AES New York 2011
Game Audio Event Details
Thursday, October 20, 9:00 am — 10:30 am (Room: 1E13)
G1 - Emerging Trends in Audio for Games
Presenters:
Michael Kelly
Steve Martz
Abstract:
This workshop looks at the current state of technology requirements for audio in game applications and discusses emerging trends and the technical requirements imposed by those trends. The workshop is presented by the Co-chairs of the AES Technical Committee on Audio for Games. The workshop also summarizes some of the topics presented at the recent 41st International Conference on Audio for Games.
Thursday, October 20, 10:30 am — 11:30 am (Room: 1E13)
G2 - Audio Shorts: Tools
Presenters:
Simon Ashby, VP Product Strategy - Co-founder at Audiokinetic
Peter "pdx" Drescher, Twittering Machine
Michael Kelly, DTS, Inc.
Abstract:
This hour long session will be split into three twenty-minute segments. Each segment will go in depth into a subject that is near and dear to the presenter. Audio Shorts is designed to pack in as much usable information in as short of period of time as possible. It’s like the Reader’s Digest of game audio tutorials. You won't want to miss this one.
Shorty #1: Usage and Optimization of Run-Time Convolution Reverb for Games — Presenter: Simon Ashby, VP Product Strategy - Co-founder at Audiokinetic
Despite the fact that the current generation of gaming platforms are really powerful, the usage of convolution reverb is just emerging and the perceptions that this technology is too expensive for games holds strong. This talk will demonstrate different techniques on how convolution reverb can be optimized to fit most game resource budgets while underlining the situations where using a standard parametric reverb may be preferable.
Shorty #2: Data Compression for Games — Presenter: Michael Kelly, Principal Audio R&D Engineer, dts
Game audio developers are always trying to squeeze more data into the allotted RAM resources they are given. The presenter will discuss current audio codec’s and their application for games as well as future trends.
Shorty #3: Make it Even Smaller! — Presenter: Peter “pdx” Drescher, Twittering Machine
When you need to make that data even smaller than any audio codec could ever assist with, you need to develop techniques for creating awesome sounding content in as little space as possible. Considered an authority on audio for mobile platforms, the presenter will divulge some of his techniques for creating a compelling audio experience in as few bits as possible.
Thursday, October 20, 2:30 pm — 4:00 pm (Room: 1E08)
G3 - Game Audio Secrets: Everything You Always Wanted to Know about Game Audio but Were Afraid to Ask
Presenters:
Peter "pdx" Drescher, Twittering Machine
Stephen Harwood Jr., IASIG; Dynamic Systems Music
Damian Kastbauer, Bay Area Sound
Scott Selfon, Microsoft
Abstract:
Game-curious? Interested in the video game industry, but unsure of what exactly it is that we do here? You are not alone. Video game production values are improving rapidly, creating increased demand for top-notch, experienced audio professionals. But many composers, sound designers, and producers looking to bring their expertise from the world of film and TV into the video game industry are uncertain about what it is they’ll be getting themselves into. In this very special extended Q&A session, a panel of distinguished game audio insiders will take questions from the floor, and turn them into answers from behind the curtain. Discussion will be driven by audience participation – all topics are welcome, from interactive music to implementation. Come prepared to inquire, be inspired, and take notes.
Thursday, October 20, 4:30 pm — 6:30 pm (Room: 1E11)
G4 - Realistic Interactive Reverb Processing for Games
Chair:
Steve Martz, THX Ltd.
Presenters:
Dinesh Manocha, University of North Carolina at Chapel Hill - Chapel Hill, NC, USA
Masataka Nakahara, Onfuture Ltd.
Nikunj Raghuvanshi, Microsoft Research
Abstract:
Realistic acoustics is essential for a realistic, immersive game experience. Computing and applying realistic acoustic responses for game scenes, called “interactive reverb,” is thus a very important problem. Most games today rely heavily on the audio designer to assess and apply the reverb parameters for different areas of a game scene. This manual process requires a lot of experience, expertise, and labor. Dynamic effects, such as the effect of source / listener positions, or changes in room geometry are almost always neglected.
Due to these reasons, a degree of automation and improvement in acoustic detail has long been needed for games. In the area of room acoustics, automatic calculation methods, as well as perceptual aspects of room responses have been (and continue to be) extensively studied. By utilizing reverb computation based on such techniques, along with artistic input from the audio designer, the quality of game reverb could be vastly improved. In this panel, three approaches for interactive reverb computation will be discussed: wave, geometrical and statistical acoustics. Panelists will discuss the technical aspects, relative strengths and weaknesses, performance requirements / tradeoffs and also show video demonstrations of the techniques in action. These approaches have been integrated with game engines and also map well to commodity multi-core processors.
(1) Wave acoustics: Real-time wave acoustics for games—Nikunj Raghuvanshi. A novel technique for wave-based sound propagation in games.
(2) Geometrical acoustics: GSound + Acoustic Transfer Operator—Dinesh Manocha. Two recent geometric techniques for interactive sound propagation.
(3) Statistical acoustics: Advanced Statistical 3D reverb—Masataka Nakahara. Statistically calculated reverb using new statistical acoustics theory.
Friday, October 21, 9:00 am — 10:30 am (Room: 1E13)
G5 - Techniques in Field Recording
Presenters:
Colin Hart, hartFX
Ric Viers, The Detroit Chop Shop
Abstract:
This tutorial discusses techniques in field recording with an emphasis on game-specific source recording including examples in several areas of location or field recording. Topics include basic gear and concepts in field recording, session documentation, how to get a good sound, gaining access to locations, and field recording on a budget.
Friday, October 21, 11:00 am — 12:30 pm (Room: 1E13)
G6 - Audio as a Real-Time Input and Feedback Mechanism for Full Body Gaming
Presenters:
Chris Jahnkow, Sony Computer Entertainment America
Scott Selfon, Microsoft
Abstract:
A panel of game console platform developers discusses the technologies and techniques allowing audio to become an input for games, as well as using it as an output/user feedback mechanism. Topics will include using sound to replace haptic feedback when no tactile system is used, echo cancellation and noise suppression, real-time audio analysis, and gameplay implementations driven by these dynamic and fully player-driven natural user input systems.
Friday, October 21, 2:30 pm — 4:00 pm (Room: 1E11)
G7 - Emerging Market: Processing Plug-in's for Games
Presenters:
Mike Caviezel, Microsoft
Alex Westner, iZotope
Abstract:
Game Audio Systems are rapidly approaching the processing capabilities of DAW's. Real-time processing in games has become more than just reverb and a bit of low-pass. There are many uses for real-time DSP and as in the DAW, there are many flavors of plug-ins that can accomplish similar tasks. In the past developers have been happy, pleased, even surprised to get a filter, or a reverb, or a limiter. Now we are starting to see options in the types of plug-ins integrated into today's game audio pipelines. Plug-in developers are starting to see a potential new market for their technology and some of them have already been working with game developers to incorporate these technologies. This session looks at some of these Plug-in/Game developer relationships and how they can benefit both parties.
Saturday, October 22, 10:45 am — 11:45 am (Room: 1E13)
G8 - History of Audio Implementation Toolsets
Presenter:
Damian Kastbauer, Bay Area Sound
Abstract:
Through the use of audio/visual examples and a pictorial overview this session will chronicle the history of publicly available and proprietary audio middleware toolsets covering: features, functionality, trends, and techniques in an attempt to understand the current state of audio implementation tools being used in today's game development environments. An understanding of the fundamentals that have developed over the past 15 years of audio toolset creation will be explored; in addition to the benefits of middleware, and the continued need for specialized
proprietary tools.
Saturday, October 22, 12:00 pm — 1:00 pm (Room: 1E13)
G9 - Game Audio Programming for Android: FMOD vs Java
Presenter:
Peter "pdx" Drescher, Twittering Machine
Abstract:
Using FMOD audio middleware to produce soundtracks for Android games has certain advantages over using Java methods built into the operating system . . . and vice versa. The author implemented the sound for a pinball app both ways and compares the techniques.
Saturday, October 22, 4:00 pm — 5:30 pm (Room: 1E13)
G10 - Making Music for Games: The State-of-the-Art
Presenters:
Simon Ashby, VP Product Strategy - Co-founder at Audiokinetic
Jason Graves, Composer, Jason Graves Music
Tom Salta, Composer, Persist Music
Abstract:
This renowned panel of experts pulls the curtain back on the process of making music for blockbuster games. Get the inside perspective on the latest trends in the composition, production, and integration of music for interactive entertainment.
Saturday, October 22, 5:30 pm — 6:30 pm (Room: 1E13)
G11 - Using Speech Recognition for Games
Presenter:
Scott Selfon, Microsoft
Abstract:
Voice offers a powerful natural user input mechanism, with the possibility of completely intuitive and seemingly omnipotent control for the player. How should speech be designed to best take advantage of this capability, to set up the player for maximum success, and to create magical experiences even when the player’s spoken word isn’t always perfectly understood? This lecture will focus on best practices for designing, testing, and tuning grammars and overall player engagement for intuitive and successful speech recognition experiences.
Sunday, October 23, 9:00 am — 11:00 am (Room: 1E13)
G12 - Education: Prerequisites for a Career in Game Audio
Presenters:
Karen Collins, Canada Research Chair in Interactive Audio, University of Waterloo
Stephen Harwood Jr., IASIG; Dynamic Systems Music
David Javelosa, Professor of Interactive Media, Design Technology Dept., Academy of Entertainment & Technology, Santa Monica College
Michael Sweet, Berklee College of Music, Associate Professor, Film Scoring
Abstract:
The video game industry has grown and evolved tremendously in recent years, and the opportunities for further expansion are limitless. Much of this great potential is the result of an ever-increasing demand for technological innovation. Corollary to this, students wishing to enter the games industry must have a solid education in related technologies and production techniques. To address this need, the IASIG has recently published a Game Audio Curriculum Guideline. In this session, a panel of IASIG Education Working Group members –accomplished industry veterans and professional educators – will share their experience and perspectives on a broad range of professional topics, with a focus on how students can prepare for, begin, and develop a successful career in game audio. The discussion will also include an outline of the curriculum guidelines and suggestions for educators and institutions.
Sunday, October 23, 11:00 am — 1:00 pm (Room: 1E13)
G13 - Careers in Game Audio
Presenters:
Stephen Harwood Jr., IASIG; Dynamic Systems Music
Sam Howard-Spink, NYU-Steinhardt, Music Business
Duncan Watt, Senior Composer/Audio Designer, 38 Studios
Mike Worth, Chief Operating Officer, Play Eternal
Abstract:
Game audio excellence demands a coordinated team effort. In addition to sound design, composition, and production supervision, game audio requires skill sets that are rarely encountered elsewhere, including interactive audio programming and implementation. This broad array of work types provides for an equally broad range of career opportunities. Whatever your background and area of specialized expertise might be, there is room for you in this rapidly growing industry. In this session, a panel of accomplished industry veterans will share their experience and perspectives, with a focus on how to begin and develop a successful career in game audio. Audience members will take away a comprehensive understanding of the many opportunities available to audio professionals in the video game industry, as well as valuable suggestions and insights into how to land that first gig.
