We’re excited to introduce you to the always interesting and insightful Chase Bethea. We hope you’ll enjoy our conversation with Chase below.

Alright, Chase thanks for taking the time to share your stories and insights with us today. I’m sure there have been days where the challenges of being an artist or creative force you to think about what it would be like to just have a regular job. When’s the last time you felt that way? Did you have any insights from the experience?

My happiness waivers as a creative. Being a video game composer in my space is very hard. I often feel like I am not taken seriously, not heard or respected as the majority of other video game composers in my space. Nonetheless, I see it as a game level difficulty. I recognize the challenge and I persevere.

I often sometimes think about having a “regular job” but I feel my talents and creativity time is wasted there so, if there was a middle ground that would be more ideal. Even better, if more developers would sort out their business matters and mindset and properly pay what most of us composers as we are worth.

When I’m working on many game projects, I think about how hard I am working to hustle for the work, do the work and then promote the work. Then, I think about if I had a job where I do not have to interact with too many people and get paid well, I could have a better balance and be more eager to do the creative work. I’ve been in the position before many times doing both and the “regular job” ends up not appreciating the hard work I put in. Then, I rationalize, I could be spending that energy to put into myself and building my career. So, this is what I continue to do until I surpass that threshold.

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

I realized in 2008 that I wanted to work in the video game industry. The hint had always been thrown at me subtlety but it never clicked until I was working at an Internet Media Company called Music Plus Television /Vlaze. I had composed some orchestral music for a video clip and my friend Jason, who worked as the main IT lead, told me that it sounded similar to Castle Crashers. From there, I researched the game and compared the music. Then, I realized I CAN do this. From there, I began to pursue my career in video games.

During my time at Moorpark College, I knew I could not wait until I graduated to start working in the industry. I happened to be working at Lenscrafters and a coworker had an Uncle working in games. His Uncle introduced me to the CEO and I was able to obtain a paid internship at a mobile game Studio (Mobotory – 2011). Less than a year later, the studio shut down and I did some research of how to be a freelancer in Game Audio. I found the book “The Complete Guide to Game Audio” by Aaron Marks. I read half the book, applied to two music requests on a game dev forum. I received a bite from one, wrote a one minute music demo and got the gig. The game project turned out to be paid and it shipped six months later. The game is called Electron Flux (2012).

As a freelance composer, I specialize in writing adaptive/interactive music. I truly believe games could benefit more from some dynamic/adaptive music that the player can distinguish from “linear” forms of audio. In addition to super enhancing the player experience and aligning with any game mechanics. This is the extra polish that hooks in and retains the player as well as cultivates the ultimate game moments.

I achieve adaptive music composition by scoring in the digital audio workstation, Steinberg Cubase and then implementing the score into an audio middle-ware called ELIAS. ELIAS gives me the creativity to design the score to match the embodiment of the game project world. Since I own over 800 physical copies of video games that I use for research, I am perspicacious with game development workflow, pipelines, game design and more. It’s all about figuring out what fits the game best. Choosing my instruments for audio consistency, using various techniques and tools to create what is in my head to the game and test it. Viewing my work from the perspective of the player is important. I play games and listen well. I know what would and would not annoy me as a player. I try my best to avoid those annoyances and instead convey positive and effective sounds and tunes for the game. In a nutshell, I want to make ear candy for the player.

I’m mostly known for my abstract/niche sound. I don’t sound like any video game composer that came before me or anyone in the industry now. I write in very odd time signatures. My textures are complex. My melodies are obvious to those that listen well. I write for the entire artform, the game. My signature sound brings nostalgia to my age range and above and excitement and allurement to the younger generations.

I am most proud of my shipped title accomplishments (20 games in 10 years). Game development is not easy. A lot of things can go wrong with budgets, communication, time management and more. It’s a blessing to have been part of some many games and work with talented and skilled people to create art for people to enjoy at any time or period in their life.

How can we best help foster a strong, supportive environment for artists and creatives?

In my opinion, society can put their money where their mouth is. When we have an album release, share it, without having to be asked and if it is available, buy it off Bandcamp. Booking agents can reach out to us to book shows so that we can perform. Every artist needs an opportunity to test themselves in front of an audience and they can not do that if the opportunity is not granted.

For you, what’s the most rewarding aspect of being a creative?

The most rewarding aspect of being a creative is knowing that I helped someone through a hard time in their life or inspired them to write better. If the music that I write for a game helps bring someone joy, peace, enthusiasm, or excitement then, it warms my heart. For many years, my music did not resonate with people I was told that I write too complex and that I should simplify my music. When in actuality, that is what made my sound unique. So, when I decided not to adjust to what I was told my music should be like and realized that is my niche then, people slowly started listening. It came to the point that I was complimented to be “God’s gift to music” and acknowledged as “the Swiss Army knife of Video Game composition”. A couple of the highest regards I have ever received about my work.

Contact Info:

• Website: http://chasebethea.com
• Instagram: @gamercomposer
• Linkedin: http://linkedin.com/in/chasebethea
• Twitter: @chasebethea
• Youtube: http://youtube.com/chasebethea
• Other: – (Bandcamp) http://chasebethea.com – (TIDAL) https://tidal.com/browse/artist/22238991 – (Spotify) https://open.spotify.com/artist/4mU9ci0mlYOPZIHHdRqs2g