Sound Design For Games Tutorial





Sound Design For Games Tutorial

Learn To Compose Music and Produce Sound FX For Games

In this fantastic new course, you'll learn everything you need to know about composing music and soundtracks for the ever growing gaming industry, all taught by Piotr Nowotnik who has over 10 years experience within the industry. Learn everything, from knowing what time signatures work with what style of game, through to learning how to produce foley. Jump in now to this highly engaging and fun course.

Watch the course overview for a more in-depth look at what you'll get out of the course

23 Lessons - 5 hours - Any Genre, Any DAW

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What are you going to get out of it?

Greater Experience

Perhaps you have successfully completed one of our beginner tutorials, or you are looking to take your music production skills to the next level. These any DAW Masterclass tutorials have all the knowledge you need in order for you to bring your mixes, recordings, vocals, drums and arrangements to life.


A Higher Level Of Music Production Skills

These any DAW Masterclass tutorials are full of more advanced music production techniques, that will help you discover new producer skills. All these tutorials are made so you can jump to any specific skill or technique in the lessons, that you may be having difficulty with, and find a solution that is easy to follow and implement in your own projects.

Fresh Inspiration

In this course you'll gain many inspiring ways to help you make your own music, including the steps required to get you there. Everything from polished mixes to creative ideas to help inspire you. The possibilities are endless and you'll go away with a load of easy to repeat ideas that you can use in your own tracks.


Reward From Your Own Abilities

If you have already completed one of our beginner tutorials you will know, there is nothing quite like the satisfaction felt when you complete a song. These Masterclass music production tutorials will help you make your own songs sound much more professional, much cleaner and more creative.

Check out these free lessons from the course...


We hope the free lessons were helpful. If you want to continue to learn Sound Design For Games production techniques, please click the button and gain access to the remaining 20 lessons (over 4 hours) of sound design & game music production gold dust.


By making a commitment to yourself and taking a further step on your journey to become a better music producer, you are also supporting us, and enabling us to keep making these in-depth tutorials that help thousands of fellow earthlings around the world become better music producers like you.

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  • Instant Download
  • Any DAW compatible*
  • Email support (less than 24 hour response time)

* Requires you know your way around your DAW of choice (not for complete beginners)

Course Structure

Course Structure

Module 1 - Intro, Tools & Templates


Piotr introduces you to the course and the theoretical background of using sound in video games and the idea of a “sense of place”. As sound designers, he explains we have to create 3 elements 1.Sound FX 2.Ambience 3.Music. He continues with the classification of audible elements of a game soundtrack, explains terms such as diegetic and gives an overview of tools, programs and libraries useful in creating audio for games. He shows methods behind online collaboration and overall workflow management. He finishes the module by introducing you to creating and using templates in Cubase 9 as a way of streamlining the workflow.






Module 2 - Idiomatic Sound & Music


This section deals with the very important role of Idiomatic music. If you're not sure, it's writing music for specific gaming or mood types. For example a fantasy game would have orchestral instruments, a sport / racing game would probably have upbeat electronic music etc. But we can also put our own stamp on these stereotypes and still achieve our audience's expectations.

Piotr explores and discusses basic musical idioms applicable in creating audio for games and combines idiomatic conventions to create a unique “sense of place”. He explains tools and methods in existing game music works.





Module 3 - Theme Development


Module 3 introduces you to the idea of using themes and motifs in a game. A game is a story, illustrated by sound and music and to anchor a character we can use motifs. Piotr starts with practical workshopping of a simple melodic theme in Sibelius notation software and develops a basic harmonic and melodic variation of a theme based on its shape, harmony and musical vectors. He then moves onto orchestrating a musical theme with strings and percussion, demonstrating cross-textural relations between the two. Afterwards he demonstrates ‘sweetening’ methods to improve the overall musicality of the piece.

Module 4 - Creating Ambience


So now we move onto the important ambience or background sound texture. As sound designers, we can use it as a way to make the gaming world more 'convincing' and add realism. We can add realistic sounds like wind, birds etc or it can be abstract like sounds from a world we've never had experience of in our lives before (alien planet). Piotr demonstrates multiple ambiences from the “Rainbow Rumble” game and shows useful libraries, tools, methods and application of reverb to achieve diverse outcomes of “soundscaping”. He also creates a full ambience from scratch as a live project right before your eyes using visual elements to illustrate the process. He provides an overview of tools and their application accordingly to their role in building the ambience.


Module 5 - Secret Ingredients


Module 5 is about standing out from the crowd. All sound designers pretty much have access to all the same instruments and sound libraries so we have to find a way of being unique. Piotr introduces the idea of using unorthodox methodology in obtaining sound sources from diverse sources and shows you some of his highly personalised tools, libraries and unique methods as ways to enrich the overall originality of a soundtrack. He also demonstrates the idea of irregular time signatures such as 5/8, 7/8, 14/8, 9/8, 11/8 and dissects an existing game music work written in 7/8 signature. He ends the module with a listing of a few selected commercial works as examples of writing in irregular time signatures.


Module 6 - 'Live' Project


In the final Module, Piotr brings all the skills taught in this course together and creates a complete set of audio elements for Solpeo’s “Canvas Knight” game. Watch as he analyses visual elements to establish the required style, hit points, action segments and our idiomatic approaches. He creates the ambiences by mixing real audio recordings with musical elements and sound FX from VSTs and libraries. He also creates an appropriate idiomatic loading/splash music “loop” for our game.

Onto the sound FX (knight and armour hits) he shows you how to create realistic sounds with just everyday household items and of course much, much more!