Game Audio Pipeline Asbjoern Andersen


Whether you're working on large or small game projects, getting your game audio pipeline right is essential for a smooth-running development process - and to help you do that, Mads Vesterager Riddersholm and Jeppe Emil Lindskov have written this useful guide for you:
Written by Mads Vesterager Riddersholm and Jeppe Emil Lindskov
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Motivation

In the last year of our bachelor’s degree, we were both working full time at different game developers in Copenhagen. We started as interns, but we were responsible for most/all audio-related work at these studios. Without previous experience working in the industry, we quickly realized the importance of pipeline development. If you are not thinking carefully about your workflow, how you organize your project, and what tools you need, it will slow progress and cause problems during production. Even in small studios working on small games.

If you are not thinking carefully about your workflow, how you organize your project, and what tools you need, it will slow progress and cause problems during production.

But how should we learn the forbidden arts of game audio pipeline development? The College we attended didn’t provide us with much knowledge on the subject, and while a lot of available information can be found on how to make sound design for video games, not much can be found on the subject of creating an efficient workflow and pipelines.

After a lot of research on the subject, we decided that we wanted to write our own guide on game audio pipeline development. We then managed to get in contact with some of the best and most experienced audio directors and audio professionals in the industry. The thesis is based on the information they provided us, combined with our own experience and curiosity.

In this article, we want to highlight parts of the thesis that we believe can help new people in the industry as well as those trying to find their way into it.

 

Game Audio Pipeline

But what is a pipeline?

In its most basic form, a pipeline is a chain of processes. The chain is arranged so that the output of each element is fed straight into the input of the next. Much like a real physical transport pipeline.

So what does a game audio pipeline look like? The most basic form of game audio pipeline starts with a concept and stops when that concept can be heard by the player in-game. It could look like this:

GameAudioPipeline-1

This model is very simplified. But the fundamental idea is: Create a pipeline which is as frictionless as possible. In return, the pipeline will provide the sound designer with the best possible creative environment — from asset creation, to implementation, to iteration, to finished product.
 

Pre-production

The production of a video game starts with pre-production. This is the initial phase where the team will come together and scope, plan, and conceptualize the project. This is done to prove out pipelines, team dynamics and metrics.

This is also the phase in which you want to include the audio department and start developing a game audio pipeline.

Pre-production usually ends with a demo or prototype of the game. This is also the phase in which you want to include the audio department and start developing a game audio pipeline.

Unfortunately, there is a tendency at some game developers to think of audio as part of post-production. This might be because of economy, lack of experience, or an old echo from film production. No matter the reason, excluding audio from pre-production is going to have consequences for the production and the final product.

There are three major reasons to include the sound designers from day one:

Having the audio pipeline thought through, laid out, and proven at the beginning of a project provides higher planning stability and a more reliable schedule without last-minute surprises.

1. Having sound designers join early makes it possible to define an audio identity for the game. An audio identity is usually designed on multiple factors, like the vision of the game, the concept art and genre. This also goes the other way around. If the concept artist has access to ambience tracks and/or music it will help them build a stronger and more thorough visual identity for the game. Worst-case scenario is the audio identity being defined by somebody other than the audio department. This is likely to create problems down the road.

2. When having sound designers join the pre-production, they are not only there to talk audio. Being an audio specialist, working with video games makes you an expert in making games. Not only are you developing games, you are also passionate about games. Your opinion about anything in a feature is valid. Every person in pre-production is there to understand and reinforce the vision and to share their experiences for the sake of the game.

3. Creating a pipeline is a planning process. Deciding on every aspect as early as possible is going to save time and make the process of creating a video game more transparent for everybody involved. Having the audio pipeline thought through, laid out, and proven at the beginning of a project provides higher planning stability and a more reliable schedule without last-minute surprises. It also gives audio design and audio technology the time to build a trustworthy collaboration.
 

Game audio tools

A very important technical aspect of creating a good pipeline is the creation of tools for the sound designer to use. Tools do not necessarily have to belong in the game engine. Many tools are developed for other parts of the game audio pipeline, like exporting and importing tools between DAW and Middleware.

The main point is to facilitate the flow from what is in the sound designers head all the way to what the player experiences in the game.

In a way, a tool can be seen as the thing in a pipeline that makes it run smoothly from concept to implementation. The main point is to facilitate the flow from what is in the sound designers head all the way to what the player experiences in the game.

The amount and types of tools needed are different, depending on the game and the studio. Tools can be shared across multiple projects, especially if the same Middleware and game engine is being used. But it is important to constantly review and evaluate which tools are needed and how to improve on existing tools. The idea is to always be aware of what works and what doesn’t. If the need for a new tool arises, it gets added to the technical backlog and prioritized depending on how urgent it is. This way a company can be aware of what problems lie ahead and be able to react in time.


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


Trending right now:

  • A complete collection of sonic exploration by Slava Pogorelsky.
    Grow your sound arsenal with an ever evolving collection of high-end cinematic and fresh sound effects!
    Here’s what to expect:

    RESONATING METAL FORCE offers a fresh sound palette of reverberant aggressive metal rampage, totaling 680 sound effects. Featuring creeping evolving metal pressure and resonating rattle, massive rumble, explosive impacts and nerve-racking squeaks.
    HORROR SERIES VOL.1: EVIL STRINGS TORTURED WIRES offers a unique toolset for nightmarish designs, totaling 564 sound effects. Featuring creeping dread of bowed metal wires, strings and double bass, providing exciting opportunities for unique layering.
    CINEMATIC MAGICAL ICE is offering a unique toolset for ice-cold freezing designs, totaling 267 sound effects. Great for fantasy genre with ice based magic, motion graphics, time lapse and flow motion freeze sequences.
    CINEMATIC WATER WHOOSHES AND TEXTURES is offering a unique toolset for water and underwater designs, totaling 285 sounds. Great for hyper realistic designs, water based magic, surreal underwater movement or motion graphics with liquid elements.
    CINEMATIC WOOD SYMPHONY is offering a variety of wood based recordings that were morphed into a unique audio experience that bends the boundaries between recognisable source and unusual wooden textures, totaling 611 sound effects.
    SCI – FI ELEMENTS VOL.1 is offering a variety of carefully crafted futuristic sound effects that vary from pleasant and musical to unpredicted and glitchy, totaling 364 sound effects.
    CINEMATIC METAL WHOOSHES is offering a unique collection of aggressive roaring metal whooshes and transitions with cinematic feel and mind bending characteristics, totaling 120 sound effects.

    WHAT SOUND PROFESSIONALS SAY:

    Victor Mercader – AAA Sound Designer (Apex Legends)
    “I find myself continuously using Slava’s SFX libraries to blend it’s pristine and detailed sound designs into my own sounds. They always add that cutting edge I am missing and make my sound designs more unique and pristine. The Sci-fi Elements sound library is the perfect library to use and blend into my UI designs in Apex Legends.”

    Enos Desjardins – Sound Designer/Sound Effects Editor (Mission: Impossible – Dead Reckoning, Black Mirror)
    “Slava has been creating some really cool libraries which I find myself using time and again. Really high quality recordings to start with but then the cool processing he has used for example in his cinematic whoosh libraries really stand out. They are not just your standard generic whoosh sounds but are loaded with character and have a unique feel to them that is really fresh and cuts through in the nicest of ways.”

    Bjørn Jacobsen – AAA Sound Designer (CyberPunk 2077, HITMAN, DARQ)
    “Slava has for several years made high quality sound effects for me to play with. I use his sound libraries across multiple projects as lego blocks of my creations.”
     
    Yarron Katz – AAA Composer and Sound Designer
    “Slava makes some wonderful libraries. He’s relatively new on the scene and his libraries have come to critical acclaim. He takes some general ideas, like whooshes and he injects some extremely revolutionary and innovative ideas to them, so you’re not getting another whoosh library – you’re getting something very unique, very fresh. He brings some wonderful ideas to the table.”

    Ginno Legaspi – SoundBytes Music Magazine‎
    “‘Evil Strings Tortured Wires’ is an all-scary affair with plenty of really good, nightmarish, imaginative sounds from authentic materials, like double bass, dulcimer strings and metal wires. Sound-wise, this sample pack is clean and carefully recorded. The editing and processing of sounds is top notch, with sound design techniques applied very professionally. Overall, very gritty and not for the faint of heart.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “As far as the sound goes ‘Cinematic Magical Ice’ is both beautiful and mystical. I happen to like the icy textures that are oozing with coldness. Overall, this sound library boasts a good variety of effect samples ready to drop in various cinematic projects.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “The spotlight of ‘Cinematic Wood Symphony’ is the wide range of complex sounds that can be dropped in your sound design projects. I love the Wood Movement and Tonal sounds, and I’m sure thriller and horror music composers will be delighted with the Friction and Impact sounds. If your cinematic projects are lacking texture and impact sounds ‘Cinematic Wood Symphony’ is a library to be considered – especially if you’re looking beyond common wood sounds.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “Cinematic Water Whooshes and Textures is great for anything. You won’t be hearing recordings of calm rivers or relaxing streams, but cinematic whooshes and textures for soundtrack works and media projects. Whether you’re into this type of sounds, this pack was recorded quite well, professionally edited and processed with Slava’s own flair.”

    Ginno Legaspi – SoundBytes Music Magazine‎
    “Slava is back with another aggressive and energetic sample library called Resonating Metal Force – a 680 strong collection of modern metal effects captured using various tools and high-end studio equipment. The source material was edited and processed professionally for instant use. These sounds are primed for experimentation – whether you add your unique processing, layer several WAV samples or slice and dice to your heart’s content, the sky’s the limit. This sound pack is another winner.”

    Ginno Legaspi – SoundBytes Music Magazine‎
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    Small Groups: Includes small groups of up to 30 people which you can layer together and quickly create the sound of any sized realistic groups of people.

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    • Includes 578 files
    • All files in .Wav 96k 24bit
    • Plus game ready mp3 files
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    • Includes Soundminer metadata
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    Mobile Game features sounds such as:

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Latest releases:

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    I can honestly say, that finding the vehicles and tools for this library, has been among the most challenging I have come by. Old and broken cars and trucks are hard to come by these days. Most cars are obviously either driving and dont have start problems, and many of the rest just wont start at all.

    Just as rare are broken petrol powered tools, which usually fit the latter category of not working at all.

    Still, with amazing recording help from recordist Michal Fojcik Soundmind Poland, and just as amazing help from recordist Erik Watland from Norway, the Kaput sound effects library is featuring no less then

    24 different cars, trucks, moped and motorcycles

    1 boat engine

    A few weird sounding power generators and water pump motors

    Back firing exhausts

    Petrol powered garden tools, chain saws, and hedge trimmers

    Brutal construction machines

    From old eastern european trucks, vintage US V8 muscle trucks, classic scandinavian cars, and more modern diesel and petrol engines to funny sputtering dying petrol power tools.

    There is even a few more recording sessions planned, that just didn’t make the deadline for the first batch of sounds in this library (buying a copy of this first of sounds, will of course make any future sounds added to the library free of charge).

    KAPUT is 81 stereo and mono files, 96/24. 1,6 gb big, all UCS ready!

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    A UNIQUE ACOUSTIC GUITAR FOLEY LIBRARY
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    My car engine broke! As a result of making a huge costly mistake caused by accidentally skipping an oil change service from getting dates and miles mixed up (on top of being a higher milage car), my 2006 Volvo V50 T5’s engine starting making incredibly loud knocking, clicking and rattling sounds. Took it for one last drive before it was picked up by a junk yard, and recorded the process. I put a DPA 4061 and a Rode NT5 in the engine and drove it around the neighborhood, first on residential streets, then drove it harder on some faster streets (the engine was so loud you can’t hear any other cars in the recordings), abusing the manual mode for higher rpm recordings the whole time until it started overheating, smoking and dumping liquid (coolant I think? Oil? Both?). I Quickly took the DPA out because it was right near a section of the engine that was overheating, but I left the NT5 in. Satisfied with what I recorded but still a couple miles from home, after my car cooled a bit I continued to record my drive home, this time with the DPA inside the car to get an interior perspective (this drive is labeled “bonus drive” in the library).

    This library is just 5 files, totaling 27 minutes and 28 seconds, 24/96k, 956MB. Quality Soundminer metadata and UCS compliant. Recorded with a DPA 4061 and NT5 for starts, idles, off, revving, slow to moderate driving, harder faster driving, with lots of variation. One file is just the NT5 engine recording for an additional 5 and a half minute drive, and one is just the DPA for an interior perspective of that drive.

    I’ll miss that car a lot, but at least I got some great recordings out of it! I hope you find them useful.

SUPERDEALS - don't miss these:

  • Coll Anderson ‘s famed Battle Crowds library is the world’s largest collection of battle crowd sound effects, covering huge crowds as they’re deep in battle, celebrating and cheering, screaming, yelling, protesting, begging, crying and much more, as well as troop movements and marching through fields, forests, and around buildings, individual call-outs, marching and more. If you’re looking for the ultimate collection of battle crowd sounds for huge clashes, civil unrest and protests, or smaller skirmishes – captured from multiple perspectives – this is it!

    This special version brings you both the Battle Crowds Core and Add-On libraries in one powerful bundle.

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  • Ambisonic Sound Effects Room Tone Play Track 60 sounds included, 311 mins total From: $109 From: $79

    Sound Tailor Effects Library enters the void with its 3rd release:

    60 sounds, 5+ hours of rich and deep room tones, with a variety of sizes and environments that will cover most of sound editors needs. From a quiet residential bedroom to an reverberant inactive hospital hall, a ventilated office space, or a noisy basement, we carefully chose the right place at the right time, to get the best from those empty spaces.

    We’ve recorded with a combination of 7 low noise microphones, 1 ambisonic microphone and 1 geophone, dispatched on a wide rig, to get the best spatial impression, allowing us to deliver a true 7.1.2 format, plus ambisonic, 5.1 and 2.1 versions. The sub channel, provided by the geophone and its low frequency response, has been a shocking surprise for us, and is a real colorful and creative addition.

    You can choose between several spatial format combinations, to suit your needs. All versions includes a stereo mixdown, and all files are loopable.

    Sound Tailor’s Room Tones is UCS compliant, and delivered in high resolution 96kHz/24 Bits.

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  • A complete collection of sonic exploration by Slava Pogorelsky.
    Grow your sound arsenal with an ever evolving collection of high-end cinematic and fresh sound effects!
    Here’s what to expect:

    RESONATING METAL FORCE offers a fresh sound palette of reverberant aggressive metal rampage, totaling 680 sound effects. Featuring creeping evolving metal pressure and resonating rattle, massive rumble, explosive impacts and nerve-racking squeaks.
    HORROR SERIES VOL.1: EVIL STRINGS TORTURED WIRES offers a unique toolset for nightmarish designs, totaling 564 sound effects. Featuring creeping dread of bowed metal wires, strings and double bass, providing exciting opportunities for unique layering.
    CINEMATIC MAGICAL ICE is offering a unique toolset for ice-cold freezing designs, totaling 267 sound effects. Great for fantasy genre with ice based magic, motion graphics, time lapse and flow motion freeze sequences.
    CINEMATIC WATER WHOOSHES AND TEXTURES is offering a unique toolset for water and underwater designs, totaling 285 sounds. Great for hyper realistic designs, water based magic, surreal underwater movement or motion graphics with liquid elements.
    CINEMATIC WOOD SYMPHONY is offering a variety of wood based recordings that were morphed into a unique audio experience that bends the boundaries between recognisable source and unusual wooden textures, totaling 611 sound effects.
    SCI – FI ELEMENTS VOL.1 is offering a variety of carefully crafted futuristic sound effects that vary from pleasant and musical to unpredicted and glitchy, totaling 364 sound effects.
    CINEMATIC METAL WHOOSHES is offering a unique collection of aggressive roaring metal whooshes and transitions with cinematic feel and mind bending characteristics, totaling 120 sound effects.

    WHAT SOUND PROFESSIONALS SAY:

    Victor Mercader – AAA Sound Designer (Apex Legends)
    “I find myself continuously using Slava’s SFX libraries to blend it’s pristine and detailed sound designs into my own sounds. They always add that cutting edge I am missing and make my sound designs more unique and pristine. The Sci-fi Elements sound library is the perfect library to use and blend into my UI designs in Apex Legends.”

    Enos Desjardins – Sound Designer/Sound Effects Editor (Mission: Impossible – Dead Reckoning, Black Mirror)
    “Slava has been creating some really cool libraries which I find myself using time and again. Really high quality recordings to start with but then the cool processing he has used for example in his cinematic whoosh libraries really stand out. They are not just your standard generic whoosh sounds but are loaded with character and have a unique feel to them that is really fresh and cuts through in the nicest of ways.”

    Bjørn Jacobsen – AAA Sound Designer (CyberPunk 2077, HITMAN, DARQ)
    “Slava has for several years made high quality sound effects for me to play with. I use his sound libraries across multiple projects as lego blocks of my creations.”

    Stefan Kovatchev – Audio Director (MultiVersus)
    “Slava has put together an impressive collection of high quality source assets, recorded cleanly, and at high sample rates. It’s always refreshing to find a new purveyor of good source material. I particularly enjoyed Resonating Metal Force, which is comprised of very useable, unique tonal textures and impacts.”

    Samuel Gagnon-Thibodeau – Sound Designer/Sound Effects Editor (Dream Scenario, The Watchers, Hunting Daze)
    “Slava’s Cinematic Wood Symphony detailed textures and movements blend so well in what I’m usually looking for in terms of sound design. It really brings proximity and sensitivity to the action while feeling real and natural. The creative blend of the wooden sounds with whooshes and impacts also makes them very unique. I’m finding myself coming back to them more and more as they fit in many situations.”
     
    Yarron Katz – AAA Composer and Sound Designer
    “Slava makes some wonderful libraries. He’s relatively new on the scene and his libraries have come to critical acclaim. He takes some general ideas, like whooshes and he injects some extremely revolutionary and innovative ideas to them, so you’re not getting another whoosh library – you’re getting something very unique, very fresh. He brings some wonderful ideas to the table.”

    Ginno Legaspi – SoundBytes Music Magazine‎
    “‘Evil Strings Tortured Wires’ is an all-scary affair with plenty of really good, nightmarish, imaginative sounds from authentic materials, like double bass, dulcimer strings and metal wires. Sound-wise, this sample pack is clean and carefully recorded. The editing and processing of sounds is top notch, with sound design techniques applied very professionally. Overall, very gritty and not for the faint of heart.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “As far as the sound goes ‘Cinematic Magical Ice’ is both beautiful and mystical. I happen to like the icy textures that are oozing with coldness. Overall, this sound library boasts a good variety of effect samples ready to drop in various cinematic projects.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “The spotlight of ‘Cinematic Wood Symphony’ is the wide range of complex sounds that can be dropped in your sound design projects. I love the Wood Movement and Tonal sounds, and I’m sure thriller and horror music composers will be delighted with the Friction and Impact sounds. If your cinematic projects are lacking texture and impact sounds ‘Cinematic Wood Symphony’ is a library to be considered – especially if you’re looking beyond common wood sounds.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “Cinematic Water Whooshes and Textures is great for anything. You won’t be hearing recordings of calm rivers or relaxing streams, but cinematic whooshes and textures for soundtrack works and media projects. Whether you’re into this type of sounds, this pack was recorded quite well, professionally edited and processed with Slava’s own flair.”

    Ginno Legaspi – SoundBytes Music Magazine‎
    “Slava is back with another aggressive and energetic sample library called Resonating Metal Force – a 680 strong collection of modern metal effects captured using various tools and high-end studio equipment. The source material was edited and processed professionally for instant use. These sounds are primed for experimentation – whether you add your unique processing, layer several WAV samples or slice and dice to your heart’s content, the sky’s the limit. This sound pack is another winner.”

    50 %
    OFF
    Ends 1719266399
  • The whole 9 yards.
    Comprised of seven heavy hitting libraries, this bundle includes INTERACTIVE, SCI FI, GEARBOX, SORCERY, HERO, BROKEN, and MELEE. Save by bundling all SEVEN in a single library.

    GEARBOX:
    Boutique analog mechanical contraptions, steampunk gadgetry, gizmos and machines big and small.


    SORCERY
    Spells, deflects, casts, blocks, beams, and more. Unrivaled wizardry at your fingertips.


    BROKEN:
    Car crashes, explosions, crumbling buildings, earthquakes, ripping earth and metal, to debris, and more.


    HERO:
    HERO – Sword fights, stabbing, guillotines, impaling, battle cries, shields, drawbridges, armor, foley and more.


    MELEE:
    Punches, kicks, blocks, bodyfalls, grabs, slaps, bone breaks, blood splatters, and more.


    SCI Fi:
    Spaceships, machines, mechanicals, weapons and more. Technologies exceeding your boldest visions of the future.


    Interactive:
    The ultimate Game UI SFX library including clicks, pops, whooshes, musical and tonal elements, and ready to use designs for every UI action and game style.


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Need specific sound effects? Try a search below:


Through our interviews we have found some common guidelines that a good tool should adhere to:

1) The tool should try and ease one or several pain points in the pipeline.

This could be reducing the complexity of a task or reducing the number of clicks needed to perform an action. The first task when designing a tool is to sit down and ask yourself, “What are you trying to archive?”

If the creation of the tool requires help from a programmer, it is essential to focus on the problem you are trying to solve, not necessarily the solution you have in mind.

2) The tool should be able to speak the language of the user and help the user fulfill their creative potential.

It is important that tools are easily understood by the people using them, e.g. making sure UI/UX is intuitive and that features are named accordingly to what they do. Otherwise, it might cause user frustration.

3) The tool should be expandable and be able to be constantly iterated on.

The tool should likewise be granular and easy to update and maintain. Tools will often times be developed early in production, so they need to be flexible, be able to evolve and embrace potential problems that might arise later in the pipeline.

Below we included a playlist of all the tools we made for out bachelor thesis:



Wwise Unity Tools - Sound Painter


Wwise Unity Tools – Sound Painter

 

Organization, transparency and naming convention

When developing your pipeline, it is important to plan out how you want to organize your project from day one. The areas that we have covered so far are all elements of this organization.

Another very important part of pipeline development is to make the workflow as frictionless as possible. An important part of making the pipeline frictionless is to make the pipeline transparent.

An important part of making the pipeline frictionless is to make the pipeline transparent.

To make the pipeline transparent, first of all you need to organize and come to an agreement with both the audio team and everybody else involved in the process of the game audio pipeline on how the pipeline is going to be executed.

This involves documentation, creating a consistent naming convention (which we will talk about shortly) — what format should different types of assets be exported as, what is the hierarchy structure in the Middleware, folders, engine, etc., and what tools are available, what should be built, and how should they be used and integrated into the pipelines of other departments.

Gustav Rathsman from DICE uses the term “One True Source,” which is a great way of describing this need for coherence and transparency throughout a project. He says, “That is a classic problem, where people have different sources of truth and then you end up with something that doesn’t align in the end.”

The keyword here is communication. Communication is absolutely essential to keeping everyone in the loop on what is happening. Having all of the above-mentioned steps laid out as early as possible makes the project and the pipeline way more transparent. It makes it much easier to adapt to changes and when something breaks (and something will break), having a transparent project is going to make the problem solving much easier.

‘Naming conventions’ is a funny buzzword in audio production and game development. Having a naming convention and sticking to it all the way through production is very important. There is no golden solution when deciding upon a naming convention. But a good naming convention should follow these guidelines:

1. Make it very clear what the asset or file is and what it is connected to.

2. Have it appear in sorted order, for easy search and browsing.

An example could look like this:
Category_Subcategory_Name_Layer_VariationNumber

Using this convention in your Middleware hierarchy and/or folder structure is also very beneficial, as you can use it to easily navigate and find the path of certain assets when looking in the profiler.

We also put together a nifty set of tools that you can use to easily name and import assets from Reaper into Wwise:



Reaper Export Workflow


Reaper Export Workflow

 

Conclusion

It is important to emphasize the fact that first of all, there is no right way of building a pipeline. It is rather a question of making the decision on how to do it.

Secondly, there is much more going into the development of a pipeline then what we have been able to present in this article and in our thesis.

When developing a pipeline that is going to stay organized, transparent, and stick to the idea of One True Source, having audio be part of pre-production is vital. It is impossible to prepare for every situation, but having outlined and tested the pipeline is going to provide higher planning stability.

There is no universal answer to a perfect pipeline. A pipeline is developed through experience, trial and error.

That being said, being part of pre-production is also a question of acknowledging everybody working in the game industry as being experts in video games. The knowledge they bring to the production is more than just their field of expertise.

The hardest part of working with a determined pipeline is keeping it consistent if things should change, which inevitably will happen. There is no universal answer to a perfect pipeline. A pipeline is developed through experience, trial and error. That is also why it is important to be aware of how you are working, what steps you need to go through from A to B, and then try to find ways of improving it. Time spend working against the pipeline, is time you could have spent on being creative. In the end, that is what the player experiences.

 

Acknowledgement

We would like to express our sincerest gratitude to Ben Minto, Gustav Rathsman, Guy Somberg, Jonas Breum Jensen, Lydia Andrew, Rob Bridgett and Stephen Hodde. Without your contribution the thesis and this article wouldn’t have been possible.

 

Outro

In this article, we have tried to touch on a couple of important areas of pipeline development. It is impossible to cover all aspects in the length of an article. If you want a bigger insight, please access the thesis via our websites. The thesis also includes a case study using Reaper, Wwise, and Unity, which showcases various workflow and pipeline tools. It might help you contextualize the idea of tool development.

If you have any questions feel free to reach out to us.

Mads Vesterager Riddersholm
https://www.madsriddersholm.com/

https://www.linkedin.com/in/madsriddersholm/

contact@madsriddersholm.com

Jeppe Emil Lindskov
https://www.idosounddesign.com/

https://www.linkedin.com/in/jeppelindskov/

https://twitter.com/idosounddesign

 
A big thanks to Mads Vesterager Riddersholm and Jeppe Emil Lindskov for giving us a look at Game Audio Pipelines!

 

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    I’ll miss that car a lot, but at least I got some great recordings out of it! I hope you find them useful.


   

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