“When You Become a Game Audio Professional, Playing Becomes Your Hobby”

Antonio Teoli is one of those restless professionals who thrives on producing and always seeks a different approach to the challenging work of composing music for games. With a vast production background spanning 13 years, Teoli works as both a composer and sound designer at Samsung's Black River studio and his own studio, Teoli Soundworks. He will be one of the speakers at Congames, the Online Game Creation Conference, happening in September.

In a quick online chat with Drops de Jogos, the musician shared his thoughts on inspiration, production, the national scene, and more. Here are the highlights from the conversation:

Drops de Jogos (DdJ): How do you make a musical theme for games memorable but not intrusive?

Antonio Teoli (AT): It's essential to balance necessity and prominence. None of us composers want our music to be so discreet that no one notices, nor too overwhelming that it tires the player. I focus on key moments where the music should be impactful, such as the dramatic death of a boss, discovering something special, achieving a long-desired goal, or finding the right path. The music should guide, assist, illuminate, and clarify the player, never annoy. The musical theme, without delving into technical details, is the result of musical logic (yes, it exists) and the coherent use of it.

DdJ: What is the difference between creating music for games, movies, and the music industry?

AT: In terms of composition, they now resemble each other in production quality—high recording standards, well-mixed and finished. Despite some clichés here and there, soundtracks generally allow for experimentation as everyone seeks a Hollywood-like similarity while wanting something unique and innovative. However, the challenge lies in usage: whereas cinema has linear narrative, games offer various narrative options, so the music must cater to diverse moments in an unexpected way.

DdJ: How to survive in the national scene with the language of games?

AT: Honestly? Fight, fight, fight, and never give up. Be patient and have potential. There’s no secret.

DdJ: What advice would you give to a beginner in game music production?

AT: The advice I’ve always followed in life: play less and practice more. Understand that when you become a game audio professional, playing becomes your hobby and, at times, a case study. But the point is not to deceive yourself into thinking you're always playing to study. Studying is watching a Star Wars film, buying Ben Burtt’s book from Amazon to understand how he created the lightsaber sound.

DdJ: Any final words for those who love creating music for games?

AT: Study, seek, understand, and adopt a professional attitude rather than an amateur one. There are many charlatans in the market who sell themselves well but deliver poor quality work, while there are also great composers who can’t get out of their rooms. Have the wisdom to present yourself properly and value your work. Working for peanuts is shooting yourself in the foot in the long run.

The lecture “The Work of a Game Audio Professional and How to Create Unmissable Soundtracks” will take place on September 2nd. For more information, visit the online event’s website.