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

Leading with Sound: Creative Visions for Game Audio

October 5 @ 09:30 - October 6 @ 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 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

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.


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:


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:

  • In a remote research lab in the north-east of England, scientists have been secretly carrying out experiments on a number of human test subjects. There is no record of what these experiments entailed or who authorized them, but one thing we do know is that something went horrendously wrong and transformed these once-innocent, everyday people into something else entirely… Something inherently evil.

    Herein lies an audio documentation of these wretched beasts as they run amok with only one thing on their minds… To feed and to destroy.

    Zombie contains 205 vocal sounds in the following categories:
    Subject A: 67 raw unprocessed vocal sounds
    Subject B: 89 raw unprocessed vocal sounds
    Subject C: Zombie Brat: 18 raw unprocessed vocal sounds
    Processed: 27 vocal sounds with pitch down and reverb fx
    Layered: 4 layered, looping sequences of Subject A & B
    Add to cart
  • Human Swordfighter Play Track 479 sounds included $25 $20

    Swordfighter is a robust package with sharp sounding swords, heaps of variations and all the extras you need to make a fight come alive. Build unique sword swings with various hits, swooshes, schings, different fighter vocals and impacts on various surfaces. All up there are 137 sword sounds, 93 surface impact sounds, 15 knife throwing sounds, 48 swooshes and 180 fighter vocals.

    This version includes two sub-folders: one optimised for a film & TV workflow and the other optimised for video games workflow. Plus a few bonus sounds of a charging army.

    20 %
    Add to cart
  • 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
  • Ice Frozen Play Track 809 sounds included $45

    Frozen is a collection of ice impacts, scrapes, debris, slides and more taken during a miserably cold winter in the arctic tundra of Massachusetts. These recordings were meticulously recorded, edited, named, renamed, edited again, re recorded, then re-renamed (you get the point) to give you the best quality ice library you can get.

    The library roughly is broken into two sections, raw and processed. Raw is designed for sound designers to go wild with: stretch, distort, compress, and more to your hearts content. The processed section is for designers and content creators on the go. If you’re on a tight deadline, pulling some sounds that are already going to get you close to where you need to be is imperative. These processed versions play very nicely even when not designing ice.

    Add to cart

Explore the full, unique collection here

Latest sound effects libraries:


  • Destruction & Impact Debris – Ambisonic Play Track 110+ sounds included, 17 mins total $75

    Get all sorts of ambisonic debris recordings in this release from Spheric Collection – perfect for earthquakes, landslides, explosions and beyond. Debris is the material you will need for a house and gallery collapsing. From very small stone and dust to large rocks, this collection is a good set of mineral sounds – covering everything from impacts, continuous falling debris, rocks poured from various heights, light and heavy falling debris sounds, a number of falling rock sounds, to rocky explosions and blasts, glass sounds and more. Always immersive all sounds are ambisonic recordings.

    About Ambisonics:
    This is an Ambisonics sound effects library - and by using the free SoundField SurroundZone 2 plugin you can convert the B-format files into your preferred format (stereo, 5.0, 5.1, 6.0, 6.1, 7.0 or 7.1 surround). Note: The library also contains ready-made stereo mixdowns for your convenience.
  • Drones & Moods Affright Play Track 208 sounds included, 45 mins total $30 $15

    Affright” is a collection of 208 sounds (Wav, 24 Bit / 48 kHz) aimed to induce tension, fear and urgency in horror productions.

    You will find looped percussive elements (clocks, metals, hits, alarms, musical elements and more at 75 bpm), designed rhythmic elements (75 bpm) and fx (atmospheric elements, reverses, noises, risers, drops).

    If you are a musician who wants to define the building blocks of an intense horror track or maybe you are a sound designer who needs to create a musical moment in a scene from a sound design perspective, this library can help you to achieve those things.

    Metals, vinyl noises, voices, ukuleles, flutes, guitars and clocks were used to create this intense pack of 164 loops and 44 Fx.

    Check the main demo!! It was created very quickly using only the sounds of the pack with NO ADDED EFFECTS, only mixing the levels of the sounds and shows you the intensity of what you can create with this library!!

    50 %
    Ends 1569707999
  • Hum, Buzz & Glitches Vintage Film Tech Effects Play Track 206 sounds included, 5 mins total $120 $99

    Vintage Film Tech Effects features Slate claps, Beeps, Bloops, Film leader tone, Static, 2 Pops, digital dropouts, record player noise and much more. We’ve collected these vintage sounds from old Hollywood dailies reels, and film stock. 206 tracks that recreate the sound of the lost art of classic Film, TV and radio production.

    18 %
    Ends 1569016799
  • City Life Transit: Japan Play Track 40 sounds included, 2.75 hrs mins total $30 $15

    Looking for authentic ambient sounds of Japanese transportation? Look no further! Field recordist and composer Ryan Ayers travelled to Japan in April of 2019 and captured this wonderful collection. His journey took him from Osaka to Tokyo to Fukuoka and all points in-between. Travel aboard the trains of the JR, the famous Shinkansen, the Hanyu Ferry and more! Explore the train platforms and station terminals of Osaka. Get lost in the Kansai International Airport. There is a subway noodle shop as well as specialty food markets. Authentic walla and natural activity give this collection the ear candy necessary to be an integral part of great soundscapes.

    This is a purely recorded sound pack. Nothing is synthetic or layered here. What you hear is exactly what was captured on location. We edited and mastered the files to bring out the best parts of the recordings. Most of the recordings have been ready-made into loops for ease of use. As always, we have embedded the files with detailed metadata for easy database searches.

    50 %
    Ends 1569967199


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