Unveiling the Art of Crafting Immersive Video Game Soundtracks: An Exclusive Interview with Composer Andrea Bellucci

Andrea Bellucci, a highly regarded and productive composer, has an extensive list of credits in numerous projects within the gaming and film industries. Among the notable projects he has composed for are Riot Games' League of Legends, as well as Hi-Rez Studios' Paladins and Smite, which are likely familiar to gamers.

In an interview with Game Rant, Bellucci discussed the strong bonds he forms with each project he works on and shared his strategies for tackling the distinct challenges of creating interactive and emotive music for video games spanning various genres. To make the interview more concise and understandable, it has been edited.

Q: Can you discuss your experience working with Hi-Rez's soundtracks for Paladins and Smite? How have these games differed from your previous projects?

Bellucci: Each project I work on is treated as unique, regardless of similarities to other games or genres. It is important for me as a composer to assign individual value to each project. In the case of Paladins and Smite, I strive to create music that not only fits the overall scope of the games, but also offers a distinct voice. This applies to all aspects, including specific champions, event passes, new skins, cinematics, trailers, and in-game scenes. Collaborating with Hi-Rez always yields a truly one-of-a-kind experience.

I'm thankful for that as it greatly assists in promoting the game to a fresh audience and facilitates its growth, enabling it to reach a wider range of individuals and create awareness regarding the new feature or champion, and similar elements. Whenever they provide me with resources such as background information or guidelines, it consistently diverges from the previous ones.

Q: Are there any unique technical challenges when working on a new VR game with Skydance compared to creating music for traditional flat-screen games?

Bellucci: Technically, I used Wwise for this specific project, although Fmod or any other similar software could be used in different cases. However, musically speaking, there was no difference. Nevertheless, the player's perspective plays a crucial role in the VR space, as it is not just a visual experience, but a whole immersive environment. The music needs to accurately reflect this. In essence, describing emotions and situations for VR requires a different approach.

This is a unique experience where you need to envision yourself in the VR environment, ensuring that the music you compose harmonizes with that space.

Q: While collaborating on game projects, it's essential to align with the developer's creative vision. However, do you have any specific preferences regarding style, mood, or sound? How frequently do you incorporate your personal tastes into your work?

Bellucci: I have my own sanctuary, you know, the thing that brings me the most joy. It's quite peculiar, considering I'm generally a very content person, but I find solace in the darkness. It's the dark elements that truly inspire me, allowing me to create countless hours of diverse music, and explore new territories within my craft.

Naturally, as you mentioned, one must be prepared and ensure that every composition and production aligns with the project perfectly. This is something I have learned over the course of my career. When a studio approaches me, it signifies their recognition of me as a professional composer capable of delivering a meaningful and fitting piece for their project, while still showcasing my own distinct voice and style.

My style isn’t always dark; I have also composed music for cheerful video games and quirky indie games. Therefore, even if we are discussing majestic orchestral and symphonic music infused with electronic or even rock and metal elements, there is always a need to harmonize these distinct components. You must ensure that your unique creative style can seamlessly align with the preferences outlined by the game developers. It is truly gratifying to be sought out solely for your distinctive approach.

One of the things I adore about music is how our individual preferences can influence our creative output. For instance, if you are a passionate fan of blues, you might find that your music carries a certain swing. It is fascinating to witness how people's influences manifest in unexpected ways.

Bellucci: These influences can be evident in various aspects of the music, such as the instrumentation, the structure of the music, the composition of the melodies, or even in the unique harmonies. If we consider it, this phenomenon is akin to what occurred with John Williams, arguably the most renowned composer of film music.

He originates from a jazz background, and upon analyzing his music, it becomes evident that the harmonies and melodies bear a distinct jazz influence. Hence, there is an inherent connection between oneself and the compositions, a reflection of what one is creating.

Q: You mentioned your inclination towards darker music. Are there any soundtracks that you believe flawlessly capture that preference?

Bellucci: I find the soundtracks of pretty much any Resident Evil game to be impressive. Resident Evil 2 stands out as having a well-balanced soundtrack, but the more action-oriented soundtracks of Resident Evil 3 and Resident Evil 5 are also noteworthy. Additionally, the latest games in the series, such as Resident Evil 7 and Resident Evil 8, offer a compelling musical experience despite having less music overall.

Another game that stands out to me is Bloodborne. Its soundtrack feels reminiscent of Bram Stoker's Dracula, creating a strong connection to the horror movie genre. It's truly fascinating to see this kind of stylistic influence in a game.

I am a huge fan of sci-fi music, such as Mass Effect or Crysis from the past. Recently, I have also been captivated by the soundtrack of Wolfenstein, which brilliantly combines jazz, rock elements, and industrial vibes.

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Q: Besides games, you have also worked on various films and television projects. How does the experience of working on game music differ from other forms of media?

Bellucci: From a creative perspective, the process is quite similar since, ultimately, you are still working with a story. Whether it's for a game or a film or a TV show, every composition is driven by the narrative. It's all about bringing that project to life and giving it a voice.

I highly value the technical aspect of game music that involves adhering to various rules in order to create a playable experience for the players. It's not just background music; it's interactive, allowing the players to engage with it.

In a way, having these rules provides more opportunities to explore and utilize different elements and tools to ensure a seamless transition from one loop to the next. Additionally, it involves crafting cohesive beginnings and endings for each piece of music, all of which must work together harmoniously. The challenge of creating music that remains effective and enjoyable from the start of the game to the final boss level truly fascinates me.

How does your approach and workflow vary when working with diverse music styles?

This has been incredibly beneficial for me over the years, enabling me to seamlessly transition between different projects within a matter of hours. For instance, I might begin my day working on a horror film, only to switch gears and end up working on an animated project for children or a mobile game. This process of learning as I go has allowed me to successfully complete four projects within a two-month timeframe.

For me, it serves as a major motivation to sit down and tell myself, "I must accomplish this." It's not something I can overlook or postpone; it's a task that must be done. This mindset truly fuels my energy to effortlessly move from one endeavor to the next.

That’s a great point. It’ll take me three years to write an album for fun, but if I have an obligation to do it, I can do it in months.

Bellucci: Game soundtracks, like any other form of music, have certain qualities that make them exceptional. Even the greatest composers throughout history would agree with this sentiment. When you are working on a commissioned project, it brings a different kind of inspiration and motivation. On the other hand, composing for your own enjoyment requires a more introspective and methodical approach. This is why it often takes time, as there are no external pressures pushing you to complete it. However, when there is a set deadline, it becomes an opportunity to truly showcase your artistic abilities and deliver your best work.

Q: What criteria do you use to determine if a game soundtrack is "good"? What specific qualities do you seek in a soundtrack for it to impress you?

Bellucci's perspective on evaluating the quality of a video game's music is twofold. Superficially, he considers the production quality, encompassing how each instrument sounds individually and how they blend together with sound effects and speech. He believes that when experiencing a game, one is not merely listening to its music, but rather the entirety of the audio experience. Delving deeper, Bellucci emphasizes the importance of perceiving the composer's inspiration and their enjoyment in creating the music. He equates this to the enjoyment he personally derives from composing. Its influence on the final product is apparent, as the absence of fun is palpable in the music. Bellucci confidently claims that he can discern whether a composer had fun in producing the music, just as he does.

I agree, I think people have a sixth sense for authenticity. You can tell when a composer has really put themselves into the music.

Bellucci: Exactly. From an industrial standpoint, it's about fulfilling the client's requirements, even if they may not be official clients. In most cases, you establish a relationship beyond just being a client, something more profound and personal. It goes beyond mere deadlines and becomes a way of showing respect to the client or developer by delivering the best possible work, which is ultimately what they pay for. It's a way of demonstrating respect.

Q: When it comes to game soundtracks, you frequently need to compose music that loops seamlessly during gameplay. How do you go about creating a song that essentially has no end?

Bellucci suggests that the most secure method, albeit not the fastest, is to use numerous layers when creating music. This is not to give all the layers to the audio director or lead, but rather to allow for the creation of different mixes and the selection of the best options. Having multiple layers provides various perspectives on the same loop.

Additionally, having many layers or creating sparse and less dense yet melodic music allows for the generation of variations. This is beneficial for sound designers as it enables them to play with the music, find inspiration, and choose different versions of the same loop to use.

The arrangement of this content fragment is not as rigid as that of many musical pieces, which often follow a strict eight-bar melody. There is no requirement for you to identify the individual bars. As a result, the loops continue indefinitely. Without being able to recognize the starting point or endpoint, you are unable to count the bars.

Q: How do you handle interactive music that reacts to player actions or events within the game? Are there specific considerations or techniques you employ to enhance the interactive quality of the music?

Bellucci: Absolutely. When it comes to the music aspect, my main focus is to heighten tension by incorporating louder layers. Rather than adding more layers as the player nears a dangerous area or encounters a boss or enemy, the emphasis is on the overall volume of each individual layer.

Are there any intriguing tools or techniques you enjoy utilizing when working on a soundtrack from a more technical standpoint?

Bellucci: One valuable technique applicable across various genres, including film, music, and game music, involves utilizing electronic music production techniques to create space for the kick or bass drum. The kick drum can be an electronic kick, a symphonic bass drum, or even a timpani from an orchestra.

Regardless of the low drum choice, employing sidechain compression and leaving room on the low end for only a few elements allows the others to stay away from that frequency range. This approach proves immensely beneficial for any project, including jazz, which may not immediately seem heavily produced. Moreover, game music requires creating a focal point for players and listeners, and these electronic music production tricks tremendously aid in achieving that focus.

That technique is super useful. Sidechain compression is something we even use a lot in metal to help the drums cut through the guitars.

Bellucci loves using sidechain compression to compress violins and create a powerful impact. He believes that in order to achieve this effect, other elements in the music must make space for it. Bellucci explains that electronic music is especially helpful in creating this sound because it relies on sound designers and mixers. However, he also utilizes certain techniques when he is unable to get assistance from professionals.

Speaking of effects, there is a wide range of fantastic products available such as the Native Instruments suite of effects, which includes DIRT, BITE, CHORAL, and PHASIS. These effects can be incredibly beneficial, particularly when applied to a vintage synthesizer, enhancing its sound quality. Personally, I always make sure to incorporate plenty of plucked instruments into my compositions and I frequently utilize a multitude of effects like these to further enhance the overall sound.

Q: Despite our focus on software-related topics, you also possess skills as a classical pianist. Do you prefer performing your own compositions frequently?

Bellucci: Without a doubt! I primarily enjoy playing the guitar when performing my compositions, rather than the piano. I believe that by physically playing each part rather than solely writing it, the value of the music increases. Similar to a performer, adding something extra to the music is essential. Musicians accomplish the same feat by contributing something unique to your compositions. Hence, it is imperative that we collaborate with musicians and utilize orchestras or smaller ensembles, as they elevate the music to another level.

Concerning guitars, I do my utmost. Despite not being a guitarist, I strive to avoid becoming one. Practice is not my desire when it comes to guitars; I simply take pleasure in the raw and gritty outcomes they produce. This unique quality is likely sought after by clients and companies as well. Perhaps they specifically request it. The human touch truly enhances music in a manner that cannot be replicated solely through MIDI composition, even with extensive efforts to randomize and humanize the notes.

Bellucci expresses that although randomizing certain elements can be beneficial, the true essence lies in recognizing that human performances are not random. Each error, mistake, and hesitation is a result of the brain's signal regarding the notes being played. The same principle applies to playing the guitar, which is why Bellucci doesn't strive to be proficient. He actually enjoys making mistakes and feeling unsure on the fretboard. Bellucci draws inspiration from Kurt Cobain, who shared a similar perspective, as he believed that continually learning the guitar might hinder his inspiration.

Q: In regards to musicianship, what guidance would you provide to aspiring musicians looking to venture into the realm of game music? Are there any essential prerequisites or specific proficiencies they should focus on honing?

When it comes to workshops and judging works at conferences, the question of trust in one's own ears often arises. In my experience, trusting your ears is the ultimate guiding principle. While practice and involvement in new projects certainly improve your skills, they pale in comparison to the importance of constantly relying on your ears. I'm not referring to technical issues like ear fatigue, although that is a real concern. Instead, I mean trusting your ears despite fatigue. When you recognize that ear fatigue is setting in, it's important to take a break and allow yourself a few hours before returning to work. However, under all circumstances, you must trust your ears to ensure that even amidst noise or grunge, the end result is beautiful. This single word, "beautiful," holds great significance, and your ears are the only true judge of it.

Andrew Scheps, a renowned sound mixer and producer, once expressed a sentiment similar to this: "The technical aspects and equipment do not concern me. What truly matters is how it sounds." This principle applies equally to sound engineers and musicians. Therefore, my advice to both newcomers and experienced professionals is to always trust your ears.

Additionally, it is crucial to remain curious about advancements in tools and techniques, continuously updating your knowledge. This proactive approach proves highly beneficial. Furthermore, immerse yourself in music. It may seem peculiar, but one must truly listen to music. Even after two decades, I cannot claim to know everything about music. I am constantly learning, and the only way to do so is by actively listening.

Q: Could you discuss any future plans you have? Is there anything upcoming that you would like to mention, or even a dream project you would love to be part of?

Bellucci: I am unable to disclose much about the Skydance game, apart from the fact that it was showcased during the game awards last year. However, I must admit that working on such projects has been an incredibly rewarding experience. The immense scale, captivating aesthetics, and dedication displayed by the developers, visual artists, and sound professionals have truly impressed me.

Being a part of such ventures, along with my involvement in other projects for renowned companies like Hi-Rez and Riot Games, is undeniably exciting. These industry giants have earned their reputation for valid reasons, and it is evident that their success is not a matter of chance. As a composer, these opportunities serve as a constant source of inspiration.

Just because it's my childhood self speaking, any dream project for me, whether it be a film or a game, would involve iconic characters such as Batman, Ghostbusters, or the Teenage Mutant Ninja Turtles. These three franchises shaped my upbringing, so my ideal job would be working on something related to them.

Bellucci: Would you like to share any additional information that we haven't discussed?

Bellucci: I'll be releasing a classical piano music album in the upcoming weeks. While I hesitate to call it a side project, it does take a backseat in my life since I also have to focus on my job. Anything I do for myself is considered a side project due to this.

It's going to be a five or six-track album of just piano, and it's something that's really intimate. I can't wait to see it released on Spotify, Amazon Music, and wherever else.

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