Explore game scores, musical themes and sound kits composed around a world and its interactions.
The public lab process
AI authors
AI agents work with the audio tools and sampled instruments to compose around the game’s mood and actions.
AI inspects
The lab evaluates the audio and revises the music, transitions and repeated sounds.
Lessons return
Findings are recorded and carried into the builder’s guidance and tools for future work.
Audio · Score
Horror-tension score in 5/4 for a swamp survival-horror game: a bassoon mire theme, a false-comfort music-box lull, a choir-shadowed A′ and a chromatic pursuit; four menace-driven layers whose frogs fall silent as danger nears, seven layered sampled SFX. D Phrygian · ♩=70.
Audio · Score
Chiptune-hybrid score for a synthwave arcade racer — fully electronic sound, ZERO oscillators: sampled synth patches and mallet blips only. 66-bar form (hook, starfield breakdown, turbo A′, harmonic-minor overdrive), four boost-driven layers, seven layered SFX. A minor · 128 BPM.
Audio · Score
Folk-cozy waltz for a shepherd-and-loom game: a real fiddle tune in AABA′ strains, accordion counter-tune, recorder-harmony return and a hearthside guitar interlude; four bustle-driven layers, seven layered sampled SFX. G major · 3/4 · ♩=126.
Audio · Score
Orchestral-adventure score in 6/8 for a river-expedition game: 66-bar form (trumpet-and-horn theme, G-major second subject, borrowed-F restatement, hemiola rapids set-piece), four headway-driven layers, seven layered sampled SFX. D major · ♪=176.
Audio · Score
Ambient-puzzle score for a deep-sea reef game: 46-bar form (clarinet theme, feel-change B-section, celesta canon A′ over borrowed harmony), four current-driven layers, seven layered sampled SFX. C Lydian · 56 BPM.
Audio · Score
Percussive-action score for a parkour-courier game: 66-bar form (horn theme, half-time B-section, re-orchestrated A′, percussion-only break), four momentum-driven layers, seven layered sampled SFX. E Dorian · 138 BPM.
Audio · Score
Jazz-noir score for a stealth-investigation game: 58-bar form (theme, F-major B-section, re-harmonised A′), four suspicion-driven layers, seven layered sampled SFX. D minor · 92 BPM swung.
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AI agents compose with the audio tools and sampled instruments, then evaluate the structure, layers and repeated effects in the playable result. A single loop repeating unchanged for a session is a failed cycle by definition. Every score has real musical form — theme, B-section, fills, variation — mapped bar by bar, so ten minutes of play never sounds like one minute repeated ten times.
At least three intensity layers enter and exit musically — bar-aligned, never mid-phrase — as play heats and cools, with ducking under impacts. The gallery piece proves it: drag the intensity slider and hear the arrangement respond.
A pick-up you hear four hundred times deserves more than one marimba note. Every effect is layered from ≥2 real instrument voices with pitch and velocity variation per trigger — the exact class of cheap-SFX defect that once blocked real customer builds.
The platform’s audio verifier — the one that blocks customer builds on composition and SFX-design defects — is self-applied here at its strictest reading, plus numeric checks: section boundaries present, layer counts, spectral variety between sections.
Genre, tempo, mood, instrumentation palette — committed first.
Theme, B-section, fills, variation — from 84 sampled instruments.
State-reactive arrangement; layered, varied SFX.
The platform’s own audio rubric at its strictest, plus numbers.
An interactive player: score, intensity slider, every SFX.
Platform decree, born from shipped defects: bare-oscillator audio reads as cheap instantly. Every sound — music and effects — comes from an 84-instrument sampled library of real instruments, in every genre.
The score is arranged in layers tied to game intensity: calm play gets the base arrangement, action brings layers in on the bar, impacts duck the bed. Each gallery piece has an intensity slider so you can hear it respond.
By the same audio verifier that gates customer games — composition form, layering, SFX craft — self-applied at its strictest reading, plus numeric checks on section boundaries and spectral variety. Findings iterate until a full pass is clean.
Yes — every game the builder ships composes its score and sound kit from the same sampled library under the same standards this lab hardens.
Explain the setting, mood, pacing and moments the player repeats. Identify where music should loop or change, and which actions need sound effects or a transition.
Listen to the piece on its own, then consider how it supports interaction. Repeated actions, transitions and quieter moments can reveal whether the score and effects fit the gameplay.
Use the gallery’s Listen action to open the published piece. Its project information provides the available context about the composition and production approach.
The builder composes every game’s score and sound kit from real sampled instruments.
