APRA AMCOS’ conference for music creators and game developers High Score is back this October 5 and 6, for another epic event of all things game audio and composition.
High Score’s co-curators and game music experts, Tim Shiel and Amy McNickle, are setting up to unveil the behind-the-scenes magic of the game music industry at this year’s conference. Both leading figures in Australia’s game music scene, Tim and Amy share insights on the integral role of music creators in the gaming world.
Taking place during Melbourne International Games Week on October 5 and 6 at LCI Melbourne, High Score is an event that welcomes the games and music communities to come together to participate in panels, demos, workshops, networking, legal advice and A&R. “It’s a very welcoming and vibrant group of people who attend High Score,” Tim says. “From established composers and game audio designers, through to students and musicians who are maybe coming from other fields and thinking about making a sideways step into games.”
High Score
- Games music conference
- October 5 and 6
- LCI, Collingwood
- Tickets here
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The two-day program will be available to be attended either in-person at LCI in Collingwood or virtually online. Limited early bird tickets are on sale now for both an in-person pass ($70, discounted from $120) or a livestream-only pass ($25). Tickets to High Score include the full program, a catered lunch, morning and afternoon tea, and access to the networking event.
The conference is presented by APRA AMCOS, in partnership with the Victoria Government through Creative Victoria, and sponsored by Music Australia and FMOD. High Score’s full program will be revealed in the coming weeks, but potential attendees can be assured that the event will cover almost every corner of the music and gaming industry. Keynote speakers at the conference include audio director Richard Lapington, as well as composers and lyricists Montaigne and Yon Hall (Tripod).
Keynote speaker Montaigne
High Score isn’t just for those who are already working in games music – the event provides the perfect opportunity for anyone wanting to get a taste of this exciting industry. Tim says, “If you are new and just want to understand a bit better how games are actually made, you can get a lot out of High Score because you are getting to hear from the people who are actually doing it, actually making games.”
Working hard to deliver an event for game music aficionados that activates all areas of the industry, Amy emphasises the community’s voice in shaping the event. “I get most excited when I talk to people who are currently working in game audio,” she says. “Hearing about their successes, struggles, and what types of things they want to learn about at High Score. I definitely have an idea of the types of talks, speakers, and sessions that I feel the game audio sector would benefit from, but I like to validate those assumptions.”
A glimpse into last year’s High Score
While the game industry is a constant one of new ideas and new technologies, now is a better time than ever before to gather in discussion on the rapidly evolving industry. “The games industry is in an interesting state right now,” Amy says. “There have been mass tech layoffs overseas, and we’ve unfortunately seen the downsizing and closure of some local studios, which has resulted in a lot of redundancies.”
“I do think that there is sometimes a lack of understanding of the value that bespoke game audio provides,” Amy continues. “I think that there are more conversations to be had with game developers and directors about how audio can be integrated earlier, and more seamlessly into production pipelines.”
“The games industry is in an interesting state”
High Score provides the grounds for these conversations to begin and grow, connecting creators across the games and music industries in a way that not only reminds them of the significance of this music ecosystem, but also that they’re in it together. It seems only fitting, then, that the chosen theme for this year’s High Score event is ‘Connection Is Key’.
“As someone who also works in the music and fine arts sectors,” Amy says, “I find that the connection between the different creative practices in games to be particularly special, and more intertwined than other creative industries.” The uniqueness of the medium relies on creatives across a range of roles to rely on each other, finding spaces of comfort and security where ideas are encouraged and art can flourish.
“The connection in games is particularly special”
Tim agrees. “In the very process of making games, which is usually deeply collaborative, we need to strengthen and nurture the connections we have with our collaborators,” he says. “So, [for High Score] we are trying to build a program that helps everyone reflect on that, on the many ways in which connection is like a foundation for what we do as creative people.”
For an industry that relies on connection, from the craft of creating games and the music that scores them to the community that thrives through collaboration and peer support, it’s clear that High Score is setting up to be an event that celebrates both. “If you love music, and you love games, you should come to High Score,” Amy says.
“The game audio community is such a wonderful and welcoming bunch of people, and High Score really showcases this. I’ve met lifelong friends at previous High Scores, so I definitely would recommend coming along and just introducing yourself to the person sitting next to you. You never know, you might end up writing a score together one day.”
You can find out more information about High Score here.
This article was made in partnership with APRA AMCOS.
