Like what you hear in our games?
Or why repetitive loops won’t do anymore.
Do you think the game sound is not that important? Think twice. Several studies have shown players‘ heightened physical response to the machine with sound and claimed it was a more enjoyable experience.
More precisely, players exaggerated the percentage of bets they actually won, considerably higher with the sound - 24 percent to 15 percent. Also, it was proved the music and sound can actually disguise losing spins, making the players play more freely.
We’ve talked to Peter, our main sound engineer and music producer of our games, where he explained the creative process behind those seemingly unimportant little melodies you hear in the background.
What is your source of inspiration and how to stay original with the themes constantly repeating?
It might sound like a cliché, but inspiration is all around us. One must constantly learn, pay attention and basically anything can turn into something creative. Each new game is based on a previous experience and with a bit of ambition, it can become truly unique.
A mutual cooperation results in a lot of inspiration. Even if I get stuck at some point of the creative process, I ask my wife for opinion. A lot of great loops came to life this way :)
Which of the games you worked on is your favorite?
I should say Moonlight Fortune, because it had a lot of positive feedback, better than I expected. But I also have to mention electronic soundtracks such as Wild Warp, Gem-o-Rama or Dice Rush, which made me seriously dive into the world of synthetized music and sound making. It was pretty much out of my comfort zone and beyond my software tools efficiency.
Fruit Awards was a nice conceptual piece, but with Wild Job I had the most fun - with the big band and so on - and it immediately became one of my personal favorites.
And a favorite game you didn’t create?
There are plenty, and many times I‘m surprised by games which might seem very conservative at first listen. Netent used to represent a solid benchmark for not only online sound, however, in the recent past there have been also other strong brands that are pushing the quality higher and higher, which is amazing because the player deserves it.
One of the more complex games but really superbly created and sounded is Fire Joker. On the other hand, sometimes I like to get carried away with the poignancy of Thunder Struck 2.
Is it possible to remain creative in game sound and what role does the commercial value play, such as the need to keep the player entertained, thrilled?
The key is always to understand it and (pleasantly) surprise. Let’s be honest, gambling is not an especially artistic or deeply personal field. A good soundtrack represents a nice mixture of the basic gaming principles with new elements that positively set the difference from other products.
To sound a game is not like making the definitive story come alive like in a movie, but I compare it to a living creature, which can and will behave unpredictable. And with such complex concepts you have to use your creativity a bit more. Despite the fact that gaming works with cliché elements in a more cynical way than other entertainment products, only a balanced cooperation between the producer and the creative team will give you a competitive edge.
What do you think makes SYNOT Games stand out in terms of sound?
Like in every “serious” product, also in gaming the importance lies in the product as a whole. However, sound and music can connect the dots and unify all the elements. This is what guys at SYNOT Games understood from the beginning and such as all of the games‘ other aspects, they have their own unique sounds, schemes and little nuances which become more sophisticated with each new game.
SYNOT Games gives the team creative freedom, so the music and the sounds can naturally grow with the visuals and technical development transforming these elements into a stunning result that represents everyone’s work.