Call & Response: Siddharth Nadkarni

(6 min)

Video game music and production music each have creative boundaries. Function and utility are the forefront while the music fuels the emotion of a project. Siddharth Nadkarni is a composer who understands that balance, living in both worlds and creating impactful music for moments big and small. After first working with Sam Ecoff on Modus Operandi, Nadkarni has also brought his talents to our HypeKit label. We sat down with Nadkarni and talked about his aim to capture moments, composing production music and video game music, and his goals.

Lab Notes (LN): If you had to boil your musical journey into one sentence, what would it be? (Run-on sentences accepted and encouraged.)

Siddharth Nadkarni (SN): I began with a love for orchestral composition, but became very involved in EDM music production, which eventually transformed into a love for making trap music, sound design, video game and film scoring, and a love for experimenting in many genres.

LN: The video game soundtrack is such a key element to the gaming experience. Having worked with MAXIMILLIAN Studios on Frontlines (ROBLOX) and Operation Scorpion on the audio and music composition, what do you think are the most important aspects of a video game soundtrack?

SN: Great question! Personally, I try to shape the music to portray the feeling that I want users to experience when playing the video game. Operation Scorpion, a 5v5 first-person shooter, followed a much slower and tactical style of gameplay. I aimed to capture a heroic, emotional feeling since the game required a lot of thinking and hard work in order to obtain a victory. Frontlines, on the other hand, is a much faster, arcade-style FPS game, with a lot more aggression and power. In contrast to Operation Scorpion, the soundtrack for Frontlines is a lot more gritty and hardcore in style. My goal for the music was to provide a confident energy while playing in a Frontlines match. Another important aspect of a video game soundtrack is knowing when to bring music to the forefront and when it should serve as support for the game. When loading in the intro sequence, I want the music to capture a player's attention, and provide insight to what the gaming experience will be. For menu and loading music, however, I try to support what goes on visually. For example, still camera shots in-game will usually be accompanied by ambient music, rather than a thrilling melodic synth line.

LN: There are quite a few parallels between video game music and production music. Both are largely intended to enhance the story or action without being the star of the show. What is your approach to composing production music and how has your work with video games informed that process?

SN: Making production music and video game music is a very similar process in my workflow. I usually start with the theme or main idea for the music, and I work my way from there. One idea that I take from video game music production is using found sounds. I'll grab the sound of some recording [I’ve made], whether it be someone singing, or some foley, and I'll process it to create a completely new sound out of it, and I transform that into an instrument. I like doing this with production music because it can add depth to the sound without making it too noticeable.

I try to shape the music to portray the feeling that I want users to experience when playing the video game.

LN: When producing our HypeKit label, we typically begin with the PROMO 30 version. What kind of challenges does that format present to you as a composer? What are the benefits of working within creative boundaries?

SN: Starting with the PROMO 30 version presents an interesting challenge for me, in the sense that I have to fit as many cool ideas, or "ear candy" as I can within a short time period. It could include adding little percussion hits to support the rhythm or having cuts in the music to add interest. This allows me to make the music more packed with interesting material. I think having these creative boundaries are really useful because it allows me to make "more-with-less", so to speak.

LN: What goals do you have for yourself and your music? What projects are you involved with as an artist right now outside of commercial music?

SN: As of now, I aim to become a sound designer and music composer within the video game industry. I also have a hip-hop project under the artist name "reform.", which I may elaborate on in the coming years. I am currently working on a video game titled Frontlines under MAXIMILLIAN Studios, where I work as a sound designer, music composer, and an audio system engineer.

LN: What inspires you, what gives you hope?

SN: I consume as much content as I can for inspiration. I always listen to other artists' music and look at visuals, because it helps me figure out how I can improve my own music and add cooler and newer ideas to my sound. I'll usually sit for an hour and listen to an album, with the intent of absorbing the ideas from each track.

I’ll usually sit for an hour and listen to an album, with the intent of absorbing the ideas from each track.

LN: What music are you listening to right now?

SN: I'm currently listening to the Magic City Hippies. I love their latest album, Water Your Garden.

LN: What do you do when you’re not making music?

SN: I love to travel and visit places all over the world. I'm also a major foodie - I love trying new foods and cuisines. I love to ski and go fishing as well.

LN: If you were trapped on a desert island, what 5 albums could you not live without?

SN:

Kendrick Lamar - Good Kid, M.A.A.D City

Tyler, the Creator - Flower Boy

Kendrick Lamar - Mr. Morale and the Big Steppers

MF Doom - Mm..Food

Kendrick Lamar - DAMN

LN: What are three things about you that wouldn’t want left out of your Wikipedia page?

SN:

- Worked on Frontlines and Operation Scorpion

- My hip hop project - reform

- Huge fan of Kendrick Lamar