Things worth knowing.
How we make records and games, written plain. Production, publishing, scoring, shipping. The things we wish someone had told us sooner. Free, and there is no course at the end of it.
Your DAW Writes the Music. The Audio Engine Plays It.
A DAW and an audio engine solve different problems. One renders a finished performance offline. The other decides what to play, in real time, without knowing what the player is about to do. Here is what changes when your music has to go into a game.
Read →Original music for your game, film, or trailer
Royalty free vs licensing vs original music. What original gets you, when to bring music in, and how to actually start.
Read →Must-Have Plugins for Melodic Dubstep in 2026 (What We Actually Use)
The five plugins Galactrex Records reaches for on most melodic dubstep sessions, what each one is for, and how we use it. Serum, Pro-Q 3, VintageVerb, OTT, and Ozone.
Read →What Makes a Game Feel Good to Play
The same action can feel dead or feel amazing depending on a handful of tiny details. Here is what we tune to give a game that addictive, satisfying feel: hit-stop, screen shake, easing, and feedback.
Read →How We Get a Wide, Glassy Melodic Bass
The exact steps we use to build a wide, glassy melodic dubstep bass that still hits in mono. Layering, unison, EQ, and the mid-side trick that keeps the low end solid.
Read →How We Score Our Own Games
We run a label and a game studio under one roof, so the music in our games is made by the same people making the records. Here is how we use that, and why a soundtrack should be designed, not just dropped in.
Read →The Only Plugins a New Producer Actually Needs
You do not need 200 plugins. You need a handful you understand. Here is the short, mostly free starter set we would hand a new producer, and why each one earns its slot.
Read →How a Game Idea Becomes Something You Can Play
Most game ideas die in a notebook. The ones that make it follow a path: a rough prototype, a brutal cut, then a vertical slice you can actually feel. Here is how we get from idea to playable.
Read →Mixing Low End That Translates From Phone to Club
Most tracks fall apart on the systems that matter. Here is how we mix kick and bass so the low end holds up on a phone speaker, headphones, and a club rig.
Read →Sound Design for Indie Games: Where to Start
Good game audio is mostly layering, variation, and mixing for the moment, not expensive libraries. Here is the starting point we would give anyone adding sound to their first game, with free tools that get you there.
Read →Why We Cut Features to Actually Ship
Almost every game that never ships died from too many ideas, not too few. Here is how we decide what to cut, what to protect, and how cutting scope is the thing that gets a game finished.
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