I am curious about the "gving talk" part. If you're a beginner and most importantly not in the industry who really wants to ear your talk? I mean, I just started in the industry and I don't feel like I am "legit" enough to give talks.

If you're at the point where you're getting paid work and have finished a few projects you probably know enough to be an expert on something. Be it recording techniques, composition styles, foley tricks, client interaction, or even just the basics on how to use your DAW I'm sure you have at least 1 gem of knowledge to impart on your peers.

I am curious about the "gving talk" part. If you're a beginner and most importantly not in the industry who really wants to ear your talk? I mean, I just started in the industry and I don't feel like I am "legit" enough to give talks.

Not each thing I listed can be started right way, obviously. To a degree, I STILL feel this way after ten years and 150+ projects. But there are certainly things I've learned along the way that others would (I hope) like to hear about. And CCH is right, if you're landing work and getting paid for it, have finished at least one game then folks who are just looking to get started would most likely be interested!

I am curious about the "gving talk" part. If you're a beginner and most importantly not in the industry who really wants to ear your talk? I mean, I just started in the industry and I don't feel like I am "legit" enough to give talks.

Not each thing I listed can be started right way, obviously. To a degree, I STILL feel this way after ten years and 150+ projects. But there are certainly things I've learned along the way that others would (I hope) like to hear about. And CCH is right, if you're landing work and getting paid for it, have finished at least one game then folks who are just looking to get started would most likely be interested!

Ten years sound like enough time to have something to speak about :P

Would you recommend doing unpaid jobs if (an only if) that's the ONLY way of getting a proper portfolio?

Would you recommend doing unpaid jobs if (an only if) that's the ONLY way of getting a proper portfolio?

Nope, I wouldn't. I'd recommend REALLY cheap jobs instead because at least then there's still an exchange happening. Working for free just hurts the overall impression of audio people's worth.

Edit: Start cheap to build up some credentials and experience. Then raise your rates. Don't fall for the "this will be huge exposure" line that some devs throw out there because, too often, the game isn't nearly as successful as they think/hope. And that's if the game is even finished!

Carlos, your music is beautiful and I'm sure that if you keep going you'll get someone to pick you up.

I wonder if the demos you send don't sell the studios on you because they don't "sound" like what the studio is looking for (despite the quality of the composition). By that I mean a couple things:

1. Not many games have a soundtrack orchestrated traditionally (even Jeremy Soule uses big, huge epic drums to hook people into the Skyrim theme). Many either go "modern/hybrid/epic" like this:

2. The structure of your pieces are also not very similar to video game music IMO. They are beautiful and more complex than a lot of VG music is (they don't loop, for example). Maybe try writing some very simple pieces that can be looped. There's nothing wrong with simple, looping music with only a few voices; it can be great:

I haven't worked professionally, these are just some thoughts of mine.

Carlos, your music is beautiful and I'm sure that if you keep going you'll get someone to pick you up.

I wonder if the demos you send don't sell the studios on you because they don't "sound" like what the studio is looking for (despite the quality of the composition). By that I mean a couple things:

1. Not many games have a soundtrack orchestrated traditionally (even Jeremy Soule uses big, huge epic drums to hook people into the Skyrim theme). Many either go "modern/hybrid/epic" like this:

with orchestral components, but also synths, guitars, and other instruments. Sometimes they are purely chiptune:

or a million other styles. But game soundtracks aren't often just orchestra. Maybe you could try learning how to use synths or have someone "orchestrate" your compositions on synths? Obviously you are a solid composer, maybe you're just not using the right sonic palette to get the studios' attention.

2. The structure of your pieces are also not very similar to video game music IMO. They are beautiful and more complex than a lot of VG music is (they don't loop, for example). Maybe try writing some very simple pieces that can be looped. There's nothing wrong with simple, looping music with only a few voices; it can be great:

I haven't worked professionally, these are just some thoughts of mine.

These are actually pretty dam good advices...they are so obvious that I feel ashamed of not thinking about it myself...

Thanks

Your music is beautiful Carlos, just keep on with the persistance and the rest should follow with time.