Game composer Winifred Phillips Asbjoern Andersen


Want to make it as a game composer? In this interview, you'll hear what it takes to get started and succeed in composing for the game industry, from multi-award-winning composer Winifred Phillips, known for her scores on six of the biggest franchises in gaming: Sony Interactive Entertainment's LittleBigPlanet and God of War (2013), NCSOFT's Lineage, EA's The Sims, Ubisoft's Assassin’s Creed, and Creative Assembly's Total War. She's also known for her BAFTA nom'd score on SIE's Sackboy: A Big Adventure.
By Jennifer Walden and Asbjoern Andersen, images courtesy of Winifred Phillips
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The Composer Success Series – and what it’s all about:

The Composer Success Series is dedicated to helping you succeed as a composer – offering inspiration, advice on getting started and advancing your career, creative tips and tricks, helpful resources and lessons learned, from some of the industry’s most successful composers for film, games and beyond.
 

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More interviews in the Composer Success Series:

Charlie Clouser • Sherri Chung • Cindy O’Connor • Inon Zur Pinar Toprak • Nainita DesaiJonathan SnipesGareth Coker Elyssa Samsel and Kate Anderson Daniel Kluger Jason Graves Peter McConnell Ronit KirchmanZach RobinsonAlec PuroAriel MarxMatthew EarlChristopher Thomas

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Winifred Phillips:

Winifred_Phillips-1

BAFTA nominated composer Winifred Phillips is one of the most successful and accomplished composers for video games. She is known for her compositional skill and stylistic diversity. Her dramatic large-scale works convey an “epic cinematic sound” (ScreenSounds) that “drives her music forward in grand orchestral fashion” (Film Score Monthly), while her more lighthearted scores are “captivating” (Washington Post).

Winifred has composed iconic music for titles from six of the biggest franchises in gaming: Lineage, Assassin’s Creed, LittleBigPlanet, Total War, God of War, and The Sims. She was recently nominated for a BAFTA award for music she composed for the smash-hit game Sackboy: A Big Adventure. To date, Phillips has composed music for over fifty video games.

Winifred’s scores have received numerous awards, including the Academy of Interactive Arts & Sciences Award for Outstanding Music Composition, six Game Audio Network Guild Awards (including Music of the Year), and three Hollywood Music in Media Awards. Her work has also been nominated by the NAVGTR Awards and the International Film Music Critics Awards.

Her music has also been featured in trailers for such blockbuster movies as Avengers: Endgame and Disney’s The Jungle Book. Her television work includes PBS’ NOVA, Anthony Bourdain Parts Unknown on CNN, the network sitcom It’s Always Sunny in Philadelphia starring Danny Davito, and the long-running Nature series on PBS.

Winifred has released fifty-nine albums. Her soundtrack album for the Legend of the Guardians video game was the first video game soundtrack album released by WaterTower Music – the film music record label of Warner Bros. Pictures.

Winifred is the author of the bestselling book A Composer’s Guide to Game Music (The Massachusetts Institute of Technology Press), which won a GMA Book Award Gold Medal from the Global Music Awards, a National Indie Excellence Book Award, a Nonfiction Book Award from the Nonfiction Authors Association, and an Annual Game Music Award from Game Music Online in the category of “Best Publication.” Singling out Winifred’s book for praise, film composer Harry Gregson-Williams said, “Winifred Phillips’ passion and understanding of this medium comes to life on the page and is a direct result of her vast experience and accomplishment in composing for video games.” Jon Burlingame, the film music reporter for Variety, hailed Winifred’s book as “a beautifully organized, intelligently written book about music for games,” and Film Score Monthly praised the book as “a touchstone academic achievement.”

As a recognized expert in the field of video game composition, Winifred has given lectures at the Library of Congress, the Society of Composers and Lyricists, the Audio Engineering Society, the Game Developers Conference, and the Montreal International Game Summit, among many others. Her music has been performed in celebrated concert halls around the world as a part of the Assassin’s Creed Symphony World Tour.

Learn more about Winifred’s work and awards at winifredphillips.com


• How did you get started in the composing industry? What was your first game score and what was that experience like for you?

When I decided that I wanted to pursue a career as a game composer, I spent a year composing music for a string of indie game projects that never got released. After that disappointing year, I knew I had to change my approach, so I started reaching out to the bigger developers and publishers. My chances of arresting the attention of a big game company were incredibly slim, but I felt like I’d been spinning my wheels in the indie-space for too long. It seemed like the time had come to try something different.

I felt like I’d been spinning my wheels in the indie-space for too long. It seemed like the time had come to try something different.

As they say, timing is everything. My info landed on the desk of a music supervisor at Sony Interactive, precisely when they were searching for composers to join the music team for God of War. I sent over some music samples from my previous projects (including a bunch of choral tracks I’d recorded for one of those unreleased indie games). After hearing those, the music supervisor hired me to join the God of War composer team.

 

• Any advice you’d share on how to land a composing job in the game industry?

I think that persistence has been incredibly important in my career. Obviously, music composition skill is crucial, but that doesn’t usually seem to be enough to help an aspiring composer breakthrough. Our creative gifts have to be supported by a sufficient level of obstinacy and endurance to get us past the lean times.

Our creative gifts have to be supported by a sufficient level of obstinacy and endurance to get us past the lean times.

There are, of course, go-to strategies. We can build professional websites for ourselves, post blogs about our work, and share videos showcasing our latest tracks. We can keep reaching out to development teams, we can attend conferences (virtual and actual), and we can grow our professional network.

With all these efforts, we’re essentially trying to get noticed while we’re waiting for a project to surface that might turn out to be our next gig. In the end, what we really need is some very good luck, some excellent timing, and a generous helping of fortitude that will enable us to keep on trying until the stars align in our favor.

 

• What were some essential lessons you’ve learned throughout your career?

Every game development team is very different. With that in mind, I’ve learned to be flexible and attentive. Does the team like lots of written communication? That’s great! In those circumstances, we as game composers get to read meticulous design documents, and share our progress with written reports that complement our music submissions.

Every game development team is very different. With that in mind, I’ve learned to be flexible and attentive.

On the other hand, maybe the team doesn’t like writing very much, and prefers teleconferences and phone calls? Awesome! We get to do regular face-to-face conversations in which all the details of the project are hammered out in moments of transient inspiration.

But maybe the team doesn’t like either of those approaches, and instead sends a succinct list of music asset requests without really wanting much feedback or communication from our end. And that’s great, too. We get to interpret their direction and internalize it at our own pace, from our own creative point of view.

If there’s any lesson I’ve learned, it’s to be constantly adaptable, and to never stop learning.

Whatever the team wants, we provide. If their needs change, we fluidly adapt. If there’s any lesson I’ve learned, it’s to be constantly adaptable, and to never stop learning. Just as the communication dynamics are highly changeable, so too are the creative and technical specifications that we’ll have to meet. Some development teams want their music to be traditionally linear. Some teams want highly adaptive music. The dynamic techniques may call for us to structure our music into a modest collection of segments and layers, or the strategy might have us preparing hundreds upon hundreds of music files. We have to be ready to enthusiastically embrace the music design and pour all our skill and creativity into it.

 

• Any favorite tricks and workflow tips that help when composing for games?

The milestone dates and deadlines are the most important factor in everything we do. How much time do we have to accomplish the task? Is it enough? How many hours a day will we need to put in to meet the deadlines? We must be as thoroughly professional and reliable as possible. Deadlines must always be met.

We must be as thoroughly professional and reliable as possible. Deadlines must always be met.

Apart from that requirement, the rest of the process can be fairly unpredictable. When I’m composing, I tend to shift my strategy from project to project. For some game scores, I lay down placeholder MIDI for an entire track using a simple piano instrument, and then jump into instrumental arrangement afterward.

When I’m composing, I tend to shift my strategy from project to project… I find it’s better to keep innovating new solutions, rather than relying on proven workflows.

Other times, I start with crucial solo instruments and write specifically for them, lacing the rest of the arrangement around them and working forward until the track is fleshed out.

On the other hand, in some projects I’ll focus exclusively on drums and rhythm first and let it drive all other composition choices. I think it’s important to be creatively limber because game music composition involves a lot of problem-solving. For instance, trying to make music emotionally satisfying from within an interactive framework is a complicated puzzle to solve. I find it’s better to keep innovating new solutions, rather than relying on proven workflows. Each game benefits from this sort of customized approach.

 

• What are your favorite sites and resources for composers?

Gamasutra (now known as Game Developer) is a great resource for understanding the needs and concerns of the game development community, and it helps us as game composers to keep abreast of news regarding industry events, important new releases, and thorny controversies within the industry. I also write a monthly blog there that focuses on issues pertaining to game music composition: Winifred Phillips’s Blog on Game Developer

The #gameaudio hashtag on Twitter can be a good resource, especially for those of us who would like to keep track of what other game composers are doing. Also, the Game Audio Network Guild maintains both a Facebook group and an annual awards program.

There are a number of books currently available about the art and craft of game music composition, including my own book, A Composer’s Guide to Game Music (published by the MIT Press).

 

• What’s one special thing you did to become a successful composer?

In addition to my work as a composer, I’m also a classically-trained vocalist, and I use my voice often in my compositions. Adding my voice tends to imbue my recordings with unique personality, and I think this additional element has helped my music to attract notice.

… I’m also a classically-trained vocalist, and I use my voice often in my compositions.

I don’t use my voice in every project, and I don’t believe this element is the reason I became a successful composer. However, I’m certain that it has helped me at times to assert an individual style, as well as infuse my compositions with the sort of approachable warmth that a human voice can provide.

 
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[tweet_box] Winifred Phillips on what it takes to get started & succeed in composing for Games[/tweet_box]

 

Highlights from A Sound Effect - article continues below:

 
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A big thanks to Winifred Phillips for sharing her valuable insights with us!

Want the free Composer Success Series e-book as soon as it’s released? Sign up to be the first to get it here

More interviews in the Composer Success Series:


Charlie Clouser – composer on the Saw franchise, Fox’s Wayward Pines, CBS’s Numb3rs, & NBC’s Las Vega
Sherri Chung – composer on The CW’s Batwoman and Riverdale, NBC’s Blindspot, and CBS’s The Red Line
Cindy O’Connor – composer on ABC’s Once Upon a Time
Inon Zur – composer on Fallout, Dragon Age, Prince Of Persia, Outriders, and The Elder Scrolls.
Pinar Toprak – composer on the Captain Marvel, The Wind Gods, and The Tides of Fate
Nainita Desai – composer on The Reason I Jump, American Murder, and For Sama
Jonathan Snipes – composer on A Glitch in the Matrix, The El Duce Tapes, and Murder Bury Win
Gareth Coker – composer on the Ori franchise, Studio Wildcard’s ARK: Survival Evolved, & the upcoming Halo Infinite.
Elyssa Samsel and Kate Anderson – composers on “The Book Thief,” “Between the Lines,” & Disney Animation’s Olaf’s Frozen Adventure
Ronit Kirchman – composer on “Evil Eye”, and “Limetown”
Zach Robinson – composer on “Cobra Kai”, “Impractical Jokers”, and “Artbound”
Alec Puro – composer on “The Fosters”, “Black Summer”, and “Mall”
Daniel Kluger – composer on the play “The Sound Inside,” “Oaklahoma!” (2019), & “Judgement Day”
Jason Graves – composer on Dead Space, Tomb Raider , Moss , and more.
Peter McConnell – composer on Hearthstone: The Boomsday Project, Broken Age Act 2 (2013), and Psychonauts 2.
Ariel Marx – composer on American Horror Stories on FX, Children of the Underground mini-series on FX, and the Roku Original docu-series What Happens in Hollywood.
Matthew Earl – composer on Virtual Reality games/experiences such as the Star Trek: Dark Remnant and Men in Black: Galactic Getaway VR simulation rides.
Zach Robinson – composer for the Evermore Adventure Park, Knott’s Berry Farm, Queen Mary Chill, Dreamland (UK), Los Angeles Haunted Hayride, Dent Schoolhouse, and The Void 4D virtual reality games.

 



 
 
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  • ⏰ For a very limited time:
    Add this library to the cart and enter ah4launch in the cart coupon field – to sprinkle an extra launch discount, on top of the current discount!

    Animal Hyperrealism Vol IV is a sound library containing animal vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 294 files. The sounds were recorded in zoos, and wildlife centers.

    The asset list includes but is not limited to: hippos, hyenas, vultures, dwarf mongooses, elephants, African cranes, parrots, tigers, pigmy hippos, rhea ostriches, brown bears, pheasants, wildebeests, African wild dogs and many more. The content has been recorded at 192KHz with a Sanken CO100K, an Avisoft CMPA and a Sennheiser 8050 for center plus two Sennheiser MKH8040 for stereo image.

    The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.

    15 %
    OFF
  • Weather Sound Effects Hyper Thunder Play Track 800+ sounds included $49.50

    Hyper Thunder is a colossal collection of thunder and lightning, 100% crafted from the ground up using innovative synthesized technics and props recordings. Not a single real life thunder recording was used. using synthesis and props manipulation crafted to deliver impact far beyond natural recordings. Built entirely from innovative synthesis and props recordings, this library pushes the boundaries of weather sound design—perfect for when you need the raw energy of a storm dialed up to cinematic extremes.

    Featuring over 800 files, Hyper Thunder spans everything from subtle distant rumbles and rolling thunder to razor-sharp lightning strikes and earth-shaking impacts. With both designed hits and source layers, you have full control—drop in ready-to-use power or sculpt your own stormscapes using the source recordings.

    Created in collaboration with Bruits.Studio’s Vincent Fliniaux and Tibo Csuko—longtime SoundMorph contributors to acclaimed libraries like Robotic Lifeforms 2 and WATER— Hyper Thunder blends technical mastery with bold creativity.

    Key Features

    • 800+ files of synthesized thunder and lightning
    • Both designed hits and source layers for full creative control
    • Covers subtle distant rumbles through to massive cinematic impacts
    • Crafted 100% from synthesis for a unique, larger-than-life sound
    • Perfect for film, games, trailers, and any project needing storm power
    • Created in collaboration with Bruits.Studio’s Vincent Fliniaux and Tibo Csuko (Robotic Lifeforms 2, WATER)

    From atmospheric detail to explosive drama, Hyper Thunder gives you thunder and lightning that are bigger, subtler, and more versatile than nature itself.

    50 %
    OFF
  • 638 meticulously processed stereo fire spells sound effects recorded in 96 khz and 24 bits for high audio definition.

    The collection comes with hundreds of variations, more than 1 hour of content and many different type of fire spells. It also includes source sounds for more flexibility for your projects.

    This collection is perfect for any films, video games or trailers.

    The library is fully focused on fire spells. You will find simple one shot magic firebolt, powerful high level fire spells, fire sword, berserker enchantments and so on. Spells such as fireball,  firewall, rain of fire, meteor, fire nova, magma storm, pyroblast, sword of Avernus, etc. are included in this library.

     

    THE ARCANE FIRE SPELLS
    38 %
    OFF
  • Immerse yourself in an atmosphere of natural power and tranquility with the “Rain and Thunderstorm” sound collection, consisting of 4 Vol-s.
    This collection features a variety of looped sounds: light rain, night rain with loud thunderclaps, and other effects that will help you create the perfect atmosphere – from a quiet, secluded night, long scenes, or endless atmospheric effects without abrupt transitions, to a dramatic thunderstorm on the horizon.
    The recording was made by a Zoom H3-VR recorder in the Ambisonics A format (96 kHz 24 Bit) and then converted to the AmbiX and Stereo formats (96 kHz 24 Bit), which are located in different folders of this sound pack.


   

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