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.

 

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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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  • In 1979, bells from more than 100 countries were brought together for a communist event which had the purpose to promote world peace.
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Latest sound effects libraries:
 
  • Here is a simple sound library that can prove to be useful.
    These are close perspective recordings of small click button of the real world (or some would say “analog” in differentiation from the digital world)
    Only small machines button, switch, press,… see file list for details.
    These sounds are well edited and ready to be used.

  • Welcome to a sound effects library dedicated to the sound of cows, outdoors in the field, as well as in the cowshed and more. The Cow SFX library was recorded at various distances and captures an abundance of mooing and cow movement, as well the sounds of equipment such as milking machines, metal grates and more.

    30 %
    OFF
    Ends 1594332000
  • Grand prix circuit (a motorsport race track) FX sound library with sounds of the race and ambiance of the race including: near, mid and far field recordings as well as backstage/boxes ambiance etc.. Recorded in Automotodrom Grobnik, Croatia.

    Metadata tagged with detail description of the mic placement/orientation, mic and mic technique used and object of recording. Check the track list for additional info.

    38 %
    OFF
    Ends 1594331999
  • A compelling collection of ambiences captured in the cultural epicenter of Bali.

    Rural life, with various courtyards and soundscapes of this famed and splendid town.

  • Sonomar Collection: Abandoned is a sound effects library of 346 haunting atmospheres and location-specific recordings. Add authentic textures to your projects steeped in the acoustic properties of desolation and emptiness, or take advantage of the 96kHz sample rate to manipulate as source material for creative sound design.

    Armed with a wide array of stereo and Ambisonic microphones, sound designer and recordist Martin Pinsonnault (Big Little Lies, Dallas Buyers Club) and the team at Sonomar bravely ventured into the darkness, capturing sounds from three distinct abandoned buildings throughout Canada including an asylum, prison, and hospital.

    Abandoned Asylum contains 56 sounds including room tones, eerie footsteps and scattered debris movements.

    Abandoned Prison contains 118 sounds featuring jarring metallic impacts, prison door squeals and bleak ambiences.

    Abandoned Hospital contains 131 recordings of resonant ambiences, foley elements such as hospital bed rattles and surgeon’s tools, and haunting designs “”worldized”” through a guitar amp and re-recorded to capture the powerful essence of the location. This collection includes 24 ambisonic recordings that are also available in stereo, as well as 17 additional 5.1 surround sound files created from the source content.

    Each sound file is embedded with diligent metadata to help you find the exact sound effect you need with fast, pinpoint search. Enable creativity with detailed descriptions of each recording encompassing both literal sonic qualities as well as the images they invoke. Advanced metadata fields include translated French descriptions and additional info to ensure compatibility across any database search platform such as Soundminer, BaseHead, Netmix, Workspace (Pro Tools), Find Tool (Media Composer), Media Bay (Nuendo), Reaper, Adobe Premiere, and beyond.

    Key Features:

    • 346 sound effects (42.4GB)
    • 24-bit/96kHz broadcast .wav files
    • Descriptive embedded metadata
    • 100% Royalty-Free
 
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