2:58
Garry Schyman on the Dante's Inferno game
Scoring Arts (Academy of Scoring Arts)
1:44
An experimental aleatoric cue by Garry Schyman for Bioshock
1:25
The interplay between music and sound effects in games
1:14
Garry Schyman's Welcome to Rapture cue from Bioshock
1:28
Garry Schyman on the recording session for Dante's Inferno
0:58
Why didn't Garry Schyman use violas in his early scores?
2:34
Jason Graves on a unique sampling session
2:23
How Jason Graves got started composing for games
1:36
How Jason Graves approaches a new project
0:42
A tip on doing multiple sessions
4:10
Gordy Haab on what makes John Williams's Star Wars writing unique
1:02
Gordy Haab Introduction
0:57
Gordy Haab on when all else fails, what does a composer do?
2:09
Paul Lipson on the importance of finding your own voice
6:56
Paul Lipson on building the composing team for Halo Wars 2
2:48
The musical heritage of Halo
2:21
Austin Wintory's career advice and how to demo
3:19
Austin Wintory on recording combat music in layers for Banner Saga
2:37
The big picture trilogy view of the Banner Saga
6:27
Austin Wintory on conceiving the sound for the Banner Saga
1:39
How John Corigliano inspired Austin Wintory with wind ensemble writing
2:29
Inon Zur on how he approaches meter in the Fantasia overture
0:52
Inon Zur on crafting melodies
2:17
An example of creative sound design with Inon Zur
1:38
Designing games that empathize with players
1:13
The Riot Games music team on trusting how music feels
0:55
The Riot Games team on collaborating with outside artists
4:18
Garry Schyman and the music of Torn (intro)
