Interview with sound designer
29.09.2025
Interview
Music in slots is an essential element – you can’t imagine the modern iGaming world without it. How difficult is it to create sounds and write music? Do you really need a musical education, and where do you find inspiration? All this and more in our interview with Arkadiy, GameBeat Sound Designer.
What skills, in your opinion, are necessary for working on music and sound design for slots?
— Slots don’t differ too much in terms of skills from creating soundtracks for other gaming genres, but they do have their specifics. For example, you need to know where certain sounds fit, understand slot mechanics, and of course, be able to find references. You have to grasp the mood of the slot, how active the music should be, and what kind of vibe the game should create.
What’s more challenging– creating music or sound effects?
— The most extensive and all-encompassing part is the music. It’s the foundation on which everything else is built. Music is the priority, because it plays the longest and fills most of the audio background.
How long does it usually take to create the full sound design for a slot?
— Usually around two weeks.
What skills, in your opinion, are necessary for working on music and sound design for slots?
— Slots don’t differ too much in terms of skills from creating soundtracks for other gaming genres, but they do have their specifics. For example, you need to know where certain sounds fit, understand slot mechanics, and of course, be able to find references. You have to grasp the mood of the slot, how active the music should be, and what kind of vibe the game should create.
What’s more challenging– creating music or sound effects?
— The most extensive and all-encompassing part is the music. It’s the foundation on which everything else is built. Music is the priority, because it plays the longest and fills most of the audio background.
How long does it usually take to create the full sound design for a slot?
— Usually around two weeks.
Name some of your favorite slots that you’ve worked on
— I really like the audiovisual aspects of Wild Stock, Totem De Оrо, and Frog Space Program. Those are my three favorite projects.
— I really like the audiovisual aspects of Wild Stock, Totem De Оrо, and Frog Space Program. Those are my three favorite projects.
Where does your work on a new slot begin – with the concept, the visual style, or straight away with the music?
— Of course, you have to see the sketches of the slot before getting started. You need to understand the vibe of the future game. It’s the same as composing for film – it’s very rare that music is written completely separately from the visuals.
How important is it to highlight music and sound effects in bonus rounds?
— Naturally, in the main game the music is usually calmer, less distracting. In bonus games, though, you can use more melodic and memorable themes, since they don’t play as often and should trigger pleasant emotions that make players want to come back to the bonus rounds.
How do you determine the right musical style for the theme and visuals of a game?
— Often it’s about references to pop culture, popular movies, or other games. Basically, anything that fits the theme of the slot.
Do you use real instruments, or is everything created in digital audio workstations?
— Of course, I use real instruments. I play guitars, strings, and keyboards. Whenever I can, I record live guitars and live keys. I haven’t had the chance to record strings yet, but hopefully that’s ahead of me. I’d also love to record some strings and brass instruments in the future.
— Of course, you have to see the sketches of the slot before getting started. You need to understand the vibe of the future game. It’s the same as composing for film – it’s very rare that music is written completely separately from the visuals.
How important is it to highlight music and sound effects in bonus rounds?
— Naturally, in the main game the music is usually calmer, less distracting. In bonus games, though, you can use more melodic and memorable themes, since they don’t play as often and should trigger pleasant emotions that make players want to come back to the bonus rounds.
How do you determine the right musical style for the theme and visuals of a game?
— Often it’s about references to pop culture, popular movies, or other games. Basically, anything that fits the theme of the slot.
Do you use real instruments, or is everything created in digital audio workstations?
— Of course, I use real instruments. I play guitars, strings, and keyboards. Whenever I can, I record live guitars and live keys. I haven’t had the chance to record strings yet, but hopefully that’s ahead of me. I’d also love to record some strings and brass instruments in the future.
What tools or software do you use to create sounds and music?
— I use Studio One. That’s where I do most of my work.
Are there any “secret” sounds or melodies that increase player engagement?
— I wouldn’t call them secret, but there are definitely sounds that work and others that don’t. Of course, any win has to be reinforced with positive emotions.
— I use Studio One. That’s where I do most of my work.
Are there any “secret” sounds or melodies that increase player engagement?
— I wouldn’t call them secret, but there are definitely sounds that work and others that don’t. Of course, any win has to be reinforced with positive emotions.
How important is it to consider the psychological effect of music and sounds on players?
— It’s one of the key elements. Alongside animation and visuals, music is the third pillar.
Is it easier to work on classic slots or modern ones?
— Definitely modern ones. There are more opportunities to experiment, more room for creativity. They’re not tied to classic slot themes and are more like casual arcade games, so there’s more freedom.
What inspires you to create unique sounds and music for games?
— Great works of art, great movies, and, of course, the musical baggage I carry with me. I have a deep knowledge of native music, which allows me to draw on a kind of inner library of references whenever I need them.
What legal nuances are important when creating music for slots to avoid infringing on others’ rights?
— It’s important to write as much as possible yourself, use sounds from licensed libraries, and absolutely never steal someone else’s music.
How difficult is it to create unique sounds without infringing on copyrights?
— It’s always harder to create from scratch than to use something ready-made. But whenever possible, it’s best to create your own sounds, because that gives the product an original and unique feel.
— It’s one of the key elements. Alongside animation and visuals, music is the third pillar.
Is it easier to work on classic slots or modern ones?
— Definitely modern ones. There are more opportunities to experiment, more room for creativity. They’re not tied to classic slot themes and are more like casual arcade games, so there’s more freedom.
What inspires you to create unique sounds and music for games?
— Great works of art, great movies, and, of course, the musical baggage I carry with me. I have a deep knowledge of native music, which allows me to draw on a kind of inner library of references whenever I need them.
What legal nuances are important when creating music for slots to avoid infringing on others’ rights?
— It’s important to write as much as possible yourself, use sounds from licensed libraries, and absolutely never steal someone else’s music.
How difficult is it to create unique sounds without infringing on copyrights?
— It’s always harder to create from scratch than to use something ready-made. But whenever possible, it’s best to create your own sounds, because that gives the product an original and unique feel.