Follow on: Twitter | Facebook | LinkedIn

Home Events Leading with Sound: Creative Visions for Game Audio

Leading with Sound: Creative Visions for Game Audio

Welcome to the Audio Events Calendar, a hand-picked overview of audio industry conferences, community meetups, special events & more. Want to list an audio event? Please submit the details here (event name, time and date, location, description and URL)

Loading Events

« All Events

  • This event has passed.

Leading with Sound: Creative Visions for Game Audio

October 5, 2019 @ 09:30 - October 6, 2019 @ 18:00 CEST

The creation of sound for a video game is a complex task, often spanning several years. Best practice constantly evolves alongside technology advancements. Meanwhile, an increasing focus on the aesthetics of game audio has developed.

During this weekend seminar, Lydia Andrew, Rob Bridgett and Ben Minto, the renowned senior audio directors and sound designers behind the soundtracks for such noted game series as
Assassin’s Creed, Tomb Raider, Battlefield and Star Wars Battlefront, will provide unique and valuable insights into the elements that combine to create a successful game soundtrack,
discussing the challenges and opportunities of working in a non-linear, interactive medium.

Game audio specialist, composer and Game Music Connect co-founder John Broomhall will provide a contextual backdrop via an examination of the development of game audio – from
primitive sound chip to today’s sophisticated soundscapes – asking what game audio can learn from its own history and from sound for linear moving pictures. He will then join award-winning
game composer and sound designer Martin Stig Andersen and noted film sound designer Rune Palving in moderating sessions with the guest speakers.

To distill the essence of game audio, the similarities and differences to film sound will be highlighted through discussion and on-screen practical examples. For instance, the audience
will experience how the iconic sounds of Star Wars are adopted into the dynamic and interactive world of the recent Star Wars Battlefront games.

Featuring Shadow of the Tomb Raider we will also dive into game specific topics such as spatial storytelling, how ambiguity in sound is used to elicit fear, the overlap between sound design and
interactive score, how sound is utilized to communicate gameplay information to the player, spatial audio (Dolby Atmos et al) mixing, and more.

Exploring the vast open worlds of Assassin’s Creed will give the audience an understanding of the massive scope of games compared to films, how a 20-plus in-house audio team works
together, and what skills, know-how and modus operandi underpin the key role of audio director. Dialogue, from casting to implementation, will also be discussed as well as the role of music as
part of the overall audio design.

The seminar aims to provide a balanced discussion on the “whys” and “hows” of game audio, ranging from initial thought processes to practical application, the latter demonstrated, for
example, by an exclusive “under the hood” live demo of a game engine in action. Throughout the discussions, our leading game sound experts will share insights about how audio teams
operate internally and interact with other disciplines within larger game studios, and demystify the massive undertaking of developing sound for a “AAA” game.

Participants fee is DKR. 1.695 incl. lunch Saturday & Sunday.

We will have a nice dinner Saturday evening where you can meet and mingle. If you would like to join us, the price is
DKR. 225,- excl. Wine&Beverages.
Please add in the motivation field when you apply, if you want to join the dinner.

Lydia Andrew is a Senior Audio Director with over 24 years of experience in sound. Originally training as a singer and performer, she started her career in audio in location sound recording in
1994, then moved into sound post-production for film and television in 1999 and into games in 2002. She has worked for EA and Ubisoft across multiple titles and genres, including Battlefield,
Harry Potter and Assassin’s Creed. Lydia has extensive experience in sound design, casting and voice directing, dialogue editing, audio integration, location recording, music direction,
mixing and audio direction. Lydia has talked at GDC, AES, Ludomusicology, Develop Conference UK and the ASCAP expo. Originally from London she now lives and works in
Canada for Ubisoft Quebec where she heads up a team of 21 people. Her most recent project is ‘Assassin’s Creed Odyssey’.

Rob Bridgett is a senior audio director based in Montreal, Canada. In 1993 he attended Derby University to study cinema and media, after which he was one of the first to graduate from the
‘Sound Design for the Moving Image’ Master’s degree programme at Bournemouth University in 1999. Since then, Rob has worked primarily as sound designer, audio director, recordist, mixer
and music director at a variety of development studios across the UK and Canada. Since 2015 he’s been Audio Director at Eidos Montreal responsible for the sound, music and Dolby Atmos
mix of Shadow of the Tomb Raider. Throughout his career Rob has also written extensively about video game sound practice, publishing two books, and as well as currently running the
gameaudiomix.com website.

Ben Minto is a five times Academy (AIAS & BAFTA) award-winning Sound Designer/Audio Director working out of EA DICE’s studios in Stockholm. There, with his 15-person strong audio
team, he is responsible for all the studio’s audio output (Music, VO, SFX, Implementation & Mix), including the audio for the critically acclaimed Battlefield and Star Wars Battlefront
franchises. He moved to Sweden in 2007, after having spent 7 years working at Criterion Games in Guildford as lead sound designer on both the Burnout series and Black, and prior to
that at Acclaim’s London studios.

John Broomhall is the co-founder and host of Game Music Connect, half of EDM music artist STRING THEORY (Modularity) and the composer for such iconic games as Transport Tycoon
and X-COM/UFO: Enemy Unknown. A multi-faceted independent sound creative with many years’ experience in music and video games, he previously held a number of senior in-house
and outsourced management roles (including European Head Of Audio and Game Development Manager), and has dozens of published titles to his credit as audio
director/consultant, composer/producer, sound designer and voice director. He’s written dozens of articles about game music and sound, and chaired numerous awards juries for Bafta. He
curates and hosts the Develop Conference Audio Day in Brighton and has been a keynote speaker for AES. He received a Recognition Award from the Game Audio Network Guild of
America and has spoken at London’s School Of Sound, Bilbao’s BIME PRO, The Sound of Story @Rewire and the Lithuanian Academy Of Music & Theatre. Current music writing projects
include Lost Ember and Phoenix Point, the latter renewing his collaboration with original Xcom auteur Julian Gollop. Beyond games, he spends as much time as possible playing jazz
keyboards.

Rune Palving graduated as sound designer from The National Film School of Denmark in 1999 and has ever since worked as sound designer, sound editor, production sound mixer and
re-recording mixer on fiction, documentary and TV-series. Word of God (Henrik Ruben Genz) 2017, The Man (Charlotte Sieling) 2017, A Conspiracy of Faith (Hans Petter Moland) 2016,
Bridgend (Jeppe Rønde) 2015, A Soap (Pernille Fischer-Christensen) 2006, Italian For Beginners (Lone Scherfig) 1999, Among many. Rune Palving is also teaching sound at The
National Film School of Denmark.

Martin Stig Andersen is a composer and sound designer with a background in the fields of acousmatic music, sound installations, electroacoustic performance, and video art. In 2009 he
created the audio for Playdead’s video game LIMBO which won Outstanding Achievement in Sound Design at the Interactive Achievement Awards, the IndieCade Sound Award 2010, and
was nominated for Use of Audio at the BAFTA Video Games Awards 2011. Following LIMBO, Martin created and directed the audio for Playdead’s INSIDE (2016) which won Best Audio at
the Game Developers Choice Awards, and received nominations at The Game Awards, The Interactive Achievement Awards, and the BAFTAs. In 2017 he composed the score for
MachineGames’ Wolfenstein II: The New Colossus alongside Mick Gordon, receiving nominations The Interactive Achievement Awards, New York Game Awards and others.
Recently Martin was involved as Ambient Music Designer on Shadow of the Tomb Raider (2018), and has composed the score for Remedy’s upcoming video game Control (2019). He
has been lecturing at conferences such as GDC, Develop, and the School of Sound in London. Martin graduated as a composer from The Royal Academy of Music in Aarhus, Denmark in
2003, after which he went on to study electroacoustic composition under Professor Denis Smalley at City University, London.

Details

Start:
October 5, 2019 @ 09:30
End:
October 6, 2019 @ 18:00
Event Categories:
,
Website:
https://efu.filmskolen.dk/en/kurser/leading-with-sound-creative-visions-for-game-audio

Venue

Den Danske Filmskole
Theodor Christensens Plads 1
København K, 1437 Denmark

← Back to the previous page

Like the Audio Events Calendar? Please spread the word:
 
 

 
THE WORLD’S EASIEST WAY TO GET INDEPENDENT SOUND EFFECTS:

A Sound Effect gives you easy access to an absolutely huge sound effects catalog from a myriad of independent sound creators, all covered by one license agreement
– a few highlights:


 
  • Game Audio Packs & Bundles Vintage Anime SFX Play Track 350+ sounds included $69

    The Vintage Anime Sound Effects Library brings all of the excitement of your favorite Japanese animated series to your fingertips. Inspired by classic cartoons from the 80's and 90's, these recognizable and versatile sounds will instantly enhance any FX collection. Vintage synths were used to create the auras, beams, mecha blasters, atmospheres, magic spells, guns, sonic blasts and explosives that makeup this pack of over 350+ custom 24bit/96khz .WAV files. Perfect for film, video games, podcasts and any project that could benefit from a power up!

    Both designed sounds and source recordings:

    • Classic anime sfx from the 80’s and 90’s

    • Auras, mecha, beams, blasters, spells, explosives and more! 350+ sounds!

    • Tons of source material for experimentation

    • Expert crafted metadata

    • Vintage Anime PDF

    Add to cart
  • Foley Just Chains Play Track 973 sounds included $35

    As you've probably guessed from the title, this SFX library is all about metal chain sound effects. Various sizes of chains were pulled, dropped, shaken, rattled, whipped, hung, dangled and jingled.

    These sounds could come in handy for a wide range of purposes like morning star swings / whips, coin ringing, chain metal armor movements, hoists, addons for footstep movements and many more.

    So if you're after any kind of metal chain sounds, this SFX library is one to get!

    Add to cart
  • City Life Italian Ambiences Play Track 259+ sounds included, 277 mins total $56

    Get the true sounds of Italy in this authentic collection.

    The Italian Ambiences sound effects library features recordings from places such as an Italian airport, bar, beach, city ambiences, crowd, countryside, market, pub, school, residential area, supermarket, train station, marina, museum, office, restaurant, tavern, village and many more.

    Also includes a great collection of recordings from the historic city of Venice, Italy – excellent for old-city atmospheres. In total, more than 4.5 hours of atmospheric Italian recordings and ambiences are included.

    Just updated with more sounds:
    51 new recordings have been added to this library, including recordings from restaurants, bars, markets and more
    Additional update: Sounds of beaches, fireworks and much more have been added – 74 sounds, bringing the total number to 259 Italian ambiences
    Add to cart
  • Environments Basketball Game Pro Play Track 59 sounds included $9.90

    Basketball Game Pro is a sound effects library thematically centered around a basketball game.

    The collection includes several versions of game air horns, crowd applause, attack, defense, fault, score and lost opportunities ambiences, referee whistles, crowd boos & yells and a short warm up game ambience.

    The library contains only the interjections, purposely avoiding a specific language identity, making it more flexible and suitable for universal use.

    All sounds have of course been recorded at a real basketball match.

    Add to cart

 
Explore the full, unique collection here
 


Latest sound effects libraries:

 

  • Destruction & Impact Medieval Battle Play Track 100 sounds included $26

    Medieval Battle contains a wide variety of sounds taken straight from the battlefield. Unleash the full force of your army with effects from a diverse range of medieval weaponry, crowds, horses and battle charges. There are also battle cries, screams and shouts to make the audience feel like they are right there on the frontlines. To bring you the most organic and natural battle sounds, we recorded actors performing in a quiet exterior location. All sounds were recorded in 24Bit 96kHz, allowing for further sonic manipulation.

    If you think your sound collection is in need of some reinforcements then this is the library for you! Medieval Battle is ideal for use in Film, TV and Game projects, and will make a perfect addition to your sound design arsenal.

    Here are the included folders:

    Crowds: Crowd rushes and static battle cries in a natural exterior location make these effects perfect for building the bed of a huge Medieval warzone.

    Female Voices: 4 individual female actors perform multiple vocalisations including screams, grunts and efforts.

    Sword & Shield Hits: A variety of sword and shield hits performed by weapons and combat experts.

    Male Voices: 4 individual male actors perform multiple vocalisations including screams, grunts and efforts.

     

  • Cars Vehicles Pass-by Play Track 90 sounds included, 23 mins total $15

    Cars, trucks, motorcycles at different speeds on a rural road in the middle of nowhere during summer.
    From left, from right, from both sides, single vehicle or several at the same time.

    Recorded simultaneously with an ORTF and a AB microphone stereo pairs.

    Gear used:
    Sound Devices 788T
    MKH8020 stereo pair
    MKH8040 stereo pair
  • Destruction & Impact Rocks & Debris Play Track 160 sounds included $40 $30

    Crisp, clean, crunchy and closely mic’d impacts with various types of pebble and dust debris.

    I recorded all these sounds with my brothers during a trip home to Ireland.
    Close to our home (out in the middle of nowhere), there is a little quarry with a lot of sand, dust, stones, rocks and some grass. There was also a broken plough there that gave some nice stone on metal impact sounds.

    Equipment:
    2 Line Audio OM1s
    2 Line Audio CM3s
    Røde NTG3
    Tascam DR100

    25 %
    OFF
  • Motorcycles BSA M20 1940 Motorcycle Play Track 322 sounds included $249

    Recording of a BSA M20 WW2 motorcycle with a 1 cylinder 500cm3 engine with 4 gears.

    The BSA M20 WW2 motorcycle sound collection features 322 sounds in 12.02 gigabytes of audio. It showcases a British 1940 Birmingham Small Arms Company military bike and the sound of its 1 cylinder 500cm3 engine with 4 gears.

    The sound bundle offers 20 synchronized recordings of onboard, exterior, and performed sound fx. The 7 onboard perspectives record sounds from the engine, exhaust, and onboard locations such as the seat and frame, all of which are also mixed into three pre-rendered tracks with driving at steady RPM, ramps, and gearshifts. The 9 exterior perspectives include turning on and off, departing, arriving, and passing from multiple perspectives and distances from slow to fast speeds. These are paired with performed Foley of handlebar clutch and brake, kickstarting, and more.

    The package includes Pro Tools and Reaper mixing sessions, as well as full metadata embedded in every clip.


 

FOLLOW OR SUBSCRIBE FOR THE LATEST IN FANTASTIC SOUND:
 
                              
 
GET THE MUCH-LOVED A SOUND EFFECT NEWSLETTER:
 
The A Sound Effect newsletter gets you a wealth of exclusive stories and insights
+ free sounds with every issue:
 
Subscribe here for free SFX with every issue