Audio ear training can be a powerful and effective component of education for audio engineers in research, audio production, live sound work and forensics. Benefits include faster work, fewer errors, and more rapid professional advancement
The Los Angeles AES Convention (137) is coming this October, and there will be many Game Audio Track events
Game Audio: Transforming Simulation and Interactivity
Game audio has reached a state of maturity that implies parity of status with graphics. The most recent research in the field is concerned with connecting sound design to other game creation processes in a more integrated fashion and with devising adaptive sound design tools to increase emotional involvement and interactivity.
by Francis Rumsey
IO Interactive’s proprietary engine, G2 gives freedom to sound artists by providing a high-level graphical programming environment, as seen with systems like MAX/MSP and PD. G2 allows the sound designer to freely perform adaptive and interactive mixing and sound setups, which is the foundation in our attempt to create the living, breathing world.
This paper will discuss some of the unique challenges associated with mixing interactive audio content, including trying to determine what exactly is meant by ‘mixing’ game audio in the first place.
This Committee is the portal through which the AES becomes more widely informed of and responsive to the needs of Audio for Games. We will be proactive in defining recommended game audio practices, capabilities, services and standards. Our mission is to cooperatively influence hardware and software design, to leverage the combined skills of the diverse audio community and to improve the performance of audio across all gaming platforms and applications.
This standard defines an interoperability mode for transport of high-performance (high resolution, low noise and low latency) audio over networks based on the Internet Protocol. Comprehensive interoperability recommendations are provided for the areas of synchronization, media clock identification, network transport, encoding and streaming, session description and connection management.
The “Broadcast Wave Format” file format for audio data can be used for the seamless exchange of audio material between different broadcast environments and equipment based on different computer platforms.
An optional Extended Broadcast Wave Format (BWF-E) file format is designed to be a compatible extension of the Broadcast Wave Format (BWF) for audio file sizes larger than a conventional Wave file. It extends the maximum size capabilities of the RIFF/WAVE format by increasing its address space to 64 bits where necessary. BWF-E is also designed to be mutually compatible with the EBU T3306 “RF64” extended format.
This revision additionally packages a set of machine-readable loudness metadata into the BWF file. This is compatible with EBU v2 broadcast wave files.
The Pacific North West AES meeting for January 2013 took “a deep dive into the interesting, diverse, and sometimes dangerous world of sound design for racing games” with Nick Wiswell, Creative Audio Director for Turn 10 Studios (part of Microsoft). Nick revealed many details about how painstakingly sound is produced for modern car-racing computer games.
