Your Audio Design Document: Important Items to Consider in Audio Design, Production, and Support

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When customers put down their money for a game, of course they expect the best gameplay, AI, and graphics. Why, then, does the audio component always seem to be less on par with the rest of the product, as if it were an afterthought? Consumers are becoming increasingly aware of the potential for audio in games, and in the near future (if not already), excellence in this area cannot continue to be put aside due to the production demands of other in-game components.

It's possible that when it has been put aside, the audio design -- the design and implementation of music, sound effects, and dialogue -- may have been too casually put together, or oversimplified. It may have been presented, say, as a list of files on a spreadsheet; where only some of those files, along with their implementation, were most likely coded in for testing. The rest is left incomplete until the closing stages of the development cycle, possibly as nothing more complex than triggering a sound-for-an-object on the screen.

If graphics are so closely linked to game design, why shouldn't the audio be as well? Granted, in terms of the other project components, the complexities of audio design (and its time line) may be smaller, but audio considerations in general should have just as equal importance. "Equal importance" shouldn't necessarily have to mean "expensive," however. Some careful thought and attention to audio design early in the development cycle will pay off many times over later on.

In recent years, developments in audio technologies, such as MPEG and DirectMusic among others, have opened up and inspired all kinds of exciting possibilities in audio design. Occasionally, attention is given to one specific technology in a game, sometimes features are even marketed on the front of the game's box. Still, it is the rare game that assesses all of these available technologies, chooses the most effective one(s), and harnesses them to their maximum potential.

But there is a good chance that your studio may not have the time and resources to implement potentially complex audio specifications. Or that the game's audio design doesn't really require much detail. Having a bunch of MP3 tunes to cycle through and a basic set of sound effects for in-game sprites is probably "just fine" for some games, you might think, so why bother taking it any further than that?

Well the fact is, whether the audio design is simple or complex, it's not enough simply to provide a list of content. In determining the best audio solution for a game, an audio design document should be created, in order to define the content, technology, and top-level design and implementation used. The latter element is really the formal definition of an "audio environment," defining the parameters and boundaries of the sonic world living in your game. How will you define this? And how will you test and maintain this design?

The audio design document would not only be of benefit to the audio team. Designers will want to absorb it, programmers will demand it, and producers, along with just about anyone else who is involved on the project, will want to at least skim it. Whether it's one page or one hundred, it should be as descriptive as it needs to be for you and your development team. The end result, hopefully, is a harmonious one -- working with and enhancing graphics, writing, game design, and the overall gaming experience.

Before we get into the actual audio design document, here are some answers to questions you may already be asking yourself:

Why bother with an audio design document? We hardly even have time to think about the audio.
Having great music, sound, and voice (and implementing it properly) can only be of benefit to your game, enhancing the total experience for the consumer (and yourself, the developer). If it's really good, you might even receive some acclaim, garnishing a nice review or award. And this, in turn, may improve your sales, even if only by a slight margin. That alone should be reason for increased interest and awareness in effective audio design.

OK, but I don't have a lot of money to spend on talent or resources. What am I supposed to do?
If you have the budget to commission the best crew of audio engineers, sound designers, musicians, and voice talent in the world, by all means go for it! But for the other 95 percent of us, a small handful of audio personnel, or even programmers doubling as sound designers, is all most of us have time or money to commission. The thought of spending big money on audio (upwards of six figures) is simply out of reach for many game developers, or not part of the strategy. There's usually only so much money to go around on a project, and more attention often has to be focused on graphics, marketing, or design; and there may be valid reasons for this. The fact is, you're going to have to do some legwork and find some talent, and spend a modest amount of money (or resources, if the audio team is in-house). Much of the time, it's going to be about balancing the financial resources you can offer versus the quality of talent you need. Go through online resumes. Post ads. Ask through word-of-mouth, starting with the creative departments in your company. Creatives are sure to know other creatives of varied disciplines.

When should I start looking for talent, if I don't already have them in-house?
You really must focus on this a bit later in the process. Design an audio spec first; see what resources you need and then go for the best talent you can find. The most talented audio designer's work may still fall short of the mark because of flawed or weak audio design. In the end, with careful planning and creative know-how, anything is possible. You may find that your best talent works for far less money and offers faster turnaround. After a few projects, you'll probably have built up a library of contacts, specializing in all audio-related disciplines, from which you can always draw.

O.K. then. So what should an audio design document look like?
Good question. Read on for the components of an effective audio design document.

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Components