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Posted by on Jun 11, 2013 | 0 comments

Mixing it up on


Photo (CC BY-NC-ND 2.0) jpmath

We are just under two weeks into Dynamics Month here at DS and I think a fantastic site that has been dealing with this concept is Founded by the sagacious Rob Bridgett; this simple Tumblr blog has some excellent info about some of the most crucial aspects of game audio design. Some of the most recent posts include; overview of iZotope’s Insight (which we will have out a review of ourselves very soon), a few articles about Wwise’s new HDR feature and even a link to the superb GDC talk about “Game Loudness Industry Standards” which I had the pleasure of seeing with my own eyeballs.

Rob has even put up a article called: “Dynamic Range: The Symptom at the End of the Chain” that ties into our Dynamics Month and you can check out here.

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Posted by on Feb 28, 2013 | 0 comments

Thank You to our February Contributors!

The month is wrapping up, and tomorrow we start a new featured topic. It’s that time, once again, to thank all of the wonderful people who contributed guest articles and participated in interviews with us here on the site.

Thanks again, one and all.

Remember that we are always open to guest contributions, both on and off topic. If you have something you’d like to share with the community, contact shaun [at] designingsound [dot] org. Tomorrow begins a focus on the intersection of sound design and music.

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Posted by on Feb 28, 2013 | 1 comment

Loudness In Game Audio

Finishing up Loudness Month here at Designing Sound I asked the good folks at Audiokinetic (makers of Wwise), Firelight Technologies (makers of FMOD) and G.A.N.G. IESD about what is happening in game audio in regards to loudness metering.

From the G.A.N.G. IESD Committee:

“Loudness and monitoring levels have been very high on the IESD’s agenda since the the organization was formed. We see independently produced recommendation documents of this nature as essential for everyone in the industry, from bigger developers to indie studios and, of course, students, or those new to the field of interactive sound.

We had previously, and quickly, worked on a version 1.0 document, which is available on the discussion boards within the GANG IESD website. The focus of this early work was on establishing listening levels (establishing the 79dB home entertainment levels, rather than 85dB theatrical levels, which some developers had been mixing to), and offering a checklist and advice on the more commonly made mixing pitfalls. When Garry Taylor and his group at Sony approached the IESD last year with his Sony paper on loudness levels, we were all on-board very quickly and knew that this was something big. The co-chairs (Kenny Young, Scott Selfon, Alex Brandon and myself) quickly assembled a sub-committe of leading game sound mixing experts (made up of major studio/publisher, and independent contributors) to look at the Sony recommendations and to consider adopting them on a wider level. We soon discovered that Microsoft and Nintendo were also in-line with recommending these same levels and measurement techniques for their first party titles. This made it pretty straightforward to create and agree upon a supporting IESD recommendation document that could confidently suggest numbers for all current-gen home entertainment consoles.

The version 2.0 document, which is intended to be solidified and released in time for GDC this year, adjusts the 79dB monitoring levels to accommodate the ATSC A/85 document, suggesting changes to monitoring levels based on volumetric measurements of the monitoring environment. The loudness recommendations themselves are absolutely in-step with the Sony document in adopting the ITU-R 1770-3 algorithms for measuring loudness over a minimum of 30 minutes of representative gameplay (-23 LUFS, tolerance of +-2dB). True Peak not north of -1dBFS (DB below a full-scale sample).

The next step for the group is to publish a 2.1 version of the document that recommends numbers on iOS and Android devices as well as web browser, though again, the group at Sony has already done some great work in this direction with their -18 LUFS recommendation for the Sony Vita.

The IESD co-chairs are: Kenneth Young, Scott Selfon, Rob Bridgett & Alexander Brandon

The IESD committee consists of Lin Gardiner, Damian Kastbauer, Gordon Durity (EA), Garry Taylor (Sony), Scott Petersen (Nintendo), Tom Hays (Technicolor) and Kristofor Mellroth (Microsoft)”

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Posted by on Nov 27, 2012 | 1 comment

Spectral Analysis: Interview with Rob Bridgett

Special thanks to Brad Dyck for submitting this wonderful interview with Rob Bridgett to DesigningSound!


RB: It’s funny, see the bags of coffee up there? That’s Sightglass coffee. It’s an incredible coffee shop in San Francisco. It’s funny because that’s where I met Damian (Kastbauer) at GDC this year. It was early, I was a little hung over and saw he tweeted about Sightglass so I was like, “I’m on my way,” and just showed up there. So it’s kind of funny to see that in here when we are talking about game audio.

BD: GDC always sounds like a great time.

RB: Yeah, I’ve only been there 3 times. The first time I went I did a lecture there so I was focused on that and I couldn’t really focus on the networking side of it too much. I was just too caught up in being prepared and stuff like that. Then the second time, we were in the middle of production on a game and I was busy meeting people to do with that. But this last time was just after we shipped, so I was free to go to see lectures or just meet with people. I got the most out of that. Meeting new people and getting brand new perspectives. You kind of realize that there are a lot of key players and social organizers out there, like Damian’s one of them and lots of other audio folks congregate around certain people or even certain bars or events. You end up meeting everybody in the space of a couple of hours and getting into some amazing conversations. For example, around a single table for lunch (a long lunch) I ended up meeting  Martin Stig Andersen, Chris Rickwood, Michael Raphael, Chuck Russom, Matt Piersall, Bob Rice & Rob King, and that was just a random meet-up that kind of organically happened, and that kind of thing went on all week, it really feels too short. The talks at GDC have become way more interesting now too, there is a lot more diversity going on in the industry now.

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Posted by on Aug 2, 2012 | 0 comments

Sinister Resonance – Rob Bridgett

The field sepulchra blog has a fantastic post by Rob Bridgett about recorded silences.  Blurb:

Listening back to many of these recordings, it is clear they are still recordings of ‘something’, there is activity that just about be heard in nearly all of these recordings. What that barely perceptible activity is, I usually have no idea, and even though it could just be traffic, or construction, there is a human narrative element behind everything that you hear. In the same way that those historical ‘minutes of silence’ represented a very significant moment, these muted, micro sounds, bear a strange human significance beyond the recording that we will never understand.

Super special thanks to Michael Raphael for setting this informative post up on his site.  And be sure to follow Rob Bridgett on the Twitter.

Full Article.

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