It’s always great watching videos about the process of creating sound in a production and thoughts behind sound design. Here’s some background information about sound in How to Train Your Dragon 2.
“I always say that before you can design great sound for a movie, the movie has to be designed for sound…” – Randy Thom
Just a quick notice, the Captivating Sound colour scheme for Tracktion 4 has been transformed into a Tracktion 5 colour editor preset and is present in the default installation. By popular demand, the colour editor has been reintroduced. So if you’re looking for the updated colour style, just update the program and select it in the settings menu!
This is what the Captivating Sound T5 GUI preset looks like:
This is what the default GUI looks like:
One Note Salsa and Composing for Fire Trucks. Exploring the creative design process of game composition throughout history.
By Sander Huiberts – Creative Design Practices – HKU University of the Arts Utrecht – School of Music & Technology
This article addresses the findings of a practice-based investigation into the process of game music creation throughout the past forty years. In this research project, four composition students of the Utrecht School of the Arts created game music restricted by the limitations that counted for early game composers and reflected upon the implications for their design process. By doing this, we hoped to get an understanding of the way the creative design process of a game composer is influenced by such limitations, point out the challenges that arise when composing with these drastic restrictions and discern the techniques that could still be relevant for game composers.
The project was initiated by the Creative Design Practices research programme at the Utrecht School of the Arts, which researches creative design processes and investigates how designers collaborate. Four students subscribed to the project that started in spring of 2012: Alexander Wttewaall, Pablo Ham, Stijn Frishert and Yme de Jong.
This investigation of the design processes of game music formed part of a larger research project on the history of game music that was started in 2012 in cooperation with Muziekinstituut Multimedia (MiMM) and Utrecht University.
A post in German? Yes, we were interviewed by Frank J. Hofmann for a ZDF documentary on audio games!
At HKU University of the Arts Utrecht we offer a four year course on audio design for games and interaction. In the first seven weeks of the third year, students are challenged to implement their newly created sound and music into Unity‘s tech demo Angry Bots. For most students, this means a first experience with hacking, programming and coding.
Gijs Driesenaar sent me his annotations of Captivating Sound: the Role of Audio for Immersion in Games. If you’re a little short on time but would like to know what’s in the thesis, you can consider this the essence of the book. The numbers refer to page numbers. [Download as PDF]
6. This thesis explores the relation between game audio and (computer) game immersion. Audio is studied using the IEZA‐model (Interface, Effect, Zone, Affect) and the SCI‐model(Sensory- Challenge-based- and Imaginative Immersion), and several design issues are described. This yields a conceptual framework that describes various audio design issues that can be used to reflect upon conceptual decisions relevant for the design of audio in relation to immersion.
Today appeared an article about blind gamers and audio games on Polygon.com! Not only is it a great article (written by David Moss) but it is also hoped that many folks in the industry get to read it. Everybody wants to safe the universe, blind gamers included.