AES San Francisco 2010
Game Audio Event Details
Thursday, November 4, 12:00 pm — 1:00 pm (Room 120)
G1 - Code Monkey Part 1: What Game Audio Content Providers Need to Know About C++ Programming
Presenter:
Peter "pdx" Drescher, Sound Designer, Twittering Machine
Abstract:
It's like Jane Goodall and the chimps—earn the ways of programmers and they will let you into their group. Being able to speak "the language" is helpful not only in communicating your ideas to them, but also in tracking down implementation bugs and understanding what *exactly* your programmer has been saying all these years. The author has written an application in C++ / Objective-C for Mac OSX that plays FMOD Designer's Interactive Music examples, and will use it to illustrate basic programming concepts. The source code and Xcode project will be available for download.
Thursday, November 4, 2:30 pm — 4:30 pm (Room 120)
G2 - Rock On! – The Rock Band Network Demystified
Panelist:
Jeff Marshall, Executive Producer, Rock Band Network, Harmonix
Abstract:
With the popularity of music games like Rock Band there comes opportunity for musicians, engineers, and producers to provide musical content. The Rock Band Network was created to broaden the spectrum of available content, and allow your music to be experienced by a unique and untapped market. This in depth how-to session will give you plenty to chew on, straight from the horse's mouth!
Thursday, November 4, 5:00 pm — 6:30 pm (Room 206)
G3 - The Wide Wonderful World of 5.1 Orchestral Recordings
Panelists:
Richard Dekkard, Director, Orphic Media LLC
Tim Gedemer, Owner/Supervising Sound Editor, Source Sound Inc.
Abstract:
When recording an orchestra was a simple affair using two or three microphones, the performance, the choice and placement of said microphones, and the quality of the recording medium were all that factored into the result. These days, orchestral recording takes almost as many forms as pop recording. Spot mics, multichannel arrays, postproduction, and editing are all used in the production process. In this panel, experts in both game and film audio will be discussing the means by which producers and engineers arrive at their final goals for different formats and deal with the challenges of 5.1 orchestral recording for their mediums. Topics will include the different footprint limits in the 5.1 format used for games versus the film format—as well as the those involved in streaming bandwidth for both games and movies. Panelists will go over editing in 5.1 for games to accommodate player-driven music as compared to the linear progression standard in film editing, and will also discuss the lack of standards for 5.1 in games versus the established process and standards for film.
Friday, November 5, 9:00 am — 10:00 am (Room 120)
G4 - Code Monkey Part 2: LUA is not a Hawaiian Picnic—The Basics of Scripting for Dynamic Audio Implementation
Presenter:
Kristoffer Larson, Audio Manager, WB Games - Seattle, WA, USA
Abstract:
Isn't a script what you use for your VO sessions? Why, yes, little Billy, but in the world of dynamic audio it means something different. Scripting can be the cheese in your excellent sound sandwich. This session will teach you scripting basics, and how scripting can enhance your dynamic audio implementation. (Hold the mayo). LUA is not universally used, but it is common enough that you'll benefit from having a basic understanding of it. Take-home examples will be provided.
Friday, November 5, 11:30 am — 1:00 pm (Room 120)
G5 - Developing Sensible Reference Level Standards
Chair:
Steve Martz, Sr. Design Engineer, THX Ltd.
Panelists:
Lance Brown, Cinematic Game Audio Consultant
Charles Deenen, Senior Creative Director, Audio, Electronic Arts
Ken Felton, Sound Design Manager, SCEA
Tom Hays, Director of Audio Services, Technicolor
Francesco Zambon, Audio Project Lead, Binari Sonori s.r.l.
Abstract:
Particularly in environments where the mix is dynamic and constantly changing, a continuing challenge for game developers is devising (and abiding by) guidelines for appropriate playback levels. While the ever-loudening, highly dynamic-range compressed strategies of the music industry may be appropriate in that world, games can use multiple alternate techniques to 'feel' louder and maintain a wide dynamic range without forcing the player to scramble for their remote. This panel will cover the findings of an ongoing multi-platform, multi-studio conversation about what such a set of guidelines would look like, and how we can apply these.
Friday, November 5, 2:30 pm — 4:00 pm (Room 120)
G6 - Mobile Game Audio for Headphones and Micro-Speakers
Chair:
Steve Martz, Sr. Design Engineer, THX Ltd.
Panelists:
Peter "pdx" Drescher, Sound Designer, Twittering Machine
Greg Klas, Sr. Manager, Audio Engineering, Fisher-Price, Inc.
Jeffrey Xia, Sr. Acoustics Engineer, Ole Wolf Electronics
Abstract:
Mobile platforms (phones, toys, portable gaming devices) are typically relegated to using small speakers as a means to recreate an immersive environment for games. These playback devices have certain attributes that require unique approaches when creating content for mobile entertainment.
A panel consisting of speaker manufacturers and mobile game creators will discuss the performance characteristics and limitations of headphones and other micro-speakers as they pertain to playback of game audio on those devices as well considerations for designing game content.
Friday, November 5, 4:15 pm — 5:15 pm (Room 120)
G7 - Audio Shorts—Sound Design
Presenters:
Randy Buck, Principal, The Sound Department - Austin, TX, USA
Charles Deenen, Senior Creative Director, Audio, Electronic Arts
Kristoffer Larson, Audio Manager, WB Games, Seattle, WA, USA
Marc Schaefgen, Principal/Owner, The Sound Department - Austin, TX, USA
Jay Weinland, Senior Audio Lead, Bungie Studios
Abstract:
Three mini sessions are presented by game audio dudes that guarantee you will walk away with cool new techniques. Twenty minutes each to serve up an in-depth look at topics in sound design that matter most to them. Q&A to follow.
Shorty #1:
Game Audio Sound Sourcing - What is special about gathering sonic source material for games as opposed to other media? Need for longer ambiences (streams can be up to 5 minutes or more), more variation, more mic perspectives, components rather than complex events.
Shorty #2:
The Loop Trick and More - How to create seamless loops of any length and the best way to approach sound design for looping material. And, to loop or not to loop? That is always the question when it comes to rapid fire weapons. Learn a few techniques that go beyond the loop.
Shorty #3:
My Favorite Plugin! - Three speakers from other sessions will talk about their current favorite plug-in, why they love it so much, and how they use and or abuse it.
Friday, November 5, 5:30 pm — 6:30 pm (Room 120)
G8 - Code Monkey Part 3: ‹learn›XML‹/learn›
Presenter:
Michael Kelly
Abstract:
This session provides an overview of XML, the eXtensible Markup Language, and explains how it is used within the game-audio production pipeline. This is a chance to pick up some pointers how to read and write in XML. This introductory-level session is for those who work with XML (whether you know it or not!) and want to know more. The session may also be beneficial to those outside the games industry and shows how some popular game-audio tools use XML. The sessions ends with some pointers to more advanced topics for the adventurous.
Saturday, November 6, 9:00 am — 11:00 am (Room 120)
G9 - Game Industry Overview
Chair:
Marc Schaefgen, Principal/Owner, The Sound Department - Austin, TX, USA
Panelists:
Lance Brown, Cinematic Game Audio Consultant
Charles Deenen, Senior Creative Director, Audio, Electronic Arts
Adam Levenson, Senior Director, Central Audio and Talent, Activision/Blizzard
Abstract:
How does the game industry work compared to other media industries? What is the game development process? Unlike other media industries, the deployment platforms for games are constantly evolving as are the tools used to create content for said platforms. What if the TV industry experienced an evolution like HD every five years? How do game developers sail the seas of technical change? How does the technology affect creativity? Where can I fit in if I'm coming from a related media industry? Lots of good questions, those and more answered by a panel of top game audio professionals.
Saturday, November 6, 11:15 am — 12:45 pm (Room 120)
G10 - Audio Cage Match!
Referee:
Steve Horowitz, Composer/Producer/Referee, President, The Code International, Inc.
Panelists:
Peter "pdx" Drescher, Sound Designer, Twittering Machine
Larry the O
Abstract:
A spirited ""cage match"" discussion about sound, music, interactive audio, game soundtracks, hardware, software, and audio production, by two experienced industry veterans. Peter Drescher and Larry the O met at Berklee College of Music in 1976, and have been arguing both sides of any audio issue ever since. A series of questions will be asked by the moderator; each will be discussed for a specific amount of time. Topics might include:
• “I promise never to program a computer to play something I can’t” (aaaand ... fight!)
• How much does audio quality really matter?
• Why does MIDI sound bad, and what's it good for anymore?
• Is music supposed to be easy to learn, or difficult?
• Why do game soundtracks have to SUCK so bad!?
• Who needs interactive audio anyway?
• The Myth of Music Ownership: music as “a service you listen to,” not “a thing that you buy.”
• Have advances in technology actually made audio production better?
• (Stay tuned ... more to come)
Referee will be provided. Trained medical personnel standing by. Remember, this is not a competition, it is only an exhibition— please, no wagering. After all, there is always the remote chance these guys might agree on something!
Saturday, November 6, 2:30 pm — 4:30 pm (Room 120)
G11 - Careers in Game Audio
Chair:
Steve Horowitz, Composer/Producer, President, The Code International, Inc.
Panelists:
Tim Duncan, DMA; Associate Professor; Director, Digital Audio Technology, Cogswell Polytechnical College
Shiloh Hobel, Sr. Director, Industry and Career Services - Sound Arts, Ex'pression College for Digital Arts
David Javelosa, Professor of Game Development, Santa Monica College
Lennie Moore, Composer
Michael Sweet, Associate Professor, Berklee College of Music
Abstract:
You already know that you want a career in game audio. You even know which position is best for you. The big question is how do you get the training and experience necessary to land that first job? This workshop will present the latest work of the IASIG (Interactive Audio Special Interest Group) and local education institutions to develop standardized school curriculum for games and interactive audio. Programs are springing up all over the world, and this panel will provide the big overview of what training is available now and what is coming in the future. From single overview classes, associate degree programs to a full four year university study we will preview the skill sets and templates that are desired and the recommended path for getting that position on the audio team.
Saturday, November 6, 4:30 pm — 6:00 pm (Room 206)
G12 - Mixing the DICE Way—Battlefield, HDR Audio, and Instantiated Mixing
Presenter:
David Mollerstadt, EA/DICE
Abstract:
In this session David Mollerstedt presents the detailed concepts behind how High Dynamic Range Audio does adaptive runtime level balancing. It further explains the Instantiated Mixer System in the Frostbite engine that allows for elaborate manipulation of individual sounds and asset groups.
Sunday, November 7, 9:00 am — 11:00 am (Room 120)
G13 - Takin' Care of Business
Chair:
Scott Selfon, Lead Program Manager, Microsoft Corporation
Panelists:
Rod Abernethy, Red Note Audio
Simon Amarasingham, CEO, dSonic Inc.
Alistair Hirst, CEO, OMNI Audio
Julien Kwasneski, President, Bay Area Sound, Inc.
Josh Rose, CEO and Co-founder, Flying Wisdom Studios
Abstract:
A panel of four game audio production companies will give insight on how to run a successful business. Moderated by one of their peers, questions will cover a wide range as well as involve audience participation.
Sunday, November 7, 11:30 am — 1:00 pm (Room 120)
G14 - Physics Psychosis
Panelists:
Stephen Hodde, Associate Audio Designer, Volition, Inc. (THQ)
Damien Kastbauer, Technical Sound Designer, Bay Area Sound
Jay Weinland, Senior Audio Lead, Bungie Studios
Abstract:
This session will dig into what can become a very complex implementation problem, physics. Solutions can range from simple to extremely complex depending on the demands of the game, the computational resources available, and the ambition of the audio team. Three developers will delve into the solutions they have used, discuss the pros and cons, and where they'd like to go in the future.
Sunday, November 7, 2:30 pm — 4:00 pm (Room 120)
G15 - Game Audio for Visually Impaired (CANCELLED)
Presenter:
Michelle Hinn
Abstract:
Good sound design is very important for placing a player in an interactive environment. It is even more critical for those that are visually impaired. Panelists will discuss methods and strategies for sound design that allows all players to participate in the action.
WE REGRET THAT DUE TO UNFORESEEN CIRCUMSTANCES THIS SESSION IS CANCELLED.
