The Sound Architect speaks to Chad Mossholder, composer/sound designer for many amazing games including DC Universe, Everquest, Everquest II, Star Wars Galaxies and Matrix Online. We discuss his career and gain some valuable advice for aspiring composers/sound designers for games.
How did your journey into audio begin?
I was studying music at Kent State University, actively looking for employment in audio. I loved video games and I decided to search for a game job. I did a search on gamejobs.com and came across a startup game dev looing for an entry level sound designer. I e-mailed a query. The audio director e-mailed me back saying that she only wanted to hear sound design, NO MUSIC! So, I did a little research on how to make a good sound design demo. I found an article on Gamasutra.com that explained it. The article suggested creating a 3-5 min. sound scape instead of just sending a catalog of of sound effects when applying for a position. This sounded ideal, since a lot of my music at the time was based in music concrète/collage techniques. So, I went around recording sounds and gathering some library effects and composed a new piece. A sound effects demo piece. Then I burnt the demo onto a bright red CD and mailed it off along with my resume and cover letter.
A few weeks later I received a phone call from the company, scheduled a phone interview, and after that was flown out to Boulder, CO to do an in-person interview and take an audio test. I guess I passed because a week later I got an offer.
Now, years later, the audio director told me that when she was looking for candidates for the position that she had a huge box of demos to sort through. She became so frustrated with the low quality of the demos that she dumped the box out on her floor. Well, my demo was at the bottom of the box, but after she dumped it out, my demo was suddenly at the top of the pile. She said that the bright red CD caught her attention and she grabbed it first. She played it and loved it! So, I guess I had a little bit of luck, a little bit of research, and what I hope was a solid demo.
Do you prefer composition or sound design if you had to choose?
I love all aspects of sound and music. A great deal of my music is sound design. I don’t really separate the two. For me all sound is music. I can sit on my back porch and listen to all of the sounds around me and enjoy a brand new composition every time.
What has been your proudest project so far?
My music compositions on DC Universe Online, as far as games go. As far as my personal art, my latest solo album that I am preparing to have released would be my proudest work, I am very happy with it.
What has been your most challenging project so far?
Writing music everyday for DC Universe Online. trying to come up with interesting combat music for so many different villains! And make each one feel fresh. that’s quite a challenge. I wrote over 285 pieces of music for DCUO and expansions over a three year period.
What would be your dream project to work on?
I’d love to work on a survival horror project like Silent Hill. So many opportunities to create other-worldly sounds and music. I would love that!
What software do you use?
Pro Tools, Ableton Live, Max/MSP, Kyma and every plug-in you can imagine. Pick one, I’ve probably used it.
Do you have any “Go-To” plug-ins?
I definitely use the Sound Toys suite a lot. As well as the Izotope RX suite.
What is your usual process when you first receive the brief?
Research the content. If I’m writing music for a particular character, i read up on the character’s background. The music/sound is always supporting the narative and emotional action. But, it should not be redundant if it can be avoided. I like to “code” subtext information into my music and sound. Everything is intentional. I don’t just make a piece of action music for a combat scene, I make piece of action music that tells you something about the situation or the state of the character.
What’s the most fun part about your work?
Writing music every day. Making sounds everyday. I can’t imagine doing anything else.
What’s the most difficult part about your work?
being rushed to finish things. Having to say a work is done even if I’m not 100% happy with it. I’m a bit of a perfectionist when it comes to my art.
What advice would you give to aspiring composers and sound designers?
Listen critically to as many soundtracks as you can, game soundtracks, film and television soundtracks. And play as many games as you can. And watch films and TV. It’s not enough to be an excellent sound designer and/or composer. You need to understand story-telling. Pay attention to what is out there and analyze it.
What advice would you give for applications and show reels?
Put your best work first. Be confident. And don’t get discouraged. It’s a tough market, very competitive. But if you are talented, original and persistent you will break through!
Any major Do’s and Don’ts?
Just the obvious one, never say anything negative about anyone or any project. There is no room for negativity in a creative industry. Respect other’s work even if it doesn’t appeal to your tastes. Many people work hard on these projects and they are proud of what they do. Don’t criticize to make yourself look better or knowledgeable. Better to say nothing than to say something negative.
Finally, what lies in the future for you now?
I am looking at moving on to other game projects. I have always wanted to go freelance, and that is a big possibility. I also do art installation work on the side, and collaborate with several other artists. So, I’m always creating new works. I just love making art. And yes, video games are art! 🙂
You can find Chad’s site here: http://cwmossholder.com/ where you can check out all of his work and have a listen to some fantastic compositions. Chad also collaborated on a this project here: http://glitchmuseum.com/
Interview by Sam Hughes
Uploaded 22/10/13