Game Audio Resource Guide May 2001 [05.15.01] Gamasutra's first Audio Resource guide presents a series of features covering the spectrum of game audio: Audio Content for Diablo and Diablo 2: Tools, Teams and Products by Matt Uelmen Explore the nuts and bolts of one particular aspect of the development of the Diablo series: music and sound effects. Adaptive Music by Andrew Clark Adaptive poetry? It's essentially the same challenge that an adaptive music composer faces The Sound of Money (Down the Potty): Common Audio Mistakes in Kids' Games by The Fat Man, George Alistair Sanger The point that gets missed is this: the person who buys a kids game (the parent) only experiences the game through the audio. Interactive Music Sequencer Design by Scott Patterson Delve into some of the design issues in making a computer music language, and the issues related to providing interactive music functions for game control. An Interview with Darryl Duncan by Aaron Marks In just two short years, Darryl's company has amassed quite a resume' of titles including Madden 98, 99 and 2000, Ultima Online Third Dawn, and Knockout Kings 2002. Interactive Music...er, Audio by Rob Ross Why is it that these two little words "interactive audio" seem to be near the top of so many developers bad_word.lst file?
An Interview with Game Audio Guru Will Davis by Aaron Marks [09.01.00] Will Davis headed blindly into computer gaming only because he didn't want to be left out. Will has devoted more than half of his life to game audio, and counts astounding music and sound effects for titles such as Driver, Aliens vs. Predator, Nightmare Creatures 2 and Battlemorph among his 140 credits.
Your Audio Design Document: Important Items to Consider in Audio Design, Production, and Support by Keith Zizza [07.26.00] 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.
Breaking the Sound Barrier: How to Work With Sound Designers by Aaron Marks [04.20.00] Of all the tasks necessary to a game development project, perhaps the one most commonly outsourced is that of the sound designer. Aaron Marks explains what you need to know before sitting down with a third party sound designer.
GDC from an Audio Guy's Perspective: Audio Track Wrap-Up by Aaron Marks [03.16.00] As the official ears of this year's Game Developers Conference, Aaron Marks took his place in game history as the obnoxious (but sometimes loveable) sound guy aimlessly wandering the show floor poking his nose into everyone's business. His mission was to find and report on all the worthwhile audio happenings, and here is his report.
Working the Grammy Angle by Aaron Marks [02.25.00] As the curtain rose the 42nd Annual Grammy Award ceremony, the legitimacy and expectations of game music rose with it. The National Academy of Recording Arts and Sciences (NARAS) Board of Trustees, last year, approved opening 3 categories to include music written for the continuously evolving digital arena that is video games, and although no game music was nominated this year, the ball is rolling, and Aaron Marks calls upon you to keep it rolling.
Composing for Interactive Music by Kurt Harland [02.17.00] You're walking slowly down a dark hallway, and with every step you take, you feel just a little worse about your situation. Suddenly you realize why: the music has gone all spooky and dissonant, and you think to yourself, "Cool!" -- just as a huge blue Orcus with knotted muscles and oozing lips rips your character's head off. You've just had the interactive music experience. Kurt Harland discusses.
Interview: Tim Larkin, Audio Director at Cyan by Aaron Marks [02.07.00] What does a guy who's worked with greatness like Ella Fitzgerald, Mel Torme, James Brown, Tony Bennett, Lou Rawls and Huey Lewis do in the game industry? Why, anything he wants, of course. As a composer, sound designer and player, Tim Larkin is credited currently with over 15 games including many in the Carmen Sandiego series, Dr. Suess, Arthur, Rugrats, Quest for Glory V, Prince of Persia III, JRR Tolkienís Middle Earth and Riven.
Designing Interactive Audio Content To-Picture by Andrew Clark [12.20.99] In the television and film industries, sound designers are able to monitor final visual cues from within their design environment while creating and mixing audio content. This design process is called working "to-picture," and explains why the effects just seem to fit so well. But there are currently no equivalent technologies in interactive audio design. Andrew Clark discusses the problem -- and presents a cheap, fast, and incredibly effective solution.
Interview: Assaf Gavron and Oosh Adar of Filter Sound by Aaron Marks [12.09.99] Assaf Gavron and Oosh Adar, the dynamic duo who comprise Filter Sound in Tel Aviv, have furnished sound for seven games and many other multimedia and musical projects. Not only are they extraordinary people, but their can-do attitude and motivation to go to the ends of the earth for great sound have won them several industry accolades. Interview by Aaron Marks.
Tales From the Trenches of Coin-Op Audio by Chris Granner [11.18.99] Sound for a coin-op game has a great deal in common with sound for a home game or a console game. Regardless of target system or environment, sound takes a flat picture on a video screen and brings it to life in the player's world. Chris Granner talks about the oft-overlooked art of designing sound for the arcade.
Interview with Joey Kuras by Aaron Marks [10.15.99] Find out about this Kung Fu fighting sound man, who has worked on projects like Messiah, Tony Hawk's Skateboarding, and Wheel of Time.
Interview With Jamey Scott by Aaron Marks [10.01.99] Ever wonder what it's like to be a one-man audio show? Jamey Scott is a premier audio designer, and is perhaps best known for his recent work on The Journeyman Project III: Legacy of Time. Come eavesdrop while Aaron Marks chats with him in his studio.
So, How's Your Audio Demo Reel? by Aaron Marks [07.09.99] Got your sound design and composition chops? Ready to go out and score your first gig on a game? You're going to need a great demo reel. Aaron gives you helpful tips on what to do, and not do while putting yours together.
Note Crunching: Composing Music for Games under Extreme Deadlines by Keith Zizza and Henry Beckett [06.25.99] Holy keyboards, Batman! You've got 48 hours to compose a score for a two-minute video trailer! Keith Zizza and Henry Beckett give you tried and true tips for coming in under a tight audio deadline.
Interview with Jon Holland by Aaron Marks [06.04.99] Jon Holland is a music composer of boundless creative energy. He is in constant motion, whether creating music for his latest game project, Baseball 2000 or physically en route to another wondrous destination on the globe. He also happens to be one of the highest paid composers in the industry.
Inspiration for Interactive Music Composition
Interview with Tommy Tallarico by Aaron Marks [03.12.99] One of this industry's most successful music composers, Tommy Talarico, offers advice about drafting business contracts, making a name for yourself, and the possibility of a game music category at the Grammys.
A Sound Bid by Aaron Marks [01.08.99] If you've ever bid for a sound project with very little information about the scope of the project, you're not alone. Aaron Marks outlines questions for the sound artist to ask before bidding.
Mixing and Surround Sound by Robert Basler [12.18.98] Cross platform audio support is a problem for many game developers, particularly if the available audio libraries don't support a platform a developer wants. Outlined here are methodologies for compressing and mixing WAV files to get maximum impact sound effects.
DirectMusic for the Masses by Tom Hays [11.06.98] Microsoft set itself some fairly lofty goals for its new interactive music API. DirectMusic's appeal is not necessarily as an interactive audio engine; game developers should be particularly pleased with its hardware accelerated DLS and robust MIDI features.
Pro 2.3 and BarbaBatch 2.1 by Mark Miller [08.14.98] Veteran
game audio designer Mark Miller puts these two audio processing packages
through a head-to-head aural grudge match.
Musical Techniques for Interactivity by Donald S. Griffin [05.01.98] Real interactive audio can do as much for a game as a good frame rate or a 3D-video processor. But efficient and engaging audio requires a lot of thought and experimentation. This article provides a tour of a few of the critical issues and offers specific suggestions for designing bigger and better interactive soundscapes.
Avoiding a DirectSound3D Disaster by Rich Warwick [04.17.98] Implementing DirectSound3D is no simple matter. Here are four rules for applying the API.
Music: Merging Quality with Effectiveness
New Sound Technology for PCs by Jeffrey Barish [03.06.98] Innovations in OS support APIs such as DirectSound, DirectSound3D, and DirectMusic and comparable innovations in hardware support MMX, PCI, and AC97 means bigger, badder audio in 1998.
Sound Log: The Virtual Chemist Mission by Jonathan Hoffberg [12.19.97] It's not everyday that sound designers incorporate a Vietnamese electric dan ban into their repertoire. Using sound samples, Mr. Hoffberg discusses a unique, immersive soundscape created for an Asian-based client.
Interactive Audio: Thoughts, Tools, & Techniques
Effective Music for Games and Multimedia by Michael Bross [11.14.97] Radically new music caused Parisians to riot in 1917. While Mr. Bross doesn't encourage street brawls, he does offer several tips on how to dramatically set the mood with effective interactive music.
Creating an Interactive Audio Environment by Daniel Bernstein [11.14.97] An interactive audio vocabulary featuring a wide assortment of sound cues and background noises immerses players far more than you may realize says Monolith's Daniel Bernstein.
Gig: Making MIDI Music by Randy Pringle [11.14.97]
A Gama reader retells his first attempt at music composition for games.
Configuring Hardware-Accelerated DirectSound3D by Brian Schmidt [09.05.97] Struggling with the task of programming audio into your DirectX game? Read this first.
Tricks and Techniques For Sound Effect Design by Bobby Prince [08.19.97] Previously presented at CGDC '96, the wizard Bobby Prince, delivers his thoughts, experiences, and opinions on "shaking it up".
Tricks and Techniques For Sound Effect Design by Bobby Prince [08.19.97] Previously presented at CGDC '96, the wizard Bobby Prince delivers his thoughts, experiences, and opinions on "shaking it up".
A Better Picture Through Sound by Jonathan Hoffberg [08.01.97] If great sound enhances game play, why do so many gamers turn down the bass.
Better Picture Through Sound, A by Jonathan Hoffberg [08.01.97] If great sound enhances game play, why do so many gamers turn down the bass?
Programming Digitized Sound on the Sound Blaster by Erik Lorenzen and Keith Weiner [06.19.97] In this Game Developer magazine article, Erik and Keith use the Sound Blaster 1.5 model as the base for developing killer sounds across all levels of audio hardware.
Actors' Notes: Words Of Wisdom For Voice Actors and Those Who Hire Them by Beth Kaufman [06.19.97] Here's some sound advice for voice actors moving into multimedia projects for the first time.