![]() Other studios will consult external music experts, such as music consultancy company Feel for Music, to help with music discovery and the licensing of tracks to meet briefs. Larger studios may have in-house teams of music supervisors and A&R experts that work alongside record labels to identify the best music. Who decides what music appears in a video game? To help unravel some of these secrets, we asked experts from both the games and the music industries to share tips on how bands and artists can get their music featured in a video game. But getting a foot in the door isn't as easy as it seems, especially with so many important conversations around music sync - the process whereby music is combined with media - happening behind closed doors. With the COVID-19 pandemic putting a halt to the majority of live shows and performances, bands and artists are turning to games to reach new fans, as managers, agents and record labels explore opportunities on new platforms. With the COVID-19 pandemic putting a halt to the majority of live shows, bands and artists are turning to games to reach new fans It might end up being used in playlists and in-game radio stations such as those in Grand Theft Auto and Watch Dogs, or music might be broken down and edited to use in PR and marketing materials such as launch trailers. ![]() How that music is used will often depend on the game. There are now dedicated teams within the industry comprising audio directors, music supervisors and A&R experts, all of which are responsible for selecting the music that appears in video games. ![]() Wipeout will forever be associated with that breakthrough era of mid-'90s British dance music, and while it wasn't the first game to feature licensed tracks, it set a new gold standard for showcasing what can be achieved when the right music is chosen for the right game.įast forward 25 years and perfecting this formula has now become a business in its own right. The game's success led to separate CD and vinyl soundtrack releases, with subsequent entries in the series featuring music from The Prodigy, Paul Van Dyk and Sasha. Wipeout's music was celebrated in reviews at the time and became a defining characteristic of its style. Psygnosis and PlayStation had created its very own Mario-Kart-on-drugs for a generation of nightclub goers, and hard-hitting music from Leftfield, Orbital and The Chemical Brothers couldn't have been a better fit for players as they piloted space crafts around neon-clad racetracks at thousands of miles per hour. Back in 1995, PlayStation had the clever idea of licensing music from some of the UK's biggest electronica acts for the PAL version of its futuristic racing sim, Wipeout.
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