Game Audio – The Sound Architect We are very excited to announce some big news! Working with Replay Events Ltd., The Sound Architect will be presenting and hosting a dedicated audio stage at Play Expo Manchester! Founder/CEO Sam Hughes, will be hosting a stage of talks, interviews and some live performances over the course of both days at this year’s Play Expo… Sam Hughes speaks to actress Alix Wilton Regan about her career, her roles in Guitar Hero Live and DragonAge: Inquisition, her charity Play4Calais and more! Sam Hughes speaks to the fantastic Mick Gordon, about his career so far, the DOOM soundtrack, as well as how you get pentagrams and numbers to appear in a spectogram! Sam Hughes speaks to the lovely Rachael Naylor about her acting career, voiceover, The VoiceOver Network, their upcoming events and more! Sam Hughes speaks to Sound Designer/Composer, Matt Griffin, about the game audio for the indie platformer Unbox!
Video Game Sound Design Articles | gamesounddesign.com Follow Game Sound Design! Stay Up To Date With Us! We will never spam you or share your email address. Game Sound Design Strategies GSD Strategies Check out the gamesounddesign.com strategies when you are feeling creatively uninspired. Game Sound Design Glossary GSD Glossary Our game audio glossary has all the sound terms you have been wondering about. 10 Best Game Sound Design Plugins I am often asked what audio plugins I use when designing sounds. Do Your Sounds Need Revision? One important aspect to creating exceptional sound design is iteration. Seven Easy Ways To Backup Your Data What is one of the most important things a sound designer can do to protect their work? Making Interactive Music For Games What Is Interactive Music? Dynamic Music Creation Use Wwise Normally, the goal of adding a song to a game is to accompany an action sequence in a hypothetical game. 10 Tips That Will Make You A Better Sound Designer 1. Myths And Missed Opportunities In Games Overcome Writer's Block Dear FMOD
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. 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. Another non-diegetic song can be found in Ubisoft’s Far Cry 3. Burn! Why does this work so well? Yet the opposite is true. “…this song was perfect for this mission and made it feel truly insane […]. Like this:
A Life Well Wasted Updates: Audio Now's the time to submit talks for the Independent Games Summit at GDC 2017! by Staff [09.15.16] Good news, would-be GDC speakers: 2017 Game Developers Conference organizers are now accepting Independent Games Summit talk submissions through Friday, September 23rd. Indie, Programming, Art, Audio, Design, Production, Business/Marketing, GDC Don't Miss: Have @ You! The history of Rogue by Matt Barton, Bill Loguidice [09.14.16] Gamasutra contributors investigate the origins, permutations, and legacy of Rogue, one of the most quietly influential and long-lived games ever created, in this classic feature. Now's the time to submit talks for the Game Career Seminar at GDC 2017! Submit your Summit, VRDC talks for GDC 2017 now! Don't Miss: 10 seminal game postmortems every developer should read by Alex Wawro [08.01.16] These timeless game postmortems, written by pioneering designers like Warren Spector and Dr.
tonebenders » for your ears Lost Chocolate Blog: Footsteps – Informal Game Sound Study THE STOCK MARKET Lately, I've been taking stock. Not the usual “What have I done with my life?” or “Where is everything headed?” (although those questions perpetually tumble around my brain stem on a regular basis); I somehow found myself obsessed with the minute details of movement sound and system design. If you're working in games today, chances are good that you've recorded, implemented, or designed systems for the playback of character footsteps and Foley at some point during the course of your career. It's even more likely that you've played a game where, at some point during your experience, footstep sound wrestled your focus away from the task at hand and demanded your listening attention. Yet, let it be said, all footsteps are not created equal – which seems obvious given that no two games are exactly the same, neither should their footsteps or the way in which they are implemented be (necessarily) the same. “the footstep system uses more than 1,500 original recorded samples.
Experimental Game Dev Podcast Show Game Audio Ideas in Sound Design: Semiotics and Language – Part 1 Cross-posting from my personal blog. Let’s start off with a disclaimer. I am no expert in linguistics and semantics, nor would I consider myself truly conversant in the many critical models employed in film theory/criticism. Semiotics was something waved in front of my eyes a couple of times during undergrad (where I did not studio audio or film, by the way), then explored in much greater depth during a course in my graduate program. For this article, I’ll be falling back to some of the general concepts of Semiotics. So, what the heck is Semiotics? This article will be focusing primarily on some of the concepts developed by Ferdinand de Saussure. At the most basic level, you could think of the signifier as the pointer file in your project that tells your DAW which audio file to play. You might argue that a chair is a physical object, but “chair” is really more of a category. The connections that exist between signifier and signified are culturally dependent. [from dictionary.com]