Chapter 3 – Disciplines of Sound Design

There is a variety of disciplines requiring proficiency for a successful game sound design career. Since games utilize an assortment of sound styles, a good sound designer will need the knowledge to work expertly within each area to create sounds that are appropriate and of high quality. In the film and television industries, sound design disciplines are highly specialized and require specific talents and years of experience to be considered respectable. We’ve discussed previously that a career in sound design is within reach of those who have a good ear, engineering and production chops, and are proficient with audio editing software. The next step is to refine these skills further and apply them directly to a specific discipline.

Foley

A foley pit allows sound designers to record samples used in post-production

Foley (named after Jack Foley, one of the earliest practitioners of the art in the Hollywood film industry) is the art of creating general movement and object-handling sounds that are in sync to onscreen actions. In film, this is used extensively to create or sweeten existing footfalls, clothes rustles, body falls, hits, weapon handling, and other general sounds a character would make while moving through a scene. Since the dialogue is the most important sound being captured at the time, these other movement sounds are missed or purposely deadened during each take with the knowledge they can be recreated later during foley. To accomplish this task, foley artists will gather suitable props and set up insulated “pits” with the appropriate surface types and make a few run-throughs before an actual recording. When the artists are fully practiced, they will then “perform” the scene and recreate the missing sonic elements in time to the visuals. Foley work is like working in “stealth mode” because it works best when it isn’t noticed.

In games, “foley” refers more to the type of sound effects rather than the methods used to create them, although they can be captured similarly. Many games developed today require sounds such as footfalls, body hits, or object-handling noises for the purpose of adding a sense of realism to what the player is experiencing. The main difference between film and game foley work is how the sounds are “performed” and how they are ultimately implemented into the game medium.

Game cinematics are the most similar to film with regard to foley. The onscreen action is defined, happens predictably, and is the same no matter how many times it is viewed. Sound designers are tasked to create each sound within this mini movie—from simple footfalls to massive explosions to everything in between.

The foley sounds can either be “performed” to the pre-existing cinematic or they can be recorded and edited individually and later synchronized during the audio post-production process. Either way, the end result is nearly the same. The lines may be a bit blurred between the “types” of required sound effects, but this is where being familiar with each discipline of sound design really comes into play.

Footfalls are by far the most performed sound in film and a good example for discussion. Since they are recorded live while the foley artist is viewing the scene, each footfall is naturally distinct. The pitch, intensity of the step, and variation of the surface will change each time—whereas no two will ever sound the same. Within the game environment, memory constraints often limit the amount of sounds available—and for sounds such as footfalls that may be repeated continuously, there are sometimes only a few variations that are actually implemented.

Repetition is not the most preferred use of a sound effect, and every effort should be made to ensure that players never notice they are hearing the same sound repeatedly. For footfalls, having several individual sounds to trigger randomly is one way around this pitfall. The sound engine can also be programmed to alter the pitch and volume of each step or add effects processing, such as reverb, as the repeated sound is triggered. Either way, the production team should keep repetition of sounds to a minimum and strive to keep the playback of each sound fresh.

Remote Recording

Obtaining sounds remotely—outside of an acoustically treated studio and in uncontrolled conditions—is the extreme end of sound recording and something that game sound designers do quite frequently. Not only do they need the patience and skills to accomplish the job effectively, but specialized equipment is required to make the most of what can often be the absolute worst of circumstances. Game projects, like any other form of entertainment, rely on the sound professionals to give them their own “audio” identity; since everyone has access to the same sound libraries, the only way to ensure originality is to grab the remote gear and hit the road to capture previously unrecorded sounds. Not only does this fulfill the need for fresh sounds, but it also ensures that the copyright ownership of the recordings can be transferred to the game developer if required.

The game project will dictate the type of sounds needed and the preferred method for obtaining them, with budget constraints and contractual points further defining the path required by the sound designer. Large budgets will usually allow for field recordings to capture unique sounds; in this situation, the developer usually insists upon full ownership of any recordings the sound designer makes while performing work for the contract. Smaller-budget projects might rely more on sound library recordings or will allow the recordist to retain the rights to the sounds captured. Many options are possible to meet the needs of all parties involved.

Remote recording typically encompasses sessions that can’t be achieved within a recording studio due to safety, health, or size issues, or even scheduling conflicts. It’s extremely impractical to record a race car engine, cannon shots, or smashing debris in a studio for many reasons; the only reasonable solution is to take the studio on location. With battery operated recorders and microphone pre-amps—and a variety of sturdy field microphones, stands, booms, cables, and bags of necessary extras in hand—the sound designer is fully equipped to ensure that at least the technical requirements are met.

Even with the right equipment, recording in the field can be fraught with unpredictability. The location of the objects or environment being recorded can also make a huge difference in the process. It is entirely possible to capture solid, useable sounds in between jet arrivals at the local airport, but this situation would be totally unacceptable for quieter, ambience effects. For those, selecting a better time of day or night might be the best way to avoid unwanted interruptions.

Remote recording can be quite a challenge regardless of the experience level. Rain or high winds can devastate recordings and equipment. Blistering heat or piercing cold not only affect the gear but the operators as well. Mechanical issues with the recording devices and the objects being recorded often bring the session to a grinding halt. Uncooperative bystanders can interfere at the most inopportune times, rendering takes unusable. Animal subjects almost never perform on cue—and when they do, the sounds they make aren’t the ones needed. In the end, remote recording is a test of patience. Since the variables are great, almost nothing is under your control and it often takes an extraordinary effort just to be there in the first place. The sound designer has to be ready for anything.

In-Studio Recording

In-studio recording is the most desirable method for capturing quality game sounds. Not only are the conditions controllable and predictable, but studio gear is often of higher quality than smaller, portable equipment. Most large game developers have spent thousands of dollars on acoustically designed and well-equipped recording spaces for their in-house audio teams. Third-party contractors spend a large part of their budgets on recording equipment and also take great care with their own personal spaces. Even those who don’t have defined areas understand the importance; they typically ally themselves with commercial recording studios when the need arises. Recording spaces are an important tool in the game development process.

Beyond sound effects such as car crashes, jet engines, and explosions, studios are useful for practically everything else. From the subtle sound of an expended shell casing hitting the ground to the dynamic strike of a crowbar forcefully colliding with an old car hood, the controlled conditions of the studio will make the job easier and give better results. Random outside noise is seldom a factor, and the sound designer can focus on creating the perfect sound instead of having to rely on luck out in the field.

The best part about working in the studio is the abundance of quality tools close at hand. Whether sounds are being recorded into a top of the line Pro Tools system or through an analog board to an analog multitrack tape deck, the chances are that the gear being used is far better than any remote gear available. Outboard processors offer choices of preamps and real time effects that can be invaluable during the creation process. Let’s not forget the security of having backup equipment available in case something becomes inoperable. Studios are definitely the first choice when recording game sound effects.

Original Recording

Most creatures, vehicles, weapons, and alien planets depicted in games don’t actually exist in the real world. Due to this conundrum, the simple task of sticking a microphone in front of something and recording it won’t come close to producing the results a game may require. Using sounds that are associated with familiar objects in real-life risks breaking the immersive effect of the audio—something that must be protected at all cost—so it’s not prudent to even consider that route. Instead, game sound designers turn to another one of their many skill sets to provide the answer: original recording and development.

There are thousands of ways to create “make believe” sounds, but it takes a measure of skill to ensure that it is done believably. The type of sounds needed will drive the initial creative direction, whether it is based on something real or something completely fabricated. For example, we can assume an alien spaceship must have a power source to propel it through the depths of space.

Creating the engine sound could easily be based on a pre-existing rocket or jet engine sound, or even sound from a vacuum cleaner—anything that gives a sense of “power.” These sources could be driven though various effects processors or plug-ins to give the appropriate “alien” feel to them and then layered to create the final sound. These types of sounds, based on real objects, work well because they give a sense of familiarity but are different enough to be believably alien.

Contorting pre-existing sounds isn’t the only route the sound designer can take in the original development process. Sounds can be generated entirely from scratch through a variety of sound sources such as keyboards, sound modules, virtual instruments, samplers, or tone generators and then processed and edited to create the needed effect. This method is often preferred in instances where pre-existing samples are unavailable or when the overall audio theme prescribes a more electronic feel. Using the previous alien spaceship engine sound as an example, this can also be created believably using this method. A simple low synthesizer note could be linearly pitch shifted (some audio editors refer to this as “pitch bend”) and edited in such a way to replicate an electronic sounding “power up” effect to serve the purpose. There are also times when layering “electronic” with manipulated pre-existing sounds will produce the perfect sound effect. The key is to be open to trying whatever it takes.

Sound designers also have the option of utilizing specialized software or effects processors designed specifically to create unique, one-of-a-kind sounds. Sound-mangling software in particular generates its own signal, adds effects processing, and morphs it into the direction of the user for some often spectacular results. While the sounds created are unique, the disadvantage is that the amount of experimentation often needed to create anything useful can slow the creative process. Knowledge of the software’s capabilities will streamline the effort and maintain productivity.

Sound Libraries

Sound libraries can be lifesavers when creating sound effects. The advantage of sound libraries is that they provide a wide selection of sounds in many formats (e.g., DVD, CD, or download). These high-quality recordings save massive amounts of time and place the expense of creating them on someone else for a change. The prime disadvantage is that everyone has access to the same libraries, and it can be tough to maintain any kind of originality. Many times an overused sound will actually distract players as their minds associate it with something else they’ve heard in the past. Breaking the spell of the game can be avoided by staying clear of such overused sounds.

Using sound libraries and being familiar with their content is a skill acquired with experience. Good sound designers can match particular sounds to their associated libraries (usually after hearing them on a movie or television program), and this familiarity translates well when knee-deep in a project of their own. Grabbing the exact library and file you need saves enormous time and keeps the creative process rolling, something which is appreciated with a rapidly approaching deadline. Knowing how to effectively use sound libraries is an essential skill.

Sound libraries typically contain regular audio or digitized files (e.g., .wav) and are also available in CD, DVD, and occasionally hard drive formats for the large collections. While sound designers have the option of auditioning and saving audio tracks straight from disk, most will save each library as digitized files for easier archiving, faster auditioning, and streamlined use. Since sound for games is digitized as part of the sound design process anyway, doing this step beforehand can save an incredible amount of time over the course of a production.

Tommy Tallarico’s SFX Kit

Being familiar with each library is essential and will help make the creation process more efficient. A general knowledge of the sounds available—their quality, usability, and how they are labeled—will simplify the process. In order to manage literally millions of separate sounds, it’s common for sound designers to make use of a variety of search tools—utilizing keywords such as “stab,” “zap,” or “whoosh” to find a specific sound. These functional search tools can be found online at vendor websites or packaged with each library.

Determining Required Sounds

“During the preliminary planning phases of game creation, the sky is the limit. The game will have brilliant 3D graphics, intuitive gameplay, a full orchestral score, Star Wars quality sound effects—and it will all be done in six months for under $100,000.” If only the reality of game development were that optimistic. Plans change and compromises are made due to many stumbling blocks that present themselves along the way.

On the sound front, many developers feel that everything that looks like it can make a noise has to have a sound created for it. A sound asset list is fleshed out, and the sound designer is given the daunting task of producing each one according to this initial assessment. However, as the development cycle progresses, it becomes painfully obvious that this first plan is overly ambitious and adjustments have to be made. Initially, the game platform’s memory and processor restraints become apparent, as artwork and other assets compete for a defined capacity. Not everything will fit through the pipeline efficiently, so the number and size of the assets are reduced. Disk or cartridge space on which the game is to be stored also has a finite volume—and, once again, assets are reduced or compressed. Unfortunately, the audio is usually the first to fall victim—and drastic steps are taken to make it work.
Sound effects that were presented in the first sound asset list are reevaluated with the idea of reducing the amount needed. It’s often an unpleasant task, but there are obvious choices that can be made. Footfalls, gunshots, explosions, and any other sound that may be heard multiple times can be strategically cut back. It may have been a great idea to reduce repetition by having a dozen different footfalls for each surface, but this could easily be cut in half if needed. The same could be done for gunshots or explosions as well. Since these types of sounds can be coded to trigger randomly, the development team can get away with using fewer of the same types of sounds in order to save space.

A simple test can be constructed to determine how many variations will give the illusion without being repetitive. During chaotic gameplay, typically found in action games such as FPSs, a player can easily suffer from sensory overload. With explosions, gunfire, screaming, ambience, environmental sounds, dialogue, music, and everything else playing at once, the soundscape can quickly become a nightmare. Even if everything has an associated sound to it, this doesn’t mean they have to all play at once!
Developers select sound effects based on their entertainment value and those that best convey what is happening in the game at that moment. When sound effects are implemented, they will be prioritized in order of their importance with these ideas in mind. In an FPS, gunshots, explosions, voice commands, and character sounds will have a higher priority than sounds which occur in the distance or off screen. As a game moves further into its development, sounds that are consistently tagged as low priority and serve no specific purpose might be dropped in order to save processing power or space. There’s a delicate balance between creating a believable soundscape and confusing the player with the bombardment of sound. This is an issue definitely worth considering for the sake of a game’s quality.

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Sound effects serve a very specific role in video games; they entertain, provide feedback, present important information, and breathe life into the virtual world. Without them, the experience would be far from satisfying. Sound designers have a huge responsibility to the development team, the game itself, and the player, to create and implement an effective soundscape using a wide variety of unique skills and tools. Game sound design is not an easy job by any stretch of the imagination, and doing quality work takes effort. By establishing a solid knowledge base—and having the appropriate equipment and the skills to do the job well—the sound designer can be a powerful force on the game development team. While past stigmas still haunt the audio side of this business, players are pleasantly surprised and impressed with the utility and quality of today’s sound effects. All it takes of the sound designer is well-directed effort and the desire to do the job well.

Chapter 4 - Sound Design Thought Process

There is a certain mindset the sound designer will employ as the actual creation process begins. Understanding the purpose of sound effects will serve as a good start, but going back a little further into the human psyche will shed additional light on the subject. What distinguishes average sound designers from great ones is their use of sonic elements to actually influence how players feel when they hear the sound.

A little understanding of human psychology can allow the sound designer to create sound effects with emotional impact. We have been conditioned all our lives to respond to sound—such as answering the telephone when it rings, going to the door when there is a knock, and running out of the classroom when the bell sounds. A siren, scream, or loud bang elicit a specific response: to immediately evaluate any threat and our well-being. Other sounds cause us to react physically—such as fingernails scraping a chalkboard, a snarling dog, or the grinding crunch of a breaking bone; these can cause discomfort or fear. A great sound designer will take advantage of these pre-conditioned responses, creating intense and emotionally charged sound effects.

As the sound designer reviews the sound asset list, the next step is to formulate an approach to creating them. Professional sound designers are always listening to the world around them. This simple act hones their creation skills and helps them determine how to go about capturing or recreating any game sounds from scratch. Can the needed sound be captured, or will it have to be manufactured? Is the sound of the object being portrayed “real” enough, or should another sound be used instead? Unfortunately, not all actual sounds are interesting enough for entertainment purposes and will often need a little enhancement to make them work. Either way, these types of creative decisions need to be made early in the process.

A gunshot in a film is typically a loud, forceful sound that portrays the urgency and power of the situation; it grabs your attention and makes a very influential statement. In reality, a gunshot may carry the same strong statement in the action itself—but its sound is nothing more than a simple, unexciting “pop.” A game that is trying to engage a player and evoke a strong emotion can’t do it with a toy gun that goes “pop, pop, pop.” Instead, it has to convey the fury with something much bigger such as a “BLAM!” However, if the goal of the game is to be as realistic as possible, then maybe other sounds or musical accompaniment will be designed to provide the emotional statement.

A machine gun burst is a series of quick, explosive sounds that have a loud, fast attack and then decay rapidly (Audition, shown).

Creating a gunshot that provides guttural satisfaction every time the trigger is pulled requires a little creativity. It would be logical to start with an actual gunshot, but this is not always necessary. Finding or creating other elements with the same sharp, explosive characteristics is all it takes to make an exciting and satisfying sound effect. One or several of these can be layered appropriately to create an original sound effect that will do the trick.


When faced with any sound effect, it is a good idea to strip the sound to its basic elements and create with these in mind. A gunshot is a quick, explosive sound that has a loud, fast attack and then decays rapidly. What other more available sounds contain these types of characteristics and could be used to create or enhance the sound? Consider the crack of a high pitched snare drum, the hit of an oak axe handle, the burst of a balloon, the smack of an empty tennis shoe on a concrete floor, the slam of a wooden cabinet door, or a pre-recorded explosion pitched higher all as acceptable elements. Layer these sounds, apply appropriate equalization (EQ), add a little reverb—and it’ll start to sound pretty good. By shifting the focus away from just simply recording the gunshot, experimentation will lead to better, exciting sounds that really make a statement. This fundamental thought process will lead sound designers down some interesting roads throughout their careers.

The best way for a game sound designer to get into the proper mindset is to be completely immersed in the game—to live and breathe it. The sound effects creator needs to fully understand the game’s intentions, characters, and environment in order to create sounds that are appropriate; being totally consumed by the virtual world they will portray is the best way to do this. Obtaining copies of any artwork, storyboards, rough versions of the game, and completed music will serve this purpose well and is highly recommended. Most sound designers find this look into the world they are creating gives them much needed inspiration.

Game Sound Development Cycle

With the boundaries fully established, it is time to get to work. This phase is highly subjective due to the variety of opinions that saturate the production team. If the sound designer is lucky, the producers will recognize the talents of the audio experts they hired and let them create unencumbered. The pressure is already immense, but having a nervous producer constantly breathing down one’s neck can really turn up the heat. Since the producers are ultimately responsible, it is understandable why they are so concerned—but if the sound designer remains professional and does some extraordinary work, there will be more room to do the job.

Sound designers approach the creation of each sound effect differently, based on their personal working styles. Some will record or gather sound elements that they feel can be used during the creation process and use these as a foundation for most of their sounds. Others will approach each sound individually, confronting the logistics as they appear and deciding on the more purposeful approach instead. Others will have a good idea already worked out in their minds and manage it methodically, while some prefer to accidentally stumble across a workable idea. There are as many approaches to the process as there are sound designers; it’s just a matter of finding what works best and leads to the best results.

Not everything can be planned—and even if it is, there are no guarantees that the final sound effect will even work within the confines of the game. It’s a good idea to remain open to doing whatever it takes to create appropriate sound effects, even if the methods seem unconventional or are a bit outside of the comfort zone. A sound designer’s identity is not only about how well the job is performed but by the flavor and style of the designer’s unique personality and working methods.

Sound Recording

The most common technique of creating sound effects is to record them directly from their source. This ensures their originality and increases the chances of capturing the exact audio the sound designer hopes to achieve. Available sound libraries fulfill this role as well, but there is always a necessary compromise in having to settle for a sound that is “close enough.” This method is a logical approach to sound design, and maintaining creative control is a definite advantage. The main rule to respect when pursuing this particular option is to make recordings incorporating the perspective in which they will be played back in the game. It’s tempting to record everything close up to capture cleaner recordings, but the end result is that everything will ultimately sound just that: close up. Volume, panning, and reverb effects are tools that may be used to add air and provide additional depth—but nothing expresses the intent of the sound better than capturing it from the viewpoint of the player.

Background sounds and ambience should be captured from a distance as a stereo recording to take advantage of any natural spatial interaction. When heard within a game environment, these properly recorded tracks will provide a more realistic atmosphere and make the entire experience more believable. These can also be taken a step further by recording them in surround, assuming they will be played back in the game in this format. Any games can benefit from this type of treatment, especially those that depict a living environment.

Sound effects that are part of an onscreen character’s immediate vicinity are best when recorded from a medium perspective as either mono or stereo. First-person shooters (FPSs) such as Medal of Honor or Half-Life 2 make heavy use of sounds such as weapon handling, footsteps, body falls, and injuries that directly concern the player—and their realistic representation is necessary for the immersive effect. These sounds can be recorded from a closer distance and adjusted with volume, EQ, and reverb if necessary—but in order to produce sounds of the highest possible quality, this should be avoided.

Close miking is a technique that serves its own specific purpose in sound effects production and often yields interesting and sometimes unexpected results. A sound that is recorded close to the microphone brings out exaggerated elements that under normal circumstances wouldn’t be noticed. This practice not only allows for a cleaner recording—but the recorded object can be used for something entirely different, resulting in a unique presentation and a previously unheard sound.

Listening Up Close

Operating a retractable ball point pen from arm’s length produces the standard “click click” sound associated with a standard pen. However, when held against the ear, the simple “click” becomes more complex—and the sounds of scraping plastic pieces and the “ping” of the spring is very apparent. This closely miked sound could be used as a toggle switch or, if lowered in pitch, as a weapon loading sound. This method can completely change the approach to creative sound design and is well worth the effort.

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Game Development Essentials: Game Audio Development
Aaron Marks & Jeannie Novak
© 2010 Cengage Learning Inc. All rights reserved.

The following article is an excerpt from Game Audio Development (Chapter 3). It’s used by permission of Delmar/Cengage Learning.

Introduction

Sound effects have an incredible influence on the overall game experience. While a game may be able to get by without music or dialogue, one without sound effects will be very disappointing. It’s inconceivable to think of players firing “silent” weapons or seeing soundless conflagrations erupt in their paths. Early games may have been rudimentary, but their designers always understood that sound effects are more than just entertainment. The complexity of today’s game sound has led to an entirely distinct job description and career path—involving the creation of nearly everything the player will hear. From environmental ambience to button presses to player feedback sounds, the sound designer imagines, records, creates, and edits sound effects. The term used for the creation of sound effects is referred to as sound design. The primary function of a game sound designer is to create sound effects and assist in their implementation. Effective sound can elevate a solid game to something even more fun and entertaining— but poor sound can bring a great game down a few notches. Keep this in mind as we discuss sound effects in this chapter—and focus your attention on creating high quality sounds that not only fit the game but actually set the bar high for the rest of the team to meet and exceed.

Purpose of Game Sound Effects

Sound effects exist specifically to give feedback to players, immerse them inside the virtual realm, and provide an entertaining experience—all of which are key ingredients to a successful video game. Since a game is nothing more than lines of code and pixels of colored light, the sense of sound is what adds warmth and familiarity to what is happening on the screen. Although many current games employ 3D and even hyperrealistic images, the player is still only looking at pixels; the only “real” sense fully experienced by the player is sound. Granted, players aren’t hearing a “real” bird chirp or weapon fire—but the sound they do hear is an actual recording of the real object or a close reproduction of it. Whether it is a “real” sound or not, the impact is the same and the sound plays its specific role.

To illustrate what sound does for the virtual experience, turn on a movie and mute the volume. Without the sense of hearing, clues to what is happening on screen are difficult to detect. While the actors and their surroundings may be visible, the subtlety of their actions and environments are missing and the personal connection you may have felt by being a part of the “scene” is completely absent. What is happening “off camera”? Is there a hurricane madly blowing outside? Are there tanks rumbling by? Is there gunfire or shouting? Often what is happening outside the field of view has a huge impact on the emotion of the experience—and if it’s never heard, half of that “experience” is completely gone. Worse, with the audio absent from the onscreen visuals, sounds from the physical surroundings in which the film is being viewed will invade and detract from the immersive experience. That’s why the sound of others talking in a theater during a movie frustrates many movie goers; the audience hates being forced back to reality by outside distractions.

Let’s also take a look at this occurrence within the settings of a video game. Find a game that allows control of the sound effect volume and turn it off—leaving the music and dialogue untouched. Starting with the menu screen, press a button. Besides seeing the button press and the screen changing, what happened? The player has no aural feedback from pressing the button, and vital clues or emotional reinforcement to this simple action is missing. A good game experience is one that will totally immerse the player; something as plain as a button press can set the stage and convince players that they are actually doing something within the virtual setting. This minimal action still requires a sound—something which is true to the experience and makes it convincing. Button sounds for games such as Halo and Medal of Honor are not identical and incorporate the themes of their respective games.

As you continue through the game, your mind expects to hear environmental sounds, feedback from any actions you may be engaged in, and sounds that match what your eyes are seeing. In the absence of these sounds, we are unable to receive clues or judge what is happening to us or around us. In reality, consider that even within a completely quiet room, we are always aware of the others around us, the mood and atmosphere that is present, whether we are safe or in danger, and other signals that would indicate what we might need to do. While there may be other forces at work here as well, such as visual or physical indications, the cues we hear play a huge part in determining our well being and what is going on around us. Yes, we may be sitting alone in a quiet room—but in the next room over, someone else may be hurriedly moving about, rustling through the medicine cabinet looking for aspirin. Outside, there may be emergency vehicles and sirens blaring, rushing to a nearby disaster. Screams in the hallway might reveal that the disaster is too close for comfort and that you need to take shelter or run for your life! But, sitting with headphones on with the sound blasting, you’d be completely oblivious. Sound effects in video games accomplish much in the way of setting the mood of the environment—giving clues to the surroundings and providing some great entertainment in the process.

Understanding the purpose of sound effects is a good first step to appreciating the objectives of a game. This broad knowledge will guide the production team and sound designer in the creative process to take full advantage of any features of the audio engine and to use sound effectively within it. Understanding which specific areas within the game environment require sound and the purpose they serve is equally important and will ultimately direct the audio production to a successful end. The purposes of sound effects include:

• Setting the mood: Whether silly or serious, sound effects can help set the appropriate mood of a game through everything from simple button presses to ambience tracks. For example, games designed for the younger crowd, such as Putt-Putt Saves the Zoo, use fun, cartoony sounds to keep the mood light—while horror-themed games such as Resident Evil IV and Doom 3 make effective use of dark, eerie sounds.
• Adding realism: The Medal of Honor series utilizes era-appropriate sounds that create authenticity and help players feel as if they are participating in 1940s conflicts. Sounds associated with weapons, aircraft, and vehicles are specifically designed to match those heard during that particular time in history. Background ambience is also used extensively in these types of games, suggesting that action is taking place all around the character.
• Providing clues to surroundings: First-person shooters (FPSs) such as Halo, Call of Duty, and BioShock make good use of sounds to alert players to clues and other activity within the immediate environment. For example, players looking for a waterfall as a next waypoint would first hear it faintly in the distance; it would then increase in volume and from a more defined location within the sound field as they approached it.
• Enhancing entertainment value: A video game’s primary purpose is to entertain, and sound effects are integral to the fun. Nothing beats hearing earth-shattering explosions, gunshots, or car crashes in direct relation to your actions. The shot sound in the casual game, Zuma, is so satisfying that players find themselves looking forward to the next click of the mouse.
• Creating tactile and interface feedback: Creating reality in a virtual environment is often a difficult proposition. In real life, something as simple as flipping a light switch produces a subtle sound that provides important feedback. These sounds are even more important in a game setting by notifying players that their actions have accomplished something that can’t always be visualized. Consoles such as the Xbox 360, PS3, and Wii provide audio feedback for button presses and screen transitions.
• Establishing brand identity: Nearly every game produced today strives for a fresh and innovative identity. In attempting to develop an original look, feel, and sound of a game, the developer is inadvertently creating a recognizable brand identity that defines the game and any others within a series. Consequently, anyone seeing artwork or hearing a sound can instantly identify that particular game. Popular game series such as Guitar Hero, Halo, and Need for Speed are easily recognized by their “sound.”

Placing Sound Effects

Each video game title has specific places where sound effects are a “must”—in start screens, active interface menus, cinematics, and gameplay. Every game—from simple puzzle games to full-blown, massively multiplayer online games (MMOGs)—uses audio in these places. Let’s take a closer look at important areas to place sound effects.

Animated Logos

As a game loads, players are met with a variety of animated logos for publishers, key developers, and other creative forces. It’s obvious these are there to promote the companies who are involved in the game’s creation and distribution, but they also serve another more subtle purpose. Without knowing it, the developer is setting the stage for the player, building the excitement, setting the mood, and most importantly, making sure the sound is turned on. Grabbing players and absorbing them fully in the experience can’t be done if the sound isn’t working, and this is the last chance to ensure the player doesn’t miss out.

These sounds don’t have to be fancy or even that noticeable, really. A slow “whoosh” or simple “click” is subtle enough to do the trick. However, this doesn’t mean the player can’t be wowed from the opening screen. The sound designer can really have some fun creating these types of sounds!

Cinematics & Cut-Scenes

Opening/closing and transitional “movies,” respectively known as cinematics and cut-scenes, establish the story’s background and drive it forward, set the mood, provide needed clues, and give praise for completing a difficult level. They are typically found at the beginning of a game, between each level and as the final sequence at the game’s end. Occasionally, they are also found within each level or prior to an encounter with a “boss” character in order to highlight a shift in the story plot and add appropriate tension or excitement. Since these “mini movies” are non-interactive, it’s also a good opportunity for a player to rest and mentally regroup before the next event.

Any major game release today uses a powerful opening cinematic to set the stage. StarCraft: Brood War is a classic example of a well produced opening movie that immediately grabs the players’ attention and aggressively sucks them into the virtual experience. The sounds that accompany these significant features are usually of the highest quality and created by the most experienced sound designers within the team. Since the first impression of a game establishes its overall perceived quality, opening sequences usually hold nothing back.

In-game cut-scenes propel a story forward by summarizing what the player has already accomplished and alludes to things to come in upcoming game levels. WarCraft III uses this tool effectively to not only reward the player for recent victories but to introduce a major twist in the story when Arthas, the returning hero, betrays his father. These types of movies are often very dramatic and depend on audio to portray the mood—in this case changing from triumphant to dark.

With a player investing an incredible amount of time in a game, successful completion is a major accomplishment. Reward for this feat often appears in the form of an ending cinematic, skillfully designed to leave the player feeling good about a victory while revealing more of the plot. Prince of Persia: The Sands of Time is a good example of a finale that gives meaningful context to the game and heightens the overall game experience as everything is put into perspective. The audio remains true to the game and adds much to the sense of drama.

From a creative standpoint, sound effects are produced and integrated into this pre-scripted medium similarly to film. Background ambience, foley, and other required sounds are created utilizing a myriad of techniques with an edited sound file as the end result. There are no implementation issues or audio engine limitations to be concerned with, but there are specific post-production details to consider so that the work is effective.

Sound effects are mixed with background music and dialogue so that volume, panning, and equalization are adjusted appropriately; they are accurately synchronized to animations to match what the viewer is seeing. Sounds are prioritized to preserve the intentions of each scene, keeping the overall soundscape manageable and understood. Finally, the sounds serve a specific purpose—whether to add believability and a sense of realism, or simply for entertainment.

Interface & Menu Screen Effects

The interface is an onscreen menu area where adjustments to the console or game features can be applied. Interfaces can be either pre-game menus that appear during or immediately following the initial start-up sequence, or in-game controls and features that typically frame the viewing area; they can also be active menus that require feedback from the player, or passive heads-up displays (HUDs) that inform the player. In-game interfaces allow players to make quick adjustments during gameplay and provide important information regarding health and supply status, location, and clues necessary to successfully complete a sequence.
World of WarCraft utilizes an effective in-game interface. A usable interface is important in this type of game due mainly to the often incredible complexity of gameplay. Character and inventory management, player health and status, map, and messaging windows all are available on screen for quick access and to streamline play. Associated button, screen transition, and attention sounds, while subtle, are present to provide the needed tactile feedback and to audibly verify that the player has selected what was intended. Since interface screens depict what the character would be carrying in real life, their visual and audio qualities should reflect this in an understated manner.

Menu screens can be simple or complex, depending entirely on the needs of the game; the sound effects created for these areas are usually fairly subtle and are always within the game’s theme. Button sounds, ambience, environmental sounds, alarms, attention signals, and other audible indicators are typical for these areas. Music loops and occasional dialogue will also share the soundscape, and these elements must work together.

::::: Matching the Theme in Call of Duty 3

Sound effects should always match the theme of the game. There are many games within specific genres that utilize sound effectively and illustrate the concept of theme more clearly. Call of Duty 3 is a good example of a ‘World War II’ based game series that recreates a variety of conflicts during that global struggle. This particular game not only portrays warfare associated with the era realistically, but it aims to accurately recreate weapon, vehicle, aircraft, and environmental sounds in their full glory.
Great care is taken to remain clear of ‘modern’ and other inaccurate sounds or any other sound that might break the spell. Everything from button sounds to ambience adheres to the theme of the game—making the sounds very effective.

Ambience & Environmental Effects

Background ambience and environmental sound effects are what give “life” to a game’s virtual world. With total immersion as an objective, these sounds not only add a sense of realism to the visuals but also help mask any sounds in the player’s living room or bedroom. Whether the scene takes place within a hectic cityscape or a quiet countryside, sounds indicating activity within the setting are a must.

The overall ambience is often complemented by specific environmental sounds from significant objects present in the location. A cityscape may have an ambience that includes the general “rumble” of the city—such as traffic noises, construction sounds, and airplanes flying overhead. Environmental sounds portray items that a player encounters while exploring this setting; a fire crackling inside of a trash bin, a buzzing street lamp, or a gushing water fountain are possible noise-making objects that players expect to “hear” as they approach them.

Any game in the Medal of Honor series contains ambient and environmental sounds that are both well constructed and well implemented. As players explore their surroundings, background sounds such as low-flying aircraft, barking dogs, distant explosions, or weather are often present. These sounds aren’t associated with any specific object—and no matter where players turn or move within the setting, these non-directional sounds effectively suggest activity just outside of their view.

Environmental sounds are also depicted quite well in this series; the difference is that these sounds are based on important static objects a player can find within the game setting. The sound of these objects are anchored in a fixed position, enabling a player to aurally detect their location through the use of sound. In an actual mid-20th century battlefield, and in these games, players expect to hear the static of a military radio, hum of an electrical generator, or crackling of a shorted-out fuse box as they pass close by. These sounds, which are very easily implemented, have a tremendous impact on the realism and believability of the setting.

For games based in modern settings, such as True Crime: New York City, the sound designer will spend many hours in the field with remote recording equipment to capture various ambient elements that are edited together back in the studio. Fictional settings in games such as Crysis and BioShock require a bit more creativity when producing individual ambient elements, but an appropriate ambience can be developed after thoughtful layering. Sounds of specific objects are often collected in the field, but also can be recorded in the more controlled atmosphere of a studio when possible. For items that are cumbersome or impractical to record, other objects can be used in their place or taken from sound libraries.

Main Interaction & Player Feedback Effects

Main interaction and player feedback effects are the “meat and potatoes” of any game experience, and are the sounds that take center stage. These are the gunshots the player hears when the trigger is squeezed in Halo 3, the explosions in Call of Duty 3, the whine of a high revving engine in Need for Speed, the heavy clank of a sword in EverQuest II, the magical fireball in Might & Magic—these sounds players “feel” as they interact with the virtual experience. While music, ambience, and dialogue are important, a game cannot and should not ever be without these vital sonic elements.

These sounds are what primarily provide the audio entertainment. They are, without a doubt, a large part of the fun of playing games. For example, have you ever, fired a weapon in a game over and over again just for fun? Sometimes the sound is so perfect that it alone provides great satisfaction to the player. Imagine a game where all of the sounds were this incredible! People play games for amusement, and the sound designer has a great opportunity to deliver with these types of sounds.

Secondarily, these key sounds give the player feedback to their onscreen actions. The sound often will not only validate that something is being done, but it will provide other subtle clues. For example, a player moves to open a closed door. As expected, the door handle or actuator mechanism will make a sound—but whether the door is open or locked is discovered by what is heard. With sounds complementing the visuals of the door opening or remaining closed, the player has the information needed for the next move.

Creating Sounds for Make-Believe Objects

Creating sounds for objects that don’t actually exist can be a challenge if you want to keep the sound suitable and still evoke a sense of believability. Typically, the sounds are based on real objects, such as swords or pistols—but are manipulated to give them a more “alien” quality that marries them to their make-believe environment. Each sword strike or gun shot will be familiar to the player while also sounding “off” or different.

For objects that aren’t based on reality, the key for the sound designer is to make them sound as if they did come from the object in question. Puzzle games such as Luxor, Zuma (shown), or Bejeweled utilize arcade style sounds in an effective manner to entertain the player while providing tactile feedback and clues to what is happening in the game. As game pieces are matched or bonus items are displayed, sounds provide important hints to keep the game engaging. These type of games are highly addictive—due in no small part to their skillfully applied sound effects.

More information on can be found Delmar/Cengage Learning. The book is available at Amazon.com.

Game Development Essentials: Game Audio Development
Aaron Marks & Jeannie Novak
© 2010 Cengage Learning Inc. All rights reserved.

Waves Audio has released the Sound Design Suite, a new bundle packed with 30 plugins oriented to sound design tasks. It was developed in collaboration with Charles Deenen and Scott Martin Gershin.

With over 30 plugins hand-picked especially for sound designers and post production facilities, the Waves
Sound Design Suite is a comprehensive and cost-effective collection of audio plugins that provides all the essentials—without breaking the bank. And to be sure we included the perfect plugins for sound design, Waves worked closely with two of the hardest-working pros in the business: movie maven Scott Martin Gershin (Star Trek, Hellboy 2, Chronicles of Riddick, American Beauty) and game guru Charles Deenen (Need for Speed, Fast & Furious 1and2).

From conventional effects to creative sonic textures, Sound Design Suite covers all your bases. With compression, EQ, pitch shifting, level maximization, and more, you get everything need to mold, modulate, and mangle your sound. If you’ve been looking for an all-in-one, off-the-shelf audio processing solution, Sound Design Suite is it—no more mixing and matching plugins from different bundles.

Whether you work in TV, movies, or games, the Waves Sound Design Suite gives you essential sound-shaping tools, for endless sound design possibilities.

Sound Design Suite is available from Waves at $1380 (Native) and $1920 (TDM).

Waves also added two great interviews:

Here is an interview with our special guest Aaron Marks, talking about general aspects of his career. Hope you like it!

Designing Sound: Tell us about your career and how you got started with sound.

Aaron Marks: Career? You mean this is like …a job?!? Well, I never thought of it that way but yeah, I guess it’s a living. If you had to put a label on me, I’d say I’m a composer, sound designer, field recordist, voice over artist and author. My focus, as you know, is creating audio for games through my company, On Your Mark Music Productions, but I have done some film work and am always open to other opportunities. I’m also on staff in the audio production department at The Art Institute of California – San Diego, currently teaching the art of field recording. My ‘career’ has definitely had some variety but I love the mixture which I think is what keeps me creative and fresh.

I became interested in all-things audio during my teenage years. I played guitar and eventually bought a 4-track recorder to dabble in songwriting. Because of that, I pursued audio engineering as a ‘must-have’ skill while I continued my musical endeavors, also learning to play drums, keyboard and bass guitar along the way.

As we all know, music is an expensive hobby. It actually took an ultimatum from my wife to either “make money and have my hobby support itself or to stop buying gear!” So, not wanting to miss out on any cool new toys, I got organized, decided how I was going to do it and ran full steam into the unknown. I started off scoring local public service announcements, radio spots, music libraries, whatever I could find that paid – with eventual sights on television and film. Along the way, though, I bumped into a neighbor who had just started his own game development company and the next thing you know I’m doing music and sound effects for their first game!

Sound design was a new concept to me back then but I love sound effects and recording. And since creating sound effects wasn’t really any different to me than creating instrument samples and patches, I relished the new challenge and suddenly found a new calling!

DS: Did you have a mentor or specific source of learning that helped you along career path

AM: For the most part, I’ve been relatively self-taught. I did have a guitar teacher for a few months, took a couple semesters of recording arts at the local community college, have various friends and colleagues who have been willing to share their knowledge over the years, but other than that, it’s basically been trial and error and years of doing it the hard way first. That has its obvious disadvantages, of course, but I’ve found the advantages to how I started far outweighs a formal education and allows for a unique perspective as I approach each new project.

For example, I spent the first 5 years of my sound design career creating sounds on a 2 channel audio editing program. ‘Non-destructive’ editing hadn’t made it’s way on the scene quiet yet so every time I layered or changed a sound I was working on, I had to either save the new version each time or keep my fingers crossed that the changes I made were acceptable. It hit me like a ton of bricks when a friend showed me a sound design project he was working on using a multi-track program. That was one of those moments I can put my finger on that made an immediate difference to the way I do business – but because I’d done it so long the other way, I think my ear was more tuned to what each new layer or step did to a sound, so now I didn’t have to spend so much time experimenting and could do what I heard in my head quickly.

I also never owned a sound library until a few years into my sound design career and I think that was the best thing I could have ever done to learn the art. From the very beginning, I created every sound from scratch, either generating elements or recording sounds myself. Talk about stretching your mind and really pushing yourself to think, think, think! It’s so easy to grab a sound you need from a library but in the end, it really doesn’t allow you to go through the mental process, to experiment, to maybe find a sound no one has ever heard before. I think starting with the initial building blocks, creating your sounds from scratch and encouraging creativity is the key to being good at sound design. Not everything sounds like you would expect and learning that you don’t have to actually break someone’s arm to get a good bone snapping sound is an important part of the process.

DS: What was your first gig like?

AM: My first sound design project was actually the very first game I ever worked on. I was initially hired to compose the music but since I was the ‘guy with the microphone’ the developer tasked me with sound effects and recording voice overs as well. And to add to the pressure, one of the actors was an established film actor with well over 25 major films to his credit. So there I was, minimal sound design experience, in charge of creating all of the games audio and an incredible character actor attached to the project – I definitely had to ‘step up’!

I think I was very lucky to have a developer who was willing to work with me as well as allow me total creative freedom. They set me up with an early copy of Sound Forge and left the rest up to me, so it was definitely trial by fire. I had to learn a new program, figure out how to be creative with it and keep everyone happy which was quite a challenge since I was responsible for 1/3 of the project. I really think my musical and engineering background helped. After all, sound effects are just really small songs, right?

“I, of the Enemy” was a space strategy game with several cinematic tie-ins between levels. Not only was I creating sound effects but now I was also synchronizing them into the mini-movies and doing post production as well. The good news was every weapon, vehicle and alien creature were entirely fictitious so they could sound like anything. The bad news was that people already have pre-conceived ideas of what space ships, lasers and explosions sound like so I sort of had to be true to their expectations. Not having any sound libraries was a bit of a limitation, but it’s surprising what kind of space sounds you can make with vacuum cleaners, hair dryers, lawn mowers and power tools. I manipulated, layered and tweaked for months and in the end was very happy with how everything turned out. I became very excited about sound design after that project and now I’d say 75% of my business is field recording and sound design. Not bad for a ‘composer’!

DS: What do you love about being a sound designer?

AM: I’m a big fan of ‘sound’ and always seem to be actively listening to everything around me almost nonstop. There are some really cool sounds out there in the world and because I’m always creating, I’m always looking for something unique. Of course, this is a good and bad thing. Because I am always listening so intently, I need a big box fan to generate white noise so I can sleep at night! But during the day, though, it’s game on!

I think what I love most is being able to take a game character or an object or a scene and breathe life into it. It doesn’t matter how amazing the artwork, animations or cinematography are, they don’t come alive until the sound is added and that’s when the magic happens. The creativity involved is definitely what keeps me coming back and having an unlimited palette of sounds, tools and ideas really makes it rewarding!

DS: Where and how do you find you are most creative? Is there any technique or method you implement for that?

AM: A looming deadline or a really fat paycheck are two great motivators, of course, but aside from those obvious things, I find I’m the most creative when I feel like part of the team and am able to take ownership of my creative duties. We’ve all had projects where you’re under someone’s thumb and having to please them specifically, I think, takes away from what the project needs. Being trusted and allowed to do ‘my thing’ unencumbered really unleashes my creative juices and that’s when I find myself working at my best.

Over the years, especially having a musical background, waiting for inspiration isn’t an option in a work for hire situation. You’ve got to be able to turn the faucet on instantly, work at your best and do justice to the project – and I’ve learned to do exactly that. But, in a perfect world and left to my devices, I’m usually the most creative during the late morning and then again late afternoon until about midnight. Knowing that, I try to plan my day around those times to take full advantage of my muse.

Inside a Marine Corps LAV-25 (Light Armored Vehicle) recording turret and weapon system sounds for Operation FlashPoint: Dragon Rising.

DS: What would be the best advice you’d give sound designers both young and experienced?

AM: I see an interesting phenomenon in the academic world that is having a real impact on creativity. In order to teach concepts and ideas, students are exposed to rules and techniques which serve a specific purpose, but I think really gives them the wrong impression about creating and recording audio. It’s all well and good they have the ability to use the tools correctly but this can really be limiting. Once you get the basics down, I think it’s essential to throw all of the rules out the window and allow yourself total creative freedom. As an example, just because you’ve always used a specific microphone on the snare drum, who’s to say you couldn’t get an even better, fresher, more unique sound by using something else totally out of the ordinary? By not limiting yourself with ‘rules’, you’re opening yourself up to some incredible possibilities – so don’t be bogged down by them.

Another pearl of wisdom would be to always keep your ears AND your mind open and actively listen to the world around you. I’m not saying that so nobody gets any sleep like me, but by always listening, you don’t have to waste a lot of time looking for that perfect sound because you’ve already heard it somewhere before and you remember where to find it. I really think that active listening helps my sound design, even when I’m just using libraries. Paying attention to the various elements that can make up a sound give you a real advantage when you have to create them from scratch. And when you’re in a time crunch, that can make all of the difference in the quality of your sounds.

My best advice would be to encourage everyone to do what you have to do to stay enthusiastic, creative and working. We all get tired and burned out – so schedule time away from your work and do something completely different. When I’m feeling the grind, I don’t go anywhere near my studio, even if it’s just for one day. When I do finally head back in there and fire up the computers, I’m ready to roll. I usually feel recharged and reinvigorated and that makes being creative a whole lot easier! As long as you keep an eye out for those creative lulls and get away even for an hour, you’re allowing yourself to relax and unwind – and that can be incredibly important for creative people. I remember times where I’ve stared blankly at a slot machine symbol animation playing over and over and over again and not ‘hearing’ anything. That’s when I walk away completely and stop forcing it. Within a half hour or so, an idea usually just hits me. So, time away is a good thing.

Of course, we all have to work and finding the secret to ensuring we can make a career out of it is probably the most important part of what we do. Do outstanding work, always give them more than what they ask for, make their job easier, be professional, treat everyone with respect – all key ingredients to a lifelong career. Make sure you do what you have to do to keep working – something that can be easily forgotten when you get so focused on creating sounds!

DS: In addition to your sound design work, you’re also a music composer. Where do these disciplines intersect? What are the pros and cons of having both a music and sound design perspective?

AM: From my perspective, I can’t even see being a sound designer without having a music background! Apart from all the really cool sounds musical instruments can provide for sound effects creation, having a musical ear is a definite plus. One of the essentials to effective sound design is the ability to layer and manipulate various elements to create a workable sound effect. Sound design often takes on a ‘musical’ quality and the construction of sound effects, at least in the way that makes most sense to me, follows the same path as recording a song would. I treat sound effects as mini ‘songs’ most of the time, selecting a tempo or pacing, a note or key which I sometimes either match to the background music or purposefully make it out of key for a different impact. By having sensitivity to what the music might be doing, it allows me to create sound effects that complement the rest of the audio. Of course, there are times when being a composer isn’t an advantage at all but it certainly doesn’t hurt.

I think good sound effects should make some sort of emotional connection with the listener – just like really good music does. As a composer, I’m always looking for that emotional angle and it tends to spill over into my sound design as well. Whether you’re creating sounds for pure, guttural entertainment or just adding a touch of realism to a scene, there is an opportunity to really make it shine. Any skill you can bring to the table, whether it’s being a composer, an engineer, a field recordist or sound designer, will make you that much more able to do a fantastic job and ‘wow’ the audience.

DS: What are your favorite tools to work with? What would be your “secret weapon” to use in the studio or in the field?

AM: Most of the time, my favorite tool is whatever gets the job done, but I do seem to have some things I use more than others. I’m still an avid user of Sound Forge 4.5 – the batch converter is just too perfect, plus the CPU doesn’t even know that version of the program is running. That’s not to say I use it every time but on audio that doesn’t have to be super high resolution, like for iPhone games or audio streamed to a cellphone, it’s perfect.

For field recording, the Neumann RSM191 stereo shotgun is my ‘go to’ mic for most of what I gather. There is just something about the sound of that mic that resonates with me over other mics out there. It’s not perfect for every occasion but I’ve had great luck with everything from tanks and vehicles to weapons and general Foley – so I like to start with it unless there is a compelling reason not to.

My other favorite tool is, believe it or not, my ears – I depend on them every day and they’ve yet to let me down. That’s not to say my ears are any better than anyone else’s, but I’ve learned to use them correctly, to actively listen and not just pay attention to what I’m recording or creating, but to noises in the background or how each sound element is working together, for example. Just this week, I was out in the field with a team recording weapons. My task was to gather all of the non-firing sounds; dry firing, magazines inserted and ejected, slide and bolt action, etc. Once I found the sweet spot and had my levels set, my ears shifted to what was happening in the background. Was there an airplane flying overhead? Was there wind noise? Where there foot shuffles or clothes rustling? Because I knew the sound was being captured OK, I wanted to make sure the takes were clean, since we weren’t going to have the ability to run back out and try it again if they weren’t. So, out of all of my ‘tool’s, my ears are definitely my most treasured instrument!

Recording exhaust sounds of a classic Ferrari 328 GTS

DS: What are your favorite sounds to record/design?

AM: I like recording pretty much anything, but there are some things because of the experience involved that makes it a bit more fun. Exotic cars, military vehicles, weapons and aircraft are by far my favorite things to point a microphone at – not just because of the sounds they make but having the excuse to hang around and play with some neat toys is a big plus. The M1A1 Abrams tank we recorded for Operation Flashpoint: Dragon Rising was one of those memorable moments as well as the numerous Ferrari’s, hotrods and other exotic cars I’ve done over the years – each one was a treat! I also really enjoy capturing those ‘difficult to plan for’ sounds like thunder claps or a pack of yelping coyotes. There’s something about having a recorder going in the right place at the right time that makes this job pretty neat sometimes.

As far as sound design, that’s a tough one. I love creating sci-fi sounds, explosions and weapon shots but I think my favorites are the stuff I do for video casino games. I’ve been providing audio for casino games for over 15 years now and it’s still a lot of fun for me. The variety of themes keeps things fresh and the sounds are mostly happy and fun – it’s all about winning and keeping the excitement level up and it’s definitely been one of those jobs that I’ve thoroughly enjoyed! It’s also been great working with some very creative and talented animators and programmers, and keeping up with them is always an enjoyable challenge.

DS: Why did you decide to write a book about game audio? Is there a third edition coming?

AM: One of my ‘life’s goals’ was to write a book and have it published. Of course, my intention was to write a best-selling novel but the game audio opportunity presented itself and I jumped at it! Early on in my game career, I had been writing for Gamasutra.com, Game Developer Magazine and Music4Games as a way to organize my thoughts and share the findings. I found out quickly that it was also a great way to market myself and get my name out there to potential clients. Before long, I had enough material for a head start on a book and a publisher actually approached me with the idea. While I was considering the undertaking, my editor at Gamasutra connected me to his company’s book publishing arm which gave me a good comparison. They were also very interested and I ultimately took the best deal and company who I thought would best promote the book – so, The Complete Guide to Game Audio was born. After CMP Books was bought out by Focal Press, they quickly approached me for a 2nd edition and that’s where we are today. The book has had some pretty good success and I’m very happy with that. As for a 3rd edition, the publisher is very supportive and I’m pretty confident that when the time comes, there’ll be an updated version indeed.

Not many people know that I’m also the lead author of another game audio, Game Audio Development, which is part of Jeannie Novak’s Game Development Essentials series. This book was written to complement my first book with minimal overlap and a more academic approach to the subject. It’s used in many game audio courses and very popular in that field.

DS: What’s next for Aaron Marks?

AM: I have a general ‘direction’ I tend to pursue but I’m always open to other opportunities. Looking back, I started playing guitar to be in a band and wandered into songwriting. Songwriting lead to recording, engineering and producing in order to work out my ideas. I found I really enjoyed being creative behind the scenes and wasn’t really ‘stage’ material so that lead me to composing. Composing for games brought me to sound design (which naturally progressed to field recording), voice overs and being an author. Book writing opened the door to speaking, lecturing and teaching. Who can really say where it will go from here.

I enjoy being my own boss and contracting my services but, who knows, I could end up working in house somewhere in the next couple of years, depending on if the offer is right. I know I’ll be working on more game projects, one will have a large variety of military aircraft in it, and there is a possibility of a new book which I’m discussing with my publisher. I’ve always got my eyes and ears open and ready for the next challenge, whatever and wherever it might be!

Continuing with the Sound Essentials series, articles created to provide resources and tips to learn sound design. Since I give the first list of recommended books, some people told me if we could recommend more of them, ans the answer is: yes. Buy software, buy gear, it’s ok, but also buy Books! I consider them as one of the best ways to spend money, and come on, they’re cheap. Excellent value for the money.

So, here is a list of more books (in no particular order), enough to don’t stop reading about sound this year.

The Sound Effects Bible - Ric Viers said it and did it. On this book he puts everything he knows about sound effects, from beginner topics to intermediate and advanced tips to create sound effects. You’ll learn everything from digital audio and software to studio equipment, field recording and sound design techniques. The Commandments Chapters are really great and has the wonderful “Sound Effects Encyclopedia” section with tips and tricks to create a lot of different sound effects.

Soundscape: The School of Sound Lectures 1998 – 2001 - This book is a kind of magic source. Each time you read it again, you found more and more good info. The book contains fantastic articles, lectures and investigations made on The Shcol of Sound event between 1998 and 2001. Secrets, stories, tips, techniques, thoughts, and everything you want to know from the masters, edited by Larry Sider.

Sound-On-Film: Interviews with the creators of Film Sound- This is one of my favorites. The sound on film didn’t come from nowhere. What we have now has been the result of the efforts of many masters of sound. This book collects interviews, experiences, stories, and the theory of several of the most important figures in the evolution of sound in cinema.

Sound Theory, Sound Practice - A great book to know about the fundamental theory of sound in cinema, from historical aspects to deep theory and fantastic information on different prespectives, genres and the different ways to deal with film sound.

Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema – David Sonnenschein did a great work with this book, putting great information about how you can approach sound in cinema, with a really detailed guide covering psychological, narrative, expressive and technical aspects with awesome analysis of sound on film, quotes by other sound designer and a really great feature called “Try this”. This is one of my latest reads and I loved it.

Dialogue Editing for Motion Pictures: A guide to the invisible art - Some times people don’t think about dialogue as a very important part of a movie. This book gives you a journey through the world of dialogue recording and editing, with theory, techniques and tricks to get the most of the dialogues in your productions.

If you want to read the contents of the books before buy it, or don’t have money or a good way to get any of those books, I made a list of sound design books on Google Books. Some of them has a large preview of many chapters available to read and some are more limited. Check:

• Soundscape
• The Foley Grail
• Sound for Picture
• Sound Design and Science Fiction
• Sound Theory, Sound Practice
• Sound-On-Film
• Sound for Film and Television
• The Dolby Era
• Game Sound
• Audio Programming for Interactive Games
• Computer Sound Design

Enjoy!

I started Designing Sound on 2009 with a main idea: share sound design stuff for everyone. Over time the site has reached new territories, more people, and therefore I have seen the need to grow more every day, both in content and features that offer better choices every day for you, the life of Designing Sound.

That is why today I am proud to introduce some changes on Designing Sound, with new features that I hope you like:

• New domain - Now you can access to the website trough designingsound.org. Also designingsound.noisepages still working
• New logo and theme goodies - I decided to change the logo and make some changes on the theme, to refresh the look, give a better design and have the info with more organization.
• New sidebar boxes - Just new images and direct access to the best content and pages

I also made some changes on the sections:

• Featured Sound Designers - More sound designers on the way for each month! And now there is a new dedicated section on the site to get all the info of previous specials.
• Audio Implementation Greats – New section with tutorials and examples about Game Audio Implementation each two weeks, given by Damian Kastbauer, technical sound designer with a great knowledge on this field. He has worked implementing sound on games like The Saboteur, Conan, Star Wars: The Old Republic, Tales of Monkey Island and more. Stay tuned for the first article coming this month!
• Sound Design Essentials - I’ll be continuing with this series, one for each month.

I hope you like the changes. Special thanks to Peter Kirn and all the CDM Crew for helping me a lot with the website and for giving this amazing platform. If you need something or want any feature/content, remember to write me. And don’t forget to keep an eye on:

Designing Sound @ Facebook
Designing Sound @ Twitter
Designing Sound RSS Feed

Some people asked me about the third part of Sound Design Essentials, so here is it: Software (4 parts).

• Part 1: Database & Organization
• Part 2: Editing Software
• Part 3: Advanced Transformation Tools
• Part 4: Noise Reduction and Restoration

I clarify that I’m not gonna talk about DAWs. It’s something that has been discussed a lot in many different blogs, forums, etc.. and it still seems silly; It’s simple: everyone has their preferences for work and know that is what best fits their needs. In this special I’ll only name several “special” applications that offer great tools for sound designers.

As you can see, in this first part I’m gonna show you several tools for organizing your library, sound database, etc. There are a lot of people who feel the need to organize a sound database and/or search on their sound library, and can not find software to use for that.

Some DAWs have a library/database application integrated, such as MediaBay on Nuendo, Media Browser on SONAR, etc, but… if you don’t like that integrated function, you have anotther options of dedicated software with special features for that job. Let’s check some of the best choices:

Soundminner

An advanced search engine, a highly advanced conversion engine, an integrated metadata management tool, an advanced sound design tool, a DSP processing host, a scalable product line that includes server, enterprise and web portal options, and it is designed to work directly with the most popular production tools in the industry.

Soundminer is used by both large companies like Ascent Media (includes Soundelux and Todd-AO), Warner Bros., Universal Studios, Paramount Studios, and Sony Pictures as well as many award winning editors and thousands of every day editors worldwide. Soundminer is supported by the largest music and sound effect libraries in the world.

Plataform: Mac & Win

Prices:

• Miniminer for Mac – $199
• Soundminer for Mac V4 - $599
• Soundminer for Mac V4PRO - $899
• Soundminer for Windows - $499

NetMix Pro

Sophisticated cross-platform software for advanced music and sound fx library management. With NetMix Pro, users can organize, search, audition, and transfer music and sound fx directly in Pro Tools, AVID, Final Cut Pro, and other professional production tools.

“NetMix Pro is the reason we were able to finish ‘War of the Worlds’ on a very rushed delivery schedule. The powerful search, application integration and project management features provided a seamless workflow and unprecedented production efficiency.” – Richard King, Academy Award Winning Sound Supervisor.

Plataform: Mac & Win

Price: $990

AudioFinder

An audio asset management system, and music production hub. AudioFinder gathers all the most useful tools in one quick and intuitive application, enabling you to be more creative by handling all the time consuming tasks that slow down your music production.

AudioFinder can build a catalog of every sound on your system, save it, and search it instantly to find the sounds you need when you need them. Use AudioFinder to create custom sets for sound categories and specific projects, with fast file browsing to audition, analyze, process, convert, and move or copy the samples in your library.

Plataform: Mac

Price: $69,95

BaseHead

Great tool for earching and finding your Sound Effect and Audio Files in your library. It makes it easy to Add and Scan through 1000′s of Audio files on your hard drive or network drive. Then Filter the Results/Audition and Transfer directly into your Target App like Nuendo or Copy to a Specified Directory.

Plataform: Win

Price: $259

Snapper

The Finder best friend! When you select an audio file in the Mac Finder, Snapper immediately appears right beneath the current window, showing you the waveform and gives you many options.

Plataform: Mac

Price: $79

Filemaker Pro

The leading, easy-to-use database software to help you quickly manage and securely share information through a network or over the web.

How did FileMaker Pro get to be the world’s leading easy-to-use database software? For one simple reason – it helps anyone with any type of task get things done faster. And it doesn’t matter if you’re a Mac or Windows user – you can create and share database applications with each other through a network, over the web, or in popular formats such as PDF. Millions of people just like you rely on FileMaker Pro every day to effortlessly manage and share their information.

Plataform: Mac & Win

Price: $299

Filemaker Sound Database Example: Sound Ideas SuperSearch

Do you use any of these? What would you recommend?

Few days ago I showed the first part of a series of essential resources, sites, tutorials, and tools related with Sound design. The first part was about Websites. Here is the second part: Books.

There are many books about music production, sound design, mixing and mastering, etc.. I’m gonna post 15 that I consider as good reads, covering all aspects including general sound desing and game/film sound.

General Purpose

• Computer Sound Design: Synthesis Techniques and Programming by Eduardo Miranda
• Designing Sound by Andy Farnell
• The Foley Grail: The Art of Performing Sound for Film, Games, and Animation by Vanessa Theme Ament
• Sound Synthesis and Sampling by Martin Russ
• Sound Design and Science Fiction by William Whittington

For Games

• Creating Music and Sound for Games by G.W Childs
• The Complete Guide to Game Audio by Aaron Marks
• Audio Programming for Interactive Games by Martin D. Wilde
• Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design by Karen Collins
• Game Development Essentials: Game Audio Development By Aaron Marks and Jeannie Novak

For Film

• Lowering the Boom: Critical Studies in Film Sound by Jay Beck and Tony Grajeda
• Audio-Vision by Michel Chion, Claudia Gorbman and Walter Murch
• The Practical Art of Motion Picture Sound by David Lewis Yewdall M.P.S.E
• Film Sound: Theory & Practice edited by Elisabeth Weis and John Belton
• Sound and Music for the Theatre, Third Edition: The Art & Technique of Design by Deena Kaye and James LeBrecht

Enjoy!

Everything have a start point. Here is the first part of a series of essential resources, sites, tutorials, and tools related with this funny thing called sound design. I begin with 30 websites for learning sound design for games, film and interactive media.

General purpose

• KVR Audio – The Internet’s number one news and information resource for open standard audio plug-ins. There you can find new releases, product announcements and product updates for audio software, huge user forums, and useful plugin database.
• Create Digital Music – Wonderful webzine and community site for musicians using technology.
• Sound On Sound – Maybe the best music technology magazine.
• Hispasonic - The number one Spanish music community. There you will find a huge user forum, videos, articles and daily news about the world of sound and music production in Spanish.
• Mix Online – Professional Audio and Music Production website.
• Synthopia – Synths and electronic music news.
• Matrixsynth – The amazing “everything synth” site.

For Games

• Music 4 Games – All music and sound design world related with games. You can find Soundtrack reviews, interviews with sound designers and game developers.
• IAsig - Supporting the audio community since 1994.
• G.A.N.G. - The largest game audio community in the world.
• Video Game Audio - Video Game Audio Articles by Leonard J. Paul
• Gamasutra – One of the best websites about videogames. They also have an useful Sound & Music Section.
• GamesSound - Learning resources and publications about Sound Design for games.
• IGDA – International Game Developers Association
• Sonify – Interactive sound for the web and wireless

For Film

• Filmsound – Music composition and sound design for films. Really interesting articles, interviews and resources.
• FilmsoundDaily – Very nice blog with videos and articles about film sound.
• Score Notes – Soundtrack reviews, composer interviews, audio clips, movie reviews and more.
• The Cinema Audio Society - Over 550 Sound Mixers and Associates from the Film and Television Industries.
• MPSE – Motion Picture Sound Editors.
• Sound Film Wiki – A Wiki page with all the info about films with sounds.

Community & Forums

• Sound Design Yahoo Group
• Game Audio Pro Yahoo Group
• Game Audio Forum
• KVR Forums – Sound Design
• Create Digital Noise
  

Learning & Tutorials

• AudioTuts+ – Music, Sound and Audio tutorials
• Audio Tutorials – Jay Rose’s tutorials and audio data
• Berklee Music – Learn music online
• Sound Design Tutorials – Videos and Tutorials by Nick Maxwell

If I forgot one and you think that is important, just let me know!

Second part coming soon.