Table of contents
- 1. Introduction
- 2. About me
- 3. Chosen portfolio project showcase
- 4. My skillset
- 5. About you
- 6. My rate and requirements
- 7. Portfolio link
- 8. Contact
I am a music composer based in Cracow, Poland and have been writing since the year 2012. With two Steam releases (more info below), countless hours of bettering my craft and burning passion for all the music in the world, I am looking for new commissions. I'm an avid gamer, cinephile, an esports fan and lover of all animals.
My journey in the VGM industry started with Driftwood The Visual Novel, which led me to this forum. Here, I’ve been part of numerous games, one of the biggest of which is When The Bells Toll.
Surprisingly pleasant and unobtrusive soundtrack, which is well suited to the atmosphere of the early 20th century. It doesn't distract from the game, but creates the right mood.
The design, text, music, everything that contributes to immersion and roleplay is beautifully done.
The art style and the music are great. – The Ginger Ninja
(...)The music is pretty amazing as well, especially if you're into... what I like to call... 'posh music'.
Kinguin.io – The Evolution of Gaming
The man is incredible and damn good in collaborating. – Dawid Gąsiński, project animator
Four Global Game Jam 2019 titles during the KrakJam 2019 event
I can bend orchestra to my will as I please, capturing all the moods from intimacy to horror to grandness. While still learning the counterpoint and music notation, I feel fluent in different languages of the historical periods of music. I find no difficulty in writing chamber/solo piano tracks.
Bagatelle in F# minor (From 'Archeo: Shinar')
Arabesque in F# minor for String Orchestra (From 'Archeo Shinar')
I spend as much time in an orchestral setting as I do with purely digital areas. I know my way around many techniques of synthesizing (FM, RM, additive, subtractive, sample-based synthesis), and have the know-how to produce electronic stuff.
I have been part of a couple of visual novel projects (Driftwood and When The Bells Toll are the biggest ones), and have written two articles on the music of visual novels (link, link, sorry, English versions are underway!).
Over the course of seven years I have trained my ears and learned the necessary know-how to make my music sound as close to the industry standards as possible within a home studio. I always mix and master my own tracks.
During the years, by playing and scoring games, I have amassed experience as to where, how and when the music should be implemented in a project to sufficiently emphasize it’s purport. I know the strengths of silence, the idea of narrative pacing, and have the experience provide you with not only good music, but also one fitting with the narrative.
I am part of gamemusic.pl, the biggest Polish website (and one of the biggest international ones) fully dedicated to the video game soundtrack world. Since early 2018, I have written over 20 reviews (examples: The Evil Within 2, Apex Legends; soon available in English!), articles and conducted two interviews with the composers of They Are Billions (Nicolas Diteriks) and Crossing Souls (Chris Köbke).
As a person that writes about video game music, I have developed a steady way to communicate about it and find it easy to freely explain with words how and why certain musical features work in a piece. This is an advantage in communication between me and you.
I am a guitarist capable of recording my own parts. I’ve been playing the guitar on and off for about 7 years now. I also play the classical guitar and know my way around the bass (but I don’t have it).
Le Monde Noir (From 'Driftwood The Visual Novel')
You are my top priority. I pride myself in nurturing the commission you give me and our relationship. I’ll be in touch with you whenever you need and with as short response time as possible.
I only take paid commissions. I'll happily sign a contract, as this is a reassurance for both you and me. However, I understand that sometimes it simply isn't possible and I'm flexible in this matter!
Short answer: my rates vary depending on the project. Long answer: using Game Audio Industry Survey 2019 as a reference, I calculated my minimal salary per one minute of finished music as $80. The rate may vary depending on the project's budget (many composers base their rates on the percentage of the budget), music's complexity or other circumstances. Ultimately, though, the most important factor is how much time do I have to invest to suit your needs.
Some of my works which I feel represent me the best are to be found here.
Mail address: firstname.lastname@example.org
Also feel free to send me a direct message here or respond to this thread.