In Part 1 of this blog series, EA DICE invites you to hear from the sound designers of Star Wars: Battlefront as they break down the anatomy of their favorite sounds. Does the inhaling blast of a thermal imploder give you a Pringles complex, prompting you to lob them one after another until your lack of strategy causes others to wonder if Jar Jar Binks is on the battlefield? Sound Designer David Jegutidse breaks down the audio magic behind the creation of this weapon, sharing design techniques, influences and Soundcloud examples. Also, for those attending GDC next month with an Audio Track, Main Conference or All Access pass, don’t miss David Jegutidse and Composer Gordy Haab’s session on the music and sound design for Battlefront.Read More
Recently, MMO news site Ten Ton Hammer caught up with the audio team at ArenaNet, developers of the Guild Wars franchise. In an in-depth overview of their recent work, sound designers Jerry Schroeder and Drew Cady shared some of their approaches, techniques, and experiences in creating the highly detailed sounds that fill the worlds of Guild Wars 2 and its expansion pack Heart of Thorns. Head here to check out this fantastic article, which also features a video interview with Schroeder and Cady (and quite a bit of Foley work!).
via Ten Ton HammerRead More
This article was born out of an idea for a GDC audio talk proposal. Another one of my proposals was selected so I thought I’d turn the core idea of this one into a DS post in case it’s of use to the community.
Do you use macros in your music/sound production? If the answer is yes, then this article isn’t for you. Given January’s theme is all about time management, I feel duty-bound to say you should make better use of your time and read one of the many other fantastic articles here on this site. If however, any of the following apply, read on!
- “I don’t know what a macro is”
- “Macros are just shortcuts right, like CMD C to copy?”
- “Macros are only used by programmers.”
Earlier this month, the game audio community lost Brad Fuller, a man who was both a pioneer and an inspiration. We reached out to some who knew him to share their thoughts and memories of Brad, and to celebrate his life and contributions to our community.
From Don Diekneite:
“Brad Fuller, 62, was born in Indianapolis, Indiana. He passed away after a year-long battle with pancreatic cancer on January 2nd. His early love for music became a calling and he enrolled at Berklee College of Music in Boston, followed by the Indiana University School of Music in Bloomington. In 1982 Brad joined Atari as Director of Audio where he built and managed Atari’s audio team which was responsible for the sound of all of Atari’s coin-operated games. During this time, he pioneered technologies and creative audio practices whose impact is still being felt today. Among the many titles he personally created sound for are Donkey Kong, Marble Madness, Klax, Paper Boy, Toobin and many, many more.
Though he was particularly passionate about jazz, Brad loved just about every kind of music from blues and country to rock, classical, electronic, and experimental. Combined with an equal regard for the magic in code and technology, he made 1s and 0s come to life in sound.
Brad was one of those rare individuals who excelled in several areas. His exceptional technical competence in both software and hardware is hard to find in someone who is also so expert in the creative realm. As a sound designer and composer, he not only created great material but also leveraged technical knowledge to find creative solutions others often missed. His experience combined with a genuine care for people made him an extraordinary manager with a unique ability to balance the business, the technical, and the creative.
Working for Brad at Atari Games was a daily lesson in learning by doing. He did not manage by insisting on a specific way to solve a problem or accomplish a task. Instead, he taught you the tools, explained the goal, said, “go,” and then gave you his unconditional support – the operative word here being, “unconditional.” He worked for those on his teams as much as they worked for him.
If one measure of a man is his ability to impact, influence, and even change the lives of others, then Brad measures up big time. Because of Brad’s influence, those whose lives he touched often found their lives taking a new direction, with new choices being made. Some seemingly small, some huge, but all having unquestionable impact. Many of those who worked with Brad credit him with the acquisition of greater knowledge and understanding of the technical (how things work) and the creative (how things are made). All leading to nothing less than truly artful results. To this day, sound designers and composers of interactive media owe him for pioneering efforts in adaptive audio for games, toys, and other interactive products.
Not to mention the millions of people all over the world who felt such delight in the countless games they played that were strengthened by the sounds, voices and music Brad created.
But most of all, so many of us owe the simple but heartfelt sharing of warmth and friendship from a guy who did not draw a line between co-worker, colleague and friend.
Thank you Brad, your spirit lives on in all of us.“
From Leonard Paul:
“I first met Brad during the IA-SIG party in San Jose in 2006. We chatted for a while before I found out that he had worked on the music for Marble Madness, which was a favourite game of mine on the Amiga. He always had a warm personality and I had fun corresponding with him by email and catching up with him over the years at the Game Developers Conference. The Level 2 music from Marble Madness will always be a classic for me.” – Leonard Paul
In addition, Dren McDonald has spearheaded an effort to record one final piece that Brad was working on prior to his death. We will share any further information on this as it develops.
All of us at Designing Sound send out our hearts and sympathy to Brad’s friends, families, and coworkers who were deeply affected by his loss. He was a valued and caring part of the game audio community, and he will be sorely missed.Read More
Community spotlight on: the Pacific Northwest, a uniquely concentrated locus of game audio talent goings-on.
Every month, Vancouver and Seattle both host up an in- to semi-formal gathering for like-minded designers and composers, usually alternating developer showcases and bar crawls. Lots of cities do these, but it seems like these ours are particularly well-attended: upwards of 75+ attendees Eventbrite’d in for November’s behind the scenes look at the sound of Bungie’s Destiny, on site at their Bellevue headquarters. Each city’s been on a really consistent tear with these meet-ups for the last two years, but they’d never really come together.*
Until this weekend.
On Saturday, the Vancouver and Seattle Game Audio communities came together in the basement of Western Washington University, a graciously provided-for halfway point, for a collaborative afternoon of talks and panels. We ate donuts, shuffled slides, met our brothers and sisters from across the border and broke it all down over pizza.
I’ve been going to these things for a while, and I always leave them hazy-brained and grateful to be part of an industry so welcoming. And it’s just flat-out unfair not to spread that around. So here’s Designing Sound, bending towards Bellingham, for a bullet point recap of some of the knowledge that was shared.Read More