Discovering twin sisters Sing Ern and Sing Huey, founder of Wow Sound

Today, we invite you into the incredible world of WOW Sound, a collective that links their passion for video games and music.

Their electronic sound world, avant-garde and surprising, sends us to other planets, to cyber landscapes straight out of science fiction films.

We had the pleasure of talking with twin sisters Sing Ern and Sing Huey, founders of Wow Sound project: two charismatic personalities with strong visions.

Head below to read this exciting interview, but first check out their sonic planet by clicking HERE.

Can you introduce yourself to our readers?

We are a pair of twins from Singapore, Sing Ern (older twin) and Sing Huey, who founded WOW Sound. Since childhood, we have loved video game music and began writing music for the game industry in school and professionally in 2012. 

In 2015, we founded WOW Sound, a website dedicated to providing developers with high quality, royalty free sound effects and music.

WOW Sound has over 2500 sound effects and music tracks in a music library with robust filtering and sorting features.

Our Exploration game album has been used in the survival game Last Day on Earth: Survival by Kefir games, with over 100 million downloads. In addition, CJ ENM licensed some of our music for a teen drama broadcasted on their TV Channel and YouTube channel.

How did you start to make music and how would you describe your sound?

Although we studied Music Technology in school, which focused more on the technical side of music like recording and mixing techniques, we had some opportunities to work on music as part of our school modules. In addition, we always loved game music, so we started writing game music in school for game developer friends’ projects and undertaking unpaid game projects for indie game companies to improve our craft. We have continued our music-making journey in the game industry ever since!

We would describe our music as greatly inspired by Japanese game music composers because we played many Japanese RPG and MMORPG games. There are a few genres of music we love to write that range from fantasy, magical, and whimsical to the immersive musical soundscape and anime-inspired happy, upbeat music. You can find our music in a number of recent RPGs and mobile games.

How is your creative process?

We get inspired by the art and storyline of the game as it shapes the way we choose our instruments and musical notes. For example, we could be inspired by one instrument patch, sometimes it starts with a chord progression, and at times it starts with just one simple short melody. It also helps to have composer friends to bounce ideas off and help to give feedback on the music when our ears get fatigued (at this point, we usually think everything sounds excellent or horrible).

But ultimately, we go with how the music makes us feel. So we always want to write music that evokes emotions, whether we want it to be happy, depressing, hopeful, etc.

Tell us more about your latest work!

One of the latest music releases on our site is CYAN TRIBE 2097, a Cyberpunk-style music album by SOUND AIRYLUVS.

The album contains 17 high-end and unique tracks that combine a cinematic orchestra with synth sounds to create a dark ambience. We want to paint a vision of a Dystopian future world.

This is not a collection of monotonous ambient or electro music, but rather, a good mix of songs to use in different situations. We have music that will work well in trailer movies, for action-packed battle scenes, and even for emotional climaxes.

This latest release was done together with the re-launch of our website. Our online music library now includes many new features to search for tracks quickly and efficiently. Users can easily filter tracks by game-genre and moods, which is quite unique.

What can we expect from you in the future?

We plan to work with more artists who love writing for game music to continue growing our music and sound effect library. We hope every music composer can write the music they love and get fairly compensated when their works are used. Some of our music composers don’t get much from releasing their music on the various music streaming platforms even after a few years.

We just started a subscription model for content creators who need a massive amount of music but cannot afford to licence tracks on a per-track basis. We are still experimenting with this business model, but we believe it is a win-win situation for both the artist and the content creator.