Asbjoern Andersen


What's next for game audio? We got the chance to speak with Becky Allen - head of audio at PopCap/Electronic Arts, and keynote speaker at GameSoundCon - about just that. And here, she shares her insight on the current challenges, advancements, and future opportunities in the game audio industry:
Written by Jennifer Walden
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GameSoundCon is coming up quickly — Nov 7-8th in Los Angeles. The two-day conference explores tools and topics relevant to sound designing and composing for games, VR, and AR. This year’s keynote speaker is Becky Allen, head of audio at PopCap/Electronic Arts in Seattle, WA. She has over 20 years of experience in sound, composing and sound designing for companies like Microsoft, Soundelux Design Music Group, and PopCap Games —where she recently handled audio direction for Plants Vs. Zombies Heroes.

Allen doesn’t just simply work in the game audio industry. She also facilitates the expansion of the craft. Allen is a founding volunteer of the Audio Mentoring Project — a mentoring program in which game audio veterans use their extensive networks of contacts and industry experience to encourage the learning and development of less experienced members of the game audio industry.

Here, Allen shares her thoughts on GameSoundCon, as well as gives insight on current challenges, advancements, and opportunities in the game audio industry. Find out what she sees for the future of game audio.

 

What’s one advancement you’ve seen in game sound in the past year that you’re excited about?

Becky Allen has pink and blonde hair and sits in front of her workstationBecky Allen (BA): There’s a renewed focus on the importance of accurate 3D spatialization of audio through VR/AR and a lot of excitement around that. VR/AR is still the new frontier for audio and our fellow sound designers and creators are tackling new and interesting issues. I look forward to hearing their work as it advances.

Audio in VR/AR is a key and essential part to maintaining the illusion of a virtual world and if audio isn’t working well, the experience breaks. Because of this, we see more emphasis on the sound and its significance for this new platform.

 

What’s the biggest challenge for game audio at the moment? How do you see that resolved in the future? Tech wise, what would you want to see for game sound?

BA: Regardless of the size and scope, systems for delivering dynamic and captivating content are becoming more complex. The complexity of systems requires deeper understanding of scripting and at some points coding. These skills are becoming more important for a sound designer to develop.

Tech-wise, it’s the same that we have been developing for decades — more and better tools in the hands of the sound designers and composers. Our tools have made great advancements and we continue to drive these innovations through new ideas and creative desire.

GameSoundCon in Los Angeles, 7-8 November

Creatively, what would you like to see in the future for game sound?

BA: With the increased amount of data collection that we now see coming from gameplay, we are able to craft individual experiences for each player on a finer level. We can drive unique experiences for each player that is different, believable and compelling each time — much like our real-world experience. Creatively this opens up many possibilities for designers in all areas: sound design, music design, and voice.

 

You’re the first female keynote speaker at GameSoundCon. Can you tell us a little about that conference and why you would recommend it to your peers and newcomers to the industry?

BA: GameSoundCon (Nov 7 – 8, in Los Angeles) is a conference specifically for audio people. It’s a great conference to learn about new tools, share skills and knowledge, and also to network.

This is a smaller conference than GDC, which is wonderful but can be overwhelming. At this conference, you have more quality time with the participants and can really dig into deeper topics and have more substantial connections with individuals.

Also, to acknowledge your statement above, yes, I am delighted to be the first female keynote speaker and I hope the first of many.

 

Popular on A Sound Effect right now - article continues below:

 

Latest releases:  
  • From 24/96 Sound Effects. Immersive Crowds in Motion features 58 HD 24 Bit / 96 kHz Surround Sound Effects with a large selection of Interior and Exterior moving crowds. Train stations, conventions, sporting events and more. Recorded with a Voyage Audio 2nd Order Spatial Microphone. Recording locations were centrally located within the crowd for better immersion. Intelligible words have been reduced or removed when possible.

    Mastered with ProTools Ultimate in 3 configurations: Ambisonic (Ambix 2nd Order (Wyzxrstuv), Atmos™ 7.1.2 Surround Sound (LRCLfeLssRssLrsRrsLtsRts) and Stereo (L-R). Most tracks are 2-3 minutes in length with embedded metadata. All-new, original recordings.

    Want a taste of what’s included? Download the O2A and 7.1.2 Surround Demo files here: https://tinyurl.com/ImmersiveCrowdDemo and try it out on your own system!

    10 %
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  • SCI-FI GUNNERY is a collection of high-quality futuristic gunshot sound effects.

    It features 330 sounds of anything from big artillery hydraulic guns to small ray blaster and handguns.

    Collection consists of 105 different weapons.
    Every weapon comes with 5-6 variations that have slightly different pitch (+/-0.4 semitones) and time alignment
    (+/- 15ms) for maximum realism.
    All SFX have baked-in Soundminer’s meta data.

    Download includes:
    96-192KHZ 24BIT version
    44.1KHZ 16BIT MONO version for Unreal Engine
    44.1KHZ 16BIT STEREO version for Unreal Engine

    RECORDED WITH: Sound Devices MixPre 6 + Sennheiser MKH8060 + ATE208 + DPA4060, PCM D100

    EDITED AND MASTERED WITH: RX, Pro Tools, Brufri, DMGAudio, Reaktor, Massive, Serum, Monark, Alto, Soundtoys, Live.

    20 %
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    Ends 1580857199
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  • Several waterfalls and rivers recorded in the Vosges Mountains in France.
    It tooks place in three different location: Cascade Charlemagne, Pont des Fées, Saut des Cuves.
    For almost every place, several microphones placements were used at close, medium and far distance.
    In addition to the 2 stereo microphone pairs, a hydrophone track is also available to allow you to modulate the low end and to add more movement.

    Gear used:
    Sound Devices 788T
    MKH8020 stereo pair
    MKH8040 stereo pair
    JRF hydrophone
    Add to cart
  • Cars Porsche Macan S 3.0 V6 Play Track 200+ sounds included, 354 mins total $150 $130

    The Porsche Macan S 3.0 V6 sound library features 198 high-quality files recorded with a multi-mic setup. The Engine was recorded in sync with interior cabin ambient, and you can expect different styles of driving. From casual city driving, through accelerations on a highway up to rpm ramps and constant rpm loops for game audio.

    In addition to engine recordings, this sound effects library features exterior passes, whooshes and other road-related sounds recorded in mono and stereo on dry asphalt.

    Last but not least, different foley were recorded to cover exterior and interior activities. In addition to designed onboard recordings, there are also premixed stems for the engine, intake and exhaust and RAW files, of each microphone without any post-processing.

    13 %
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    Ends 1580597999
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  • Electromagnetic fields (EMF) are all around us, they are everywhere and each electronic device produces them. Imagine a whole new world hidden from us. It is time to lift the veil of secrecy and look into it.

    This library contains raw electronic sounds – a perfect source for sci-fi movies, trailers, games, computer interfaces, experimental music or whatever you can think of. The frequency range of these sounds is impressive, it reaches 48 kHz allowing you to effectively manipulate their pitch and spectrum.

    All sounds are sorted into categories, such as: Glitch, Hum, Click, Movement, Distortion, Beep and many others, which makes it easy to navigate and choose not only by the recorded object but by the type of sound it generates. And last, but not least: this library was recorded with high-quality 96KHz/24bit.

    Equipment used:

    • LOM Audio Elektrosluch Mini City
    • Sound Devices MixPre 6

    Main features:

    • 134 raw electronic sounds with variations
    • Perfect source for all kinds of harsh noises, glitches, drones, movements, whooshes, beeps, hum, clicks, buzz, nasty distortions etc
    • Astonishing frequency range up to 48KHz
    • Created for further manipulation with spectrum and pitch
    • Recorded with high quality 96Khz/24bit
    • Categorized by types: Glitch, Hum, Click, Movement, Distortion, Beep and so on
    • Contains metadata for search engines

     

    52 %
    OFF
    Ends 1583017199
    Add to cart


Need specific sound effects? Try a search below:
 
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How is the game sound industry preparing for/handling the VR format (workflow, tools, staff skills)?

BA: I am not currently working in VR so I do not have first-hand experience with this. However, companies are emerging with new tools, new headphones, and new ways of listening. I find it intriguing that people are finding audio acoustic programs (Masters and PhD level) with an emphasis in psychoacoustics. Some of these students coming out of school with this knowledge now have a place to apply their education where perhaps before that wasn’t quite possible.

 

What opportunities do you hope VR will offer game sound pros?

BA: With the emphasis on the immersive experience being more pronounced, there are many opportunities for sound designers, in particular, to find a footing here.

More insights on the future of game audio:

 
Want to know more about what awaits in game audio? Be sure to check out the interviews with former Rockstar North audio director Matthew Smith here, and senior audio director/sound designer Ben Minto at EA DICE here.

Beyond VR and AR, any other major trends you’re seeing?

BA: Yes, culturally I see that corporations are now discussing and developing programs addressing gender gaps and diversity. I’m really happy to see these changes happening and being addressed.

However, change happens on all levels – individual to individual, within team groups at work, etc. True change of this kind is something that has to be looked at systemically as well as based on individual effort. I hope that we will continue to address the issues through discussion, initiatives, and conference roundtables, etc., until balance is attained (yes… an idealist!).

 

For game audio pros, how do you see the landscape changing in terms of job opportunities, must-have skills, platforms to focus on etc?

BA: The deeper and more complex systems that are being developed on all platforms suggest that sound designers, or any in-house audio person, have skills in scripting and coding as it applies to implementation. Knowledge in Python scripting, XML, and C++ are helpful but not currently considered a requirement. These skills and a person’s ability to “problem solve” through technological solutions and tool building are areas for growth and ways for young designers to focus and find more opportunity.

 

Do you have any advice for the next generation of game sound professionals? What should they be prepared for if they’re entering the industry in the next year?

BA: Immerse yourself in networking with local communities and connecting with other working professionals. You will find it a friendly and encouraging community. No need to be discouraged if you go to just one meet-up and nothing material seems to happen. Keep going and introduce yourself multiple times. The people in the industry remember when an individual continues to show up to networking events. It shows commitment and tenacity. People are prone to help individuals after they have seen you over the course of many networking events.

A big thanks to Becky Allen for all her great advice – and to Jennifer Walden for the interview!

 

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Explore the full, unique collection here

Latest sound effects libraries:
 
  • From 24/96 Sound Effects. Immersive Crowds in Motion features 58 HD 24 Bit / 96 kHz Surround Sound Effects with a large selection of Interior and Exterior moving crowds. Train stations, conventions, sporting events and more. Recorded with a Voyage Audio 2nd Order Spatial Microphone. Recording locations were centrally located within the crowd for better immersion. Intelligible words have been reduced or removed when possible.

    Mastered with ProTools Ultimate in 3 configurations: Ambisonic (Ambix 2nd Order (Wyzxrstuv), Atmos™ 7.1.2 Surround Sound (LRCLfeLssRssLrsRrsLtsRts) and Stereo (L-R). Most tracks are 2-3 minutes in length with embedded metadata. All-new, original recordings.

    Want a taste of what’s included? Download the O2A and 7.1.2 Surround Demo files here: https://tinyurl.com/ImmersiveCrowdDemo and try it out on your own system!

    10 %
    OFF
    Ends 1580943599
  • SCI-FI GUNNERY is a collection of high-quality futuristic gunshot sound effects.

    It features 330 sounds of anything from big artillery hydraulic guns to small ray blaster and handguns.

    Collection consists of 105 different weapons.
    Every weapon comes with 5-6 variations that have slightly different pitch (+/-0.4 semitones) and time alignment
    (+/- 15ms) for maximum realism.
    All SFX have baked-in Soundminer’s meta data.

    Download includes:
    96-192KHZ 24BIT version
    44.1KHZ 16BIT MONO version for Unreal Engine
    44.1KHZ 16BIT STEREO version for Unreal Engine

    RECORDED WITH: Sound Devices MixPre 6 + Sennheiser MKH8060 + ATE208 + DPA4060, PCM D100

    EDITED AND MASTERED WITH: RX, Pro Tools, Brufri, DMGAudio, Reaktor, Massive, Serum, Monark, Alto, Soundtoys, Live.

    20 %
    OFF
    Ends 1580857199
  • Several waterfalls and rivers recorded in the Vosges Mountains in France.
    It tooks place in three different location: Cascade Charlemagne, Pont des Fées, Saut des Cuves.
    For almost every place, several microphones placements were used at close, medium and far distance.
    In addition to the 2 stereo microphone pairs, a hydrophone track is also available to allow you to modulate the low end and to add more movement.

    Gear used:
    Sound Devices 788T
    MKH8020 stereo pair
    MKH8040 stereo pair
    JRF hydrophone
  • Cars Porsche Macan S 3.0 V6 Play Track 200+ sounds included, 354 mins total $150 $130

    The Porsche Macan S 3.0 V6 sound library features 198 high-quality files recorded with a multi-mic setup. The Engine was recorded in sync with interior cabin ambient, and you can expect different styles of driving. From casual city driving, through accelerations on a highway up to rpm ramps and constant rpm loops for game audio.

    In addition to engine recordings, this sound effects library features exterior passes, whooshes and other road-related sounds recorded in mono and stereo on dry asphalt.

    Last but not least, different foley were recorded to cover exterior and interior activities. In addition to designed onboard recordings, there are also premixed stems for the engine, intake and exhaust and RAW files, of each microphone without any post-processing.

    13 %
    OFF
    Ends 1580597999
  • Electromagnetic fields (EMF) are all around us, they are everywhere and each electronic device produces them. Imagine a whole new world hidden from us. It is time to lift the veil of secrecy and look into it.

    This library contains raw electronic sounds – a perfect source for sci-fi movies, trailers, games, computer interfaces, experimental music or whatever you can think of. The frequency range of these sounds is impressive, it reaches 48 kHz allowing you to effectively manipulate their pitch and spectrum.

    All sounds are sorted into categories, such as: Glitch, Hum, Click, Movement, Distortion, Beep and many others, which makes it easy to navigate and choose not only by the recorded object but by the type of sound it generates. And last, but not least: this library was recorded with high-quality 96KHz/24bit.

    Equipment used:

    • LOM Audio Elektrosluch Mini City
    • Sound Devices MixPre 6

    Main features:

    • 134 raw electronic sounds with variations
    • Perfect source for all kinds of harsh noises, glitches, drones, movements, whooshes, beeps, hum, clicks, buzz, nasty distortions etc
    • Astonishing frequency range up to 48KHz
    • Created for further manipulation with spectrum and pitch
    • Recorded with high quality 96Khz/24bit
    • Categorized by types: Glitch, Hum, Click, Movement, Distortion, Beep and so on
    • Contains metadata for search engines

     

    52 %
    OFF
    Ends 1583017199
 
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