.
2. Use royalty-free music:
If your budget doesn’t allow having a composer on your team, or if you simply need something FAST that works, royalty-free music is a great option. There’s 100s of thousands of tracks available, and chances are you’ll be able to find something that fits in your game if you spend the time looking.
Well, actually you don’t have to spend that much time looking – have a look at the music collections on this site and see if anything fits. I’ve spent many (many) hours plowing through a myriad to tracks to find what I find to be some of the best royalty-free music tracks that work well in game projects.
Maybe you won’t find exactly what you need here, but if you spot a composer who does quality stuff from the collections above, you can use that as a starting point for further exploration. Or you could simply get in touch and I can lend you a hand finding what you need.
* Affordable: Royalty-free music is a cheap way of finding music for your game. Prices usually range from around $10 to $70 dollars per track, depending on what sort of license you need.
* What you hear is what you get: When you have a composer on board, you’re never completely sure what the end result is going to be. Perhaps that track you love from him/her was simply a lucky punch, and he’ll fail miserably trying to get you the sound you’re after. If you’ve done your research, this is quite unlikely to happen, of course. But the thing about royalty-free music is you know EXACTLY what you’re getting. What you hear in the preview, is what you’ll get – no nasty surprises there.
* Lack of consistency: Putting together a consistent soundscape from royalty-free music can be tricky. If you need several tracks, you’ll likely source them from many different composers – and each has his or her own sound, meaning that your soundtrack as a whole may not sound as coherent as you’d like. Actually, there’s a way to overcome this, and I’ll tell you how in a future blog post.
* Finding the good stuff takes time: With so many tracks around, be prepared to spend a lot of time putting together the perfect soundtrack for your game from royalty-free music. However, I really hope this site can be of help in doing so – at least that was kind of the whole idea why I started it in the first place
I hope this has helped you get a feel for your options when it comes to finding music for your game – and if you have any questions or feedback, do comment below or contact me directly.
Best of luck with your game project!
Posted by Aurie on June 22, 2012 - Contact
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