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Sir Paul McCartney has one, as do Lou Reed, Lionel Bart and Annie Lennox. They hold a prestigious Ivor Novello Award, Britain’s tribute to the finest songwriters the world has seen. This week they will be joined by someone whose music has never been near the charts: the composer of a computer game soundtrack.

Glue director Daniel Nettheim added: ‘Walter is a wonderful collaborator and true craftsman of music for the screen. His entrancing score elevates the emotion and drama of the series to another cinematic level.’

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Such an iconic and groundbreaking title demanded an original, thematic and hybrid approach to reflect its cinematic and immersive gameplay as well as representing the entire legacy of the franchise, including the Modern Warfare and Black Ops universes.

The key element was to find a successful combination of the main theme as well as defining a very distinct overall sound for the music. Lots of experiments happened in this stage. Live recordings were held on a daily basis with instruments spanning from a more classical orchestral setup to custom-built instruments.

Sony wanted to re-launch this extremely popular franchise and I was given a lot of creative space to come up with new themes and a new overall musical tone. In the first meetings the creatives and I discussed the story and the fact that our main hero crosses sides half-way through the campaign and abandons the former allies to fight alongside the Helghast.

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Mair’s diverse repertoire ranges from epic full orchestral scores recorded with 80-piece choirs to intimate, small ensembles and hybrid electronic scores featuring solo instruments and found sounds. To create unique sounds for each score, Mair employs his extensive collection of analog digital synths

The soundtrack features about 40 minutes of ‘heart-pumping’ tracks that will let you relive the ‘drama, fear, and undying courage of war’ experienced in the game … be sure to pay particular attention to the unique sounds for each score.

It’s been far too long since I’ve been swept away by a score that’s truly original. The music from this score bursts to life with choral accompaniment that is as grand and moving as anything I have heard in all of 2008. It’s safe to say that this soundtrack rekindled my energy….

Lauded by critics as ‘setting a new bar of quality for FPS on handheld’ and ‘one of the better first-person shooters, period’ Walter Mair’s music for the latest installment in the blockbuster series reflects a new story set in the Killzone universe and captures the emotional drama, fear and undying courage of war.

The combination of electronic and orchestral sounds was an amazing brief that enabled me to combine my two alter egos, classical and electronic music. I also got to record a lot of instruments live and either leave the sound pure and organic or process the instruments afterwards and run them through chains of effects and outboard gear.

The music had to bridge Ronaldo’s early childhood with his adult life as the world’s best player; his childhood was riddled with life defying moments and the music needed to be sparse and intimate in the early stages and become cinematic and epic in scope without overpowering the picture.

Mair’s soundtrack to Empire: Total War was so well received that it was nominated for a highly prestigious Ivor Novello award. Mair also has experience with all sorts of orchestras and groups, from enormous choirs and full orchestras to smaller, more intimate ensembles and groups.

I like the challenge of producing a soundtrack that is unique in many ways but partly uses known sounds and sources of music that were treated in such way that the origin of the instruments are disguised. This always results in a soundtrack where you think you know what you are listening to but just can’t put your finger on it.

Fighting sequences feature live recorded drums mixed with synthetic drums and big booms that were specifically created for this title. Stealth and tension tracks feature a rich soundscape that consists of many live recorded instruments that were heavily processed to create an interesting and ever-evolving texture.

I am always experimenting with sounds and instruments, recording techniques and layering instruments to produce unique sounds that help the game/movie to set it apart from other titles in a similar genre.

When the mellow and fragile melody played on a piano came in, it brought a tear to their (producers and director) eyes. We kept this track without any further changes and it became one of my favorite moments in the film.

It is always great to work with amazing developers who share the same vision for a project and to be honoured for your work shows that not only was the music well-received but also that the entire team were pushing in the same direction to get music and sound to its fullest potential.

All we had were scripts and some artwork. For me, this was the ideal scenario to start with because you are then an essential part of the project and can contribute to define the overall sound of the game.