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Video Game Audio: Diegesis Theory – Dev.Mag. In a previous article, we looked at the diegesis theory of interface design.

Video Game Audio: Diegesis Theory – Dev.Mag

The theory can also be applied to audio design. Inside the music of the Batman: Arkham video game series. This week brought a new installment to the Batman: Arkham video game series.

Inside the music of the Batman: Arkham video game series

As with all games, Batman: Arkham Knight has been long in development and was anxiously anticipated. Nick Arundel has been involved with the music and sound development of every installment of the series. Arundel worked with Ron Fish on the first two games and Christopher Drake on the third; this time he brought in film composer David Buckley, who has previously worked on games like Call of Duty: Ghosts.

Buckley is a unique and valuable choice, predominantly known for his work as a film composer, with previous collaborations including Henry Gregson-Williams for Ben Affleck's The Town. Buckley has learned a lot from cinema and collaborators like Gregson-Williams, who was a student of Hans Zimmer's and has a particular treatment blending electronics and classical orchestration heavily indebted to Zimmer. Unite 2013 - Runtime Remix: Dynamic Audio in Real-Time. Making it worth listening to – Dynamic Audio Talk from Nordic Game Jam 2013.

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Making it worth listening to – Dynamic Audio Talk from Nordic Game Jam 2013

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FRACT Audio Tech: Connecting to Pure Data. Tuesday 2013.05.28 Here is part 2 of the series discussing the audio tech we implemented for FRACT OSC, check out part 1 here.

FRACT Audio Tech: Connecting to Pure Data

So once we’d decided to go with Pure Data for audio synthesis, the question was, how could we integrate that with the rest of FRACT’s engine? When used in a live performance or gallery setting, the most common way to use Pure Data in tandem with other tools is simply to run them side by side as separate programs. The programs then communicate with each other in some way, often over the network using MIDI or Open Sound Control (a different OSC from the OSC in FRACT’s title). This is a flexible way to use any combination of programs together, but it has a few downsides for a case like ours where we need to put together a robust package that “just works.” Fortunately, there was another option. Proteus. Cold Beam Games - Home. Audiosurf. Bioshock 2 Audio Analysis. Rayman Legends Musical Dev Diary. Inside the Box: The Music of Dragon Keep.

Inside the Box serves as a forum for individuals involved in the production of Gearbox Software content to share personal motives, methods, process and results.

Inside the Box: The Music of Dragon Keep

Gearbox Software projects are created by a diverse range of individuals spanning a spectrum of different backgrounds, interests, objectives and world views. The views and opinions expressed in this article are those of the author and do not necessarily reflect the official policy or position of Gearbox Software or any of its individual members outside of the author. Hello! So, my name is Raison Varner and I was one of the audio guys on the recently released Tiny Tina’s Assault on Dragon Keep campaign add-on for Borderlands 2. For Our Consideration. Pop is a loop.

For Our Consideration

Our favorite music may not always be world-changing stuff, but it is all revolutionary, a series of circles and cycles that go round our heads. The boogie-woogie baseline of 12-bar blues climbs a scale before coming back down. The Beatles cemented pop in the verse-chorus-verse structure that persists today, a halo nestled atop everything from Kanye West to Katy Perry. It’s perfect that we’ve always consumed pop in physical circles as well: LPs, CDs, the looped tape of cassettes and reel-to-reel. Even the iPod, with its classic click wheel and the modern home button, connects us to our music with a ring. This is why people have been drawn back to their old turntables in the unexpected vinyl boom of the past five years: We delight in the physical experience of art.

18 Video Games That Have Awesome Game Sound Design. As most of you will know, a hell of a lot of work goes into developing a video game, and one of the most important but, sometimes overlooked elements of the process is Sound Design.

18 Video Games That Have Awesome Game Sound Design

When you put the words “sound design” and “video game” together you might think of the music. However, it is not just about that. It is about creating immersive sound effects, great dialogue, and melding it together with a highly dynamic score and some audio programming so that it all plays back beautifully, drawing the player into the games reality and providing that most important sense of interaction. It is very easy to mess things up with game sound design, although, it is very hard to perfect it as well.

Here are some of the best award winning games that have been recognised for their sound. 1. Journey was the huge hit last year; not only did they win best Sound Design, they also won Game of the Year at D.I.C.E’s summit. Double Fine and Dropchord Gets You Spinning. Interview With Phillip Kovats (Survivor) by The Sound Architect UK. FRACT Audio Tech: Wrapping Pure Data. Tuesday 2013.06.04 In last week’s post, I discussed how we decided to integrate Pure Data though a native Unity plugin.

FRACT Audio Tech: Wrapping Pure Data

This week I’ll discuss what the plugin actually does, and what sort of role it plays in bridging Unity and Pure Data. Pure Data works with metaphorical “patches,” sets of signal-processing or message-handling objects which are connected to each other with patch cords. There are three main ways we need to interact with a patch: we need to be able to send messages to our patch, to receive messages back from our patch, and to actually process and retrieve audio samples for playback. Heard About: Journey. John Broomhall talks with the audio team behind Journey's award-winning sound design [This feature was published in the May 2013 edition of Develop magazine, which is available through your browser and on iPad .]

Heard About: Journey

Keith Leary is music manager at Sony Computer Entertainment America’s Product Development Service Group, and he’s recently had cause to celebrate. That’s because the work by him and his colleagues on Journey’s audio recently scooped two sound-focused video games BAFTAs. Leary worked as score producer and mix supervisor on the oft-lauded Journey, and here discusses his work on the critically celebrated PS3 game. Congratulations on winning both Original Music and Audio Achievement BAFTAs among the five in total that Journey picked up. Maxis at IGDA. Spectral Analysis: Interview with Jeff Macpherson. Thanks to Brad Dyck for contributing this interview.

Spectral Analysis: Interview with Jeff Macpherson

For the past two decades, Electronic Arts’ FIFA franchise has been the most successful selling sports video game series of all time and Audio Director Jeff Macpherson has been overseeing the sound of the games since 2006. What music does to us: non-diegetic songs in Red Dead Redemption and Far Cry 3 « Gamer Theories. Ask most gamers to name their favourite memory of Red Dead Redemption, and the chances are their eyes will mist over a little and they’ll describe crossing the border into Mexico for the first time. Red Dead’s open, Western setting is beautiful in itself, and crossing the river from the fictional state of New Austin into the harsher, reddened landscape of Nuevo Paraiso is indeed a visually impressive moment.

But what is it that makes this resonate so strongly in gamers’ minds? It’s that as you mount your horse, and set out into the new country, a piece of music starts to play. Not unremarkable in itself – music is as big a part of games as it is films. So what is it about this particular piece of music, the lilting song Far Away by Jose Gonzalez, that enhances the experience so much? The song itself is non-diegetic – that is, it does not “exist” in the “game world”, but is artificially laid on top of that world. Game Audio Podcast Episode #28 – “DYAD, Loudness & In the Field” » Gameaudio Podcast. 0:08:00 Part I – “Dyadness” This episode finds Damian and Anton wading in deep with the creators of DYAD,David Kananga & Shawn McGrath, and explore the synergy between game design, music, sound, and programming.

A fascinating discussion ensues exposing the heart of game design and how it influences the music and sound design of this unique title. Edited by C. Cody Flick 1:08:00 Part II – “Loudness II” After Stefan Rutherford sent us an email with some questions regarding loudness & studio setup we decided to round up with Garry Taylor (SCEE) and Stefan to dig into this field. Especially since Garry managed to escape us at AES in London. 1:45:44 Part III – “In the Field” Anton interviews musician, field recordist, and sound designer Inge van den Kroonenberg about her recent trip to the In the Field – Symposium for Field Recording in London. Rock Band 3. A few weeks ago we flew to Cambridge, Massachusetts, to visit Harmonix to get an inside look at the new character creator in Rock Band 3, as well as spend some time with Dance Central (look for our feature on that next week!). While we were there, we met with a handful of sound designers, who are all musicians, and asked them how they got into the video game industry.

Harmonix is full of talented musicians and composers who play in bands on their own time, so we caught up with members of the sound design team--Pete Maguire, Chris Wilson, Bill Whitney, and Jeff Allen--to get their story. Below are quick blurbs of what they provided to introduce themselves. The Final Hour of Portal 2. Machinarium Walkthrough 720p HD Part 1. Dren mcdonald's Blog - Audio Challenges in a "Gamer's Game for Facebook" The following blog post, unless otherwise noted, was written by a member of Gamasutra’s community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company.

In the last week I did some archive video capture for Ghost Recon Commander before it was taken offline by Ubisoft. Max Payne 3 video delves into Health's original score. The S+V Interview: Guild Wars 2 Audio Director James Ackley. Ackley has been a sound designer since 1997, getting his start at Sierra Online and then moving onto Monolith, where he worked on the and horror shooters and their sequels. But he’s been designing audio since he was a kid. “My friend and I would play with creating echo and sound delays with three different portable tape recorders. At the time, I thought we were doing something no one else had done,” he smiled. But while a few others have done it, sound design for an MMO is indeed different from a traditional game. Traditional games rely on cues and scripted events to trigger sound effects, but in an MMO scripted events are few and far between. Scoring Max Payne 3 With HEALTH. Meet the Composers: Bill Whitney and Chris Wilson.

Robi Kauker’s Planet of Sound with the Sims. Robi Kauker is the audio director for the Sims series at Electronic Arts and for the past decade he’s been helping create the multilayered soundscapes that make up the Sims world. Adjacent to his work in video games is his Critical Monkey project that charts the mysterious territory where ecstatic noise intersects with formal experimentalism. Exclusive: Meet Diablo III's sound team, samples included. Scoring Sanctuary: The Sound Design Of Diablo III. Red Dead Redemption on Top Score. June 23, 2011 Copy and paste the HTML below to embed this audio onto your web page. Audio player code: St. Red Dead Redemption - Soundtrack Behind the Scenes. Behind the Scenes in Grand Theft Auto: Vice City’s “The Lab” (Part 2: Sound) Part two in of our special three-part series in honor of Grand Theft Auto: Vice City's 10th anniversary, "The Lab" - a set of interactive tours through the game's design elements that originally appeared nearly a decade ago as part of an installation recognizing Vice City at London's Design Museum - focuses on the painstaking work poured into the game's sound design.

From the attention paid to the Vice City radio dial which hosted an unprecedented soundtrack of licensed music from the 80s plus original 'talk radio' stations, to the intensive sound design that helped make the game's open world come alive, today's edition of The Lab has some glimpses behind the scenes that have never been published online til today: The music of Wonderbook: Book of Spells. The Music in The Last of Us. Splatterhouse - Behind the Music. 'Sound Shapes' Musical Game Turns Players Into Composers [REVIEW] Games and music have gone hand-in-hand for years, but they've never harmonized as sweetly as they do in Sound Shapes, a platformer out now for the PlayStation Vita and PlayStation 3.

Sound Shapes challenges the player to traverse a variety of unique levels as a rolling, blobby avatar. Each level represents a track on a record, and your character must collect notes along the way to help fill in the music. The tracks are from big name musicians like deadmau5, Beck and Jim Guthrie, and the levels reflect the differences in their musical style. Monkey Island 2: LeChuck's Revenge. The Elder Scrolls V: Skyrim 開発映像 The Sound of Skyrim. F.E.A.R. Designer Diary #2 - Audio and Music. Halo 4 Composing Worlds Trailer. Assassin's Creed Revelations - Behind Constantinople.

Audio Only Games

Casual Games.