This article was written as presentation outline.
Why make audio for games?
What does audio in films and games do?
What’s the difference between audio for films and audio for games?
Playing games makes you aware of the audio conventions to follow, or break. Now you have an excuse to play computer games :)
(Probably even more than when working on film projet.)
1) game designer > 2) game developer/producer > 3) audio lead/director > 4) composer, sound designer, audio programmer.
Concentrate on what you want to do, but if you are comfortable with technology, then learn how to code, record, mix, master, …
[mono] [stereo] [surround] [binaural] - what’s the difference?
immersive - how does our audio help immersion?
Get to know different systems - it will add to your skill-set!
Use headphones with the video to fully immerse in it.
Video demo on different sound design methods used in the audio games Papa Sangre, The Nightjar and A Blind Legend.
Do you know the limitations of binaural sound?
Here an interesting example where the Neumann dummy head is used to record a band and here a youtube channel with vast amount of recordings.
Think about VR, motion detection, …
Evolution of audio in games: Silent games > sine and square waves on hardware chips > FM synthesis > MIDI > 8 bit PCM > 16 bit PCM.
Short history of game music here.
When you work with game developers you might be asked to join a web-based project management application like Trello or Mantis Bug Tracker.
Benefits of using a PM:
Be there next Summer for networking and for adding games to your showreel.
Please email Brain’s Eden to express your interest in going as an audio person: firstname.lastname@example.org.
monitor game developer’s websites
Online presence might be good for you when you freelance.
Shall we cover how to make a basic website for your work?
The Role of Audio for Immersion in Games
“Immersion is considered to be one of the key factors making games worthy to play. The unity that seems to exist in the fact that many parties value this phenomenon is more apparent than real: there is a lot of dispute on the scope of immersion. Several classifications of immersion are compared for a better understanding of the nature of an immersive experience. The three‐dimensional SCI‐model by Ermi & Mäyrä (2005) is considered as valuable representation of the multi‐dimensional character of immersion.” Read more about this here.
Beep: A Documentary History of Game Sound
Beep is a documentary history of game sound, from the Victorian arcades to today. You can watch full interviews with game composers on this website was well here.
Composer Nick Ryan
Interesting BAFTA interview with Nick Ryan here and ‘Sound is Magic’ article on Gamasutra.
If you get bored of making music, play some games from the past here :)
Collins, Karen. Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design. Cambridge: MIT Press, 2008
Stevens, R, Raybould, D (2011. The game audio tutorial: a practical guide to sound and music for interactive games, Focal Press/Elsevier c2011
Search for these two books in the ARU library (hardcopy and online).
Everybody loves to play this game — the game of hide-and-seek, the game of scaring oneself with uncertainty. It is human. It is why we go to the theater or movies and why we read novels. And our so-called real life, seen from the position of the mystic, is a version of the same thing. The mystic is the person who has realized that the game is a game. It is hide-and-seek, and everything associated with the “hide” side of it is connected to those places within us where we as individuals feel lonely, impotent, put down, and so on — the negative side of existence. ~ Alan Watts