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Posted by on Jun 26, 2012 | 2 comments

School of Video Game Audio Now Open

The first online school for learning how to create professional audio for video games has just announced that it is accepting applications for its first course from July to August 2012.

The application deadline of Friday June 29, 2012 is rapidly approaching and is limited to ten students, so make sure to have a look at the details on their application page at:
The Course:
- Learn how to make a professional demo reel in Audiokinetic’s Wwise and become more employable in the industry
- Work at your own pace through the course material with assistance from the instructor, Leonard J. Paul
- Course consists of videos, reading assignments, mini-projects and short tests that can be done at your own pace
- Suited for anyone with a strong audio background wishing to expand their knowledge and skills in the game audio industry
- 8 weeks of instructional materials at 10+ hours per week for $225 CAD which includes the $25 application fee
- No additional costs to purchase required books or other materials
- One top project from each class will chosen to receive 50% off the cost of the course and will be featured on the site
“It’s the first really solid and accessible game audio learning solution to be available worldwide, which will help any and everyone who wish to express themselves through this discipline.” – Francisco, student involved in the beta of the course

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Posted by on Jun 10, 2012 | 0 comments

Develop Audio Special Roundup

UK games industry website Develop-Online has posted a series of special articles and interviews with various members of the audio production community on  game audio. This Audio Special discusses a broad range of subjects such as voice production and localisation, audio implementation, generative audio, sound libraries and the importance of setting and maintaining standards throughout production, with guests including PitStop’s production director Nadeem Daya, Side Productions‘ Sini Downing, sound designer Stephan Shutze, royalty-free sound and music library vendor Soundrangers, former Bioware Audio director Simon Pressey and members the Mass Effect 2 sound team, and Jan Werkmeister of audio, localisation and QA services studio Synthesis International.

All these articles are linked below;

Develop Audio Special: Setting Standards (Nadeem Daya of PitStop Productions)

Develop Audio Special: Expressions In Sound ( Wave,  Cubic Motion)

Develop Audio Special: Managing a Monster ( Sini Downing of Side)

Develop Audio Special: The Generation Game (Stephan Shutze)

Develop Audio Special: Noise In The Library (Soundrangers)

Develop Audio Special: Wwise Words (With Simon Pressey, Jack Wall and Brian DiDomenico )

Develop Audio Special: The Sound of Localisation ( Jan Werkmeister of Synthesis Intl. )


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Posted by on Jun 5, 2012 | 0 comments

Max Payne vs. Mazda, and the Sounds of Violence


IGN have posted an article on game audio, focusing discussion on Max Payne 3 and Forza Motorsport 4. Various members of Rockstar‘s audio teams are interviewed ( Nick Warseck, audio lead at Rockstar New England and Steve Donohoe, lead audio designer at Rockstar Toronto ) , along with Nick Wiswell and Adam Wilson of Turn 10. An excerpt of the article is below


Max Payne 3 is an incredible example of audio done right. For such an atmospheric game, packed with ballistic sounds and iconic music cues and steeped in noir tropes like Max’s regular narration, the audio in Max Payne 3 was obviously a hugely important part of the equation.

The team initially spent extensive time playing the original Max Payne, and Max Payne 2, as they wanted to keep the spirit of these games intact while adding a modern layer of quality.

“We wrote notes on the things we felt they did really well, and the things that we felt were iconic sounds that we would like to expand upon and bring over to the new game,” says Steve Donohoe, lead audio designer at Rockstar Toronto. “Those early games were quite groundbreaking in their cinematic approach, had excellent sound design and had a very unique style to them, so we had a really great starting point.”


Read the full article over at IGN


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Posted by on May 18, 2012 | 0 comments

Big Sounds on Little Devices: An Exclusive Interview with Andrew Quinn

Andrew Quinn, sound designer at Splash Damage, was kind enough to speak to Designing Sound about his work on the recently announced mobile strategy title RAD Soldiers on the new social label WarChest. The music for the game was produced by Marc Canham of Nimrod Productions.

DS: Can you tell us a little about how you got into game audio, and your audio career so far?

AQ: I always had an interest in sound and music. In my youth I played guitar in local bands, recorded music with friend’s bands and generally made a racket. This messing with sound and music led to me studying a BSc in Creative Music and Sound Technology at Leeds Metropolitan University. During the course I got a chance to delve into post-production and more importantly game audio in the third year and I really enjoyed it. I stayed on another year at Leeds to do an MSc in Sound and Music for Interactive Games under the expert tutelage of Richard Stevens and David Raybould.

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Posted by on May 1, 2012 | 0 comments

Racing Game Sound Study

A collection of blog posts, and a special edition of the Game Audio Podcast, have been coordinated by Damian Kastbauer and David Nichols on the dense subject of racing game audio. The remarkably in-depth studies (which feature video examples) rip apart audio techniques for the racing genre, investigating subjects such as tire squeals, surface types, camera perspectives, and of course, the sounds of the engines themselves.

From the Lost Chocolate Blog;

These informal game sound studies aim to expose the technical side of game audio by making an assessment of current generation titles. The assessment is then used as a way to better understand the differences in approach, aesthetics, and progression of techniques across a small sample. By turning the focus onto emerging details that arise during the course of the study we are able to identify area’s of significance and interest that help communicate the current state of the art. These finding are then represented in a content-rich report that includes: videos, article links, and specialized interviews. The goal is to help raise awareness for the technical side of sound design and help in the understanding of what is often not very well represented in current literature.


Check out the study in all it’s glory at the following links:

Vroom Vroom – A Study of Sound in Racing Games ( Introductory article in Game Developer Magazine )

TrackTime Audio blog – Racing Game Sound Study

Lost Chocolate Blog – Racing Game Sound Study

Game Audio Podcast – Racing Game Sound Study (with guests Mike Caviezel, Mike de Belle and Tim Bartlett)


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