After the panel, we had the opportunity to meet Davor and talk to him about what it's like to be a sound designer, as well as a composer working on video games. What makes this profession different and special, how he creates sounds, what tools he uses, and how to succeed in this field.

He is currently working for the American studio 8 Circuit Studios on the game Project Genesis, as well as with the Croatian studio Ironward on the game Atre: Dominance Wars. It is a 4X RTS title that evokes nostalgia for Heroes of Might and Magic, and may also remind you of Age of Wonders. The game is woven with a deep and rich story, so expect campaign gameplay where you will explore various spells and technologies, as well as strategically position armies.

How demanding is the job of a sound designer and composer?

The job is demanding, but I always say that I have the best job in the world. No one can offer me a better one because I have always been involved in music, first as an amateur and for the last 5-6 years professionally. If you love your job, the demands become a pleasure because in the end, you see, or in my case, hear a good product. A lot depends on the client and their requirements, but working in gaming is very fulfilling for me. My goal is always to create a game that sounds as good as possible in terms of sound design, music, and implementation.

How recognizable are sound designers and composers in the video game industry?

Not really. It often happens that there are games particularly known for their outstanding music. On one hand, this is important from a business perspective, as games increasingly hire well-known composers, mostly from the film industry.

For example, composers like Harry Gregson-Williams, who became famous for film music, also work on music for video games. However, those who exclusively create music for games are often not well-known to the general public outside the gaming world.

On the other hand, gamers who love Nintendo, for example, often know who is behind the music or conceptual design for their favorite games. Still, video game composers are generally not that exposed to the public.

You engage in various activities – from music (professionally) to photography and psychology (privately and personally). How do you manage to find time for everything?

By profession, I am a psychologist, but I do not work in that field. About five years ago, I quit a job at a private company that operated in the medical sector, where I sold and adjusted hearing aids. That was the closest I could find to a job related to my interest in sound, especially music, which has always attracted me.

I did not have the opportunity to study at the SAE Institute in Ljubljana, which focuses on sound mixing, but today I am glad about that. After leaving the company, I decided to work on something related to sound and music. Thus, I gradually entered the gaming industry, and my first project was working on Serious Sam 4, where I was an assistant sound designer and created sounds for cutscenes.

As for psychology, I do not engage in it professionally, but only privately, in personal relationships. Photography is my hobby, which I practice exclusively in analog, not because I think it's better, but because I enjoy the process. I used to be a professional photographer, but now I have no desire for that. Now I take a camera, go outside, and maybe take one or two photographs on film.

The process of photographing analog is very different, and one of the main factors is that it is expensive, as every film is extremely costly and developing is expensive. While my wife with her digital camera can take a hundred photos in one afternoon, I might only take one, and sometimes none at all, if the shot or light isn’t good enough. So I always find time to work, and photography fits in whenever we go for a walk.

How many games have you worked on so far?

It's hard to say precisely, but I would say it's around ten games. Some of them were never released, while others are still in development. For example, the project I am currently working on has been in development for between six and eight years. Some games develop faster, depending on the size of the team and the complexity of the game itself. One mobile game I worked on is supposed to be released in a few months, even though it has been in development for six years. On some, I was only responsible for implementation, on others for both implementation and sound design, while on some I worked only on sound or music. It is often a combination of all these elements.

Are you still working with the Ironward studio? Can you tell us what the process of creating sound, design, and music for such a game looks like?

The music process for this game is still in the early stages, considering that the game itself is in the early development phase. We usually receive instructions from the producer or someone who decides on the direction of the game, such as mechanics or atmosphere, and based on those guidelines, we try to create the desired sound. Sometimes we get references from movies, classical music, or other games. Game development takes a long time, and through many iterations, we try to find a direction that fits the project.

Do you create music for other media as well? What other projects have you worked on?

Yes, I created jingles for a private television station in Zagreb; I think they are still being aired. Those were some of my first projects when I started focusing exclusively on music and sound. I have also worked on music for multimedia presentations in museums, animations for various companies, commercials, and sound design for different projects.

Where do you find inspiration for creating sounds?

When it comes to sound, inspiration often comes from references to something else. There are sounds I imagine, that I want to create, but I haven't managed to realize them yet. For example, when I'm working on a game and I get the task to make a sound for, say, a grenade, I first think about how others have solved it in similar games. This often gives me inspiration, not to copy, but to create something different, according to my own vision.

As for music, since I’ve been playing guitar for almost 30 years, inspiration often comes from pure improvisation. I sit down with the guitar without a specific plan and just start playing. I always have my phone or a sound recorder with me because sometimes an idea comes out spontaneously and I record it right away, because something interesting might come from it.

The same goes for sound design – I walk somewhere and hear an interesting sound. I record it, then later use or adapt it for a game or project.

What programs do you use? 

I exclusively use Reaper because, although I often explore online how others work and what tools they use, I haven't found anything that suits my needs better. Reaper fits me perfectly, and I don’t feel like I'm missing anything. What I particularly like about Reaper and why I recommend it to everyone is its incredible adaptability. I can customize everything, from the appearance of icons on the screen to the colors and functionalities of each key on the keyboard. This significantly speeds up my workflow.

Reaper is my primary software for sound design and composition. I also compose within it. As for gaming software, I primarily work in Unreal Engine, and I have also worked on several projects in Unity. I also use middleware software, which is used for implementing sound into the gaming engine. I most often work in FMOD, although this is usually dictated by the developer, as the software has different prices. Sometimes sounds are integrated natively into Unreal or Unity, depending on the project.

So, is it better to be versatile in order to succeed in this industry?

I would say it is quite important, as projects and studios vary greatly. I have worked with different studios, and some use exclusively Reaper from the very first steps of sound design, which was great for me.

It is not always predetermined which software will be used, and sometimes the focus is not solely on sound. It is important to be flexible, because although engines and middleware software like FMOD and Wwise are generally similar, there are significant differences. One must be ready to adapt to different projects, as when one ends, the next project may require working in a completely different environment with new tools and approaches.

Do you have any advice for those who are just starting out?

I have a few tips. First of all, it’s important to work as much as possible and reach out to people. I would recommend starting with smaller indie studios, as often one person develops the entire game. For example, I’m currently working on such a project where one person is almost single-handedly developing the gameplay and visuals, while we help him with sound implementation.

My advice is to reach out to people as much as possible through cold calling or emails. This often worked for me – you might send 500 emails, but one contact can bring you work for years to come. Also, it’s very important to learn sound implementation. This is often an overlooked part of the process, but extremely important, as poor implementation can ruin a game – it can sound too loud, too quiet, or even cause the game to crash.

I recommend everyone learn as much as possible about implementation, as it can be a huge advantage, especially in the early stages of a career. I worked on a project where the game was almost finished, but due to poor sound implementation, the game crashed and consumed too many resources. That’s where I learned how crucial it is to optimize sounds, monitor how much hardware resources they consume, and how often they repeat. These are details that can significantly impact the final performance of the game.

Another piece of advice is to learn to work with game engines. In large studios, there is often a separate person for sound design, implementation, and audio programming, but if you know at least the basics of all these areas, you will have a great advantage because you will be able to work independently on various parts of the project without needing additional help.

Which project did you enjoy working on the most?

It's hard for me to single out a project that I enjoyed the most. As someone who entered this industry relatively late, I can say that I don't have much experience related to gaming. However, in gaming, I have met many people, and I can say that the atmosphere is very positive. Everyone appreciates work, regardless of what role they have.

One of the reasons for this is that gamers are often the ones who are mostly online and used to communicating via Discord or similar platforms, so communication is spontaneous. The work is taken seriously, but the atmosphere is also informal. It's creative work, which implies a more relaxed approach — no one wears ties, and we are all more laid-back, which I like.

Have you ever used any melodies or motifs from Croatia? Perhaps from folk music?

Not so far. First, I haven't had the opportunity to work on such projects, and second, I always strive to create something original. I care a lot about copyright and simply don't use other people's materials, neither samples nor beats; I always work exclusively 100% on my own.

There is always the possibility that something unforeseen might happen. For example, on YouTube, you often find "free sounds" with licenses that state you can use them freely, but it turns out that those sounds were taken from someone else and that they should have a license that could cost money. That's why I'm very, very cautious in that regard.

What do you think about the Blender Films & Games conference?

Phenomenal! The conference is really excellent, and the team is very positive. I think it's great that the theme of film and video games is being combined. These are very close spheres, although they have their differences. In my panel, I learned a lot by listening to my interlocutors for 40 minutes. Even though I work in this field, there were many things I didn't know. Here are people who work professionally in films, whether it's about sound or music.

When did you learn notes exactly and what instruments do you play?

Well, I'm currently learning notes. I know them, but I'm not someone who can easily read notes from paper. I know which note is which, but what I mentioned at the conference is that today the advantage is that you can learn almost everything for free — especially on YouTube.

I've watched videos about sound design, composing music, and using different instruments. I play electric guitar, bass guitar, and keyboards. Keyboards are something I've recently started using, but now I use them the most because all music composition on the computer is done through the keyboard. The MIDI keyboard triggers the sounds I want, whether it's a choir, cello, organ, electric guitar, or something else. If I need to record electric guitar, then I play it myself.

The post Davor Manojlović – music composer and video games sound designer first appeared on IndieGames.

In Atre: Dominance Wars, you take on the role of an Elder, a powerful being on a quest to become a god, where your decisions shape the world around you. The game is woven with a deep and rich story, so you can also expect a campaign mode where you'll explore different spells and technologies while strategically positioning your armies.

The trailer also gives a glimpse into artifact creation and upgrades, as well as the development of generals with their stats and the fascinating creatures that will inhabit this world. So, take a look at the trailer below and see for yourself.

What we know so far is that the game will be available on Steam sometime in 2025.

The post The Croatian studio Ironward is bringing us an ambitious project that reminds of Heroes of Might and Magic first appeared on IndieGames.