Tobias Lilja

It's not a synthesizer, but it's a keyboard that can record sounds and you can play those sounds on a keyboard. So he bought one of those and he kind of taught me how to use it. So that was kind of my first kind of... That was how I was making music when I was a kid. I was kind of sampling other people's music and putting it together, you know, kind of like old school hip hop.

It's not a synthesizer, but it's a keyboard that can record sounds and you can play those sounds on a keyboard. So he bought one of those and he kind of taught me how to use it. So that was kind of my first kind of... That was how I was making music when I was a kid. I was kind of sampling other people's music and putting it together, you know, kind of like old school hip hop.

sampling records and putting it together in some kind of collage fashion. So I was much more interested in that way of working, more than writing songs on the piano. I didn't really know how to do that, honestly. I've always been more interested in the sounds and how things sound and the textures, rather than the melodies and chords and lyrics.

sampling records and putting it together in some kind of collage fashion. So I was much more interested in that way of working, more than writing songs on the piano. I didn't really know how to do that, honestly. I've always been more interested in the sounds and how things sound and the textures, rather than the melodies and chords and lyrics.

sampling records and putting it together in some kind of collage fashion. So I was much more interested in that way of working, more than writing songs on the piano. I didn't really know how to do that, honestly. I've always been more interested in the sounds and how things sound and the textures, rather than the melodies and chords and lyrics.

And that's why I also was really interested in sound design for film, because that was more... That was working with that type of interest more than becoming like a composer because I wasn't really into being a composer. I mean, I don't really know how to write for an orchestra or something like that.

And that's why I also was really interested in sound design for film, because that was more... That was working with that type of interest more than becoming like a composer because I wasn't really into being a composer. I mean, I don't really know how to write for an orchestra or something like that.

And that's why I also was really interested in sound design for film, because that was more... That was working with that type of interest more than becoming like a composer because I wasn't really into being a composer. I mean, I don't really know how to write for an orchestra or something like that.

Thank you.

Thank you.

Thank you.

Yeah, I think one advantage I had was that we started working on the prototype that eventually became Little Nightmares back in 2014, I think. So I had the luxury to be part of that project from the start.

Yeah, I think one advantage I had was that we started working on the prototype that eventually became Little Nightmares back in 2014, I think. So I had the luxury to be part of that project from the start.

Yeah, I think one advantage I had was that we started working on the prototype that eventually became Little Nightmares back in 2014, I think. So I had the luxury to be part of that project from the start.

Since I was working at Tarsier, I was following the prototype, and I also had the opportunity to do sounds and music for the first initial vertical slice, the first prototype that we used to pitch the game to publishers. So I think that was a... That really helps if you're part of the project from the start. You can together really form an idea about the game together. It's much more difficult.

Since I was working at Tarsier, I was following the prototype, and I also had the opportunity to do sounds and music for the first initial vertical slice, the first prototype that we used to pitch the game to publishers. So I think that was a... That really helps if you're part of the project from the start. You can together really form an idea about the game together. It's much more difficult.

Since I was working at Tarsier, I was following the prototype, and I also had the opportunity to do sounds and music for the first initial vertical slice, the first prototype that we used to pitch the game to publishers. So I think that was a... That really helps if you're part of the project from the start. You can together really form an idea about the game together. It's much more difficult.

Like you say, if I would come in the last six months and just try to shoehorn in some sounds in there, that would be really difficult. So I'm a big believer in that you should involve audio designers really early on to... And it's also because you, when you're working with it, you have to be kind of marinated in it for a while to understand it. It's a good term.

Like you say, if I would come in the last six months and just try to shoehorn in some sounds in there, that would be really difficult. So I'm a big believer in that you should involve audio designers really early on to... And it's also because you, when you're working with it, you have to be kind of marinated in it for a while to understand it. It's a good term.

Like you say, if I would come in the last six months and just try to shoehorn in some sounds in there, that would be really difficult. So I'm a big believer in that you should involve audio designers really early on to... And it's also because you, when you're working with it, you have to be kind of marinated in it for a while to understand it. It's a good term.