Discover and read the best of Twitter Threads about #gameaudio
Most recents (21)
If you're into sound, you should always be prepared to wow friends and family with a few fun factoids.
Here are our top five fun facts about sound:
🧵🧵🧵
#sound #audio #sounddesign #gameaudio
Here are our top five fun facts about sound:
🧵🧵🧵
#sound #audio #sounddesign #gameaudio
The loudest sound ever recorded on Earth was the eruption of the Krakatoa volcano in 1883, which produced a sound that could be heard over 4,800 kilometers (3,000 miles) away.
The sound of a whip cracking is actually a small sonic boom created by the tip of the whip traveling faster than the speed of sound.
🔊🎮 Now that #godotengine 4.0 is out, it's the perfect time to take your #gameaudio to the next level. Thrilled to announce the first release of my FMOD plugin for Godot!
Seamless integration, streamlined workflow, and more! github.com/alessandrofama…
Seamless integration, streamlined workflow, and more! github.com/alessandrofama…
🎼 With FMOD, you can create complex audio behaviors and realistic soundscapes that enhance the immersion and overall quality of your game. And with my plugin for Godot, you can easily integrate FMOD into your project and start taking advantage of these features today. 
💻📱🎮 Use the FMOD Studio API on various platforms, including Windows, macOS, Linux, iOS, and Android. Seamless integration with Godot and GDScript.
I've just been through a lot of showreels. None of the following is new information. These are all basic, easily fixable issues that came up multiple times.
#GameAudio 🧵
- Do not make anyone search for your reel. Provide a link that goes right to it.
1/8
#GameAudio 🧵
- Do not make anyone search for your reel. Provide a link that goes right to it.
1/8
- Put the link wherever you can; on your CV, on your cover letter and on the box on the application form that says 'Website'. Make it blatantly obvious. I think only around 25% of applicants had a hyperlink that went straight to a reel.
2/8
2/8
- Host on YouTube or Vimeo. There were reels with players that could not be fast fwd/rewound, or fullscreened. This makes my job so much harder, and it makes you look (and sound) bad. One random player refused to play more than 10 seconds of a reel.
3/8
3/8
Тред про ігрове аудіо. Як наша аудіоагенція створює звучання ігор.🧵
(1/12) 🔸Знайомство. Усе починається зі знайомства з клієнтом. Ми маємо збігатися в цінностях, баченні та ігрових жанрах. Це все обговорюється на перших зустрічах.
#укргеймдев #укртві #gameaudio #gamedev
⏬
(1/12) 🔸Знайомство. Усе починається зі знайомства з клієнтом. Ми маємо збігатися в цінностях, баченні та ігрових жанрах. Це все обговорюється на перших зустрічах.
#укргеймдев #укртві #gameaudio #gamedev
⏬
(2/12) Наприклад, наш пайплайн та підхід зовсім не працює для гіперкежу, тому що ми – не про «швидко накидати звучків-тречків».
Загалом фундамент ефективного результату від нас — розуміння того, що ми спільно з клієнтом працюємо на успіх продукту, а не на нього.
⏬
Загалом фундамент ефективного результату від нас — розуміння того, що ми спільно з клієнтом працюємо на успіх продукту, а не на нього.
⏬
(3/12) Якщо все ок, то ми потроху занурюємось у проєкт, його потреби та бачимо приблизний обʼєм робіт (у клієнта часто є вже якийсь асет лист ще на початку).
⏬
⏬
Hi #GameAudio! I’ve recently been mentoring some folks starting out on their audio journey.
I thought I'd share some of the most common feedback I've found myself giving when it comes to beginner's #sounddesign showreels! (thread)
I thought I'd share some of the most common feedback I've found myself giving when it comes to beginner's #sounddesign showreels! (thread)
(disclaimer - this is all my very subjective opinion! These aren’t necessarily the most important things to address, just small things that I’ve noticed across almost every showreel I've seen!)
1. Add more detail to ambiences!
I've never really noticed it myself until recently but ambiences in showreels can be overlooked! The first thing I always do when making a soundscape is build up the ambiences as much as possible. Here are some tips!
I've never really noticed it myself until recently but ambiences in showreels can be overlooked! The first thing I always do when making a soundscape is build up the ambiences as much as possible. Here are some tips!
Does the future look grim?
(On next steps of interactive audio authoring)
1. A thread 🧵...
#gameaudio #gamedev #sounddesign #reaperdaw #audiokinetic #wwise #fmod #ue4 #unity3d
(On next steps of interactive audio authoring)
1. A thread 🧵...
#gameaudio #gamedev #sounddesign #reaperdaw #audiokinetic #wwise #fmod #ue4 #unity3d
2. The most difficult thing is making decisions!
(because you have to think)
(because you have to think)
3. Making decisions requires bravery, experimentation, and exploration of the unknown.
If you are not practicing that then you are just gambling.
If you are not practicing that then you are just gambling.
'What do I need to do in order to get interviewed/hired for a #GameAudio #Job ?'
I get asked this often, so I thought I would share here (a thread).
Disclaimer: please understand this is my personal view/opinion, it is not universally true. But I hope it can still help. 💙
I get asked this often, so I thought I would share here (a thread).
Disclaimer: please understand this is my personal view/opinion, it is not universally true. But I hope it can still help. 💙
1a) Apply to the offer as soon as you can.
When an offer is posted, the employer receives a manageable amount of applications until it gets too much. You ideally want to be appllying within that short 'early window' to get noticed faster.
When an offer is posted, the employer receives a manageable amount of applications until it gets too much. You ideally want to be appllying within that short 'early window' to get noticed faster.
1b) If you are ready to apply with all the required elements 'ready to send', you have a potential advantage because you may be reviewed earlier.
This is not always true (hiring processes differ in companies), but early will always give you stronger chances than late.
This is not always true (hiring processes differ in companies), but early will always give you stronger chances than late.
Unpaid work. At some point, we all do it. We are certainly always being buffeted with requests to do it, anyways! Let’s dig into this concept and discuss when it is(?!) a good idea to pursue!
Strap in, #gameaudio friends. We’re gonna figure out what is or isn’t exploitation!
Strap in, #gameaudio friends. We’re gonna figure out what is or isn’t exploitation!
Basics, first. We all have rates, we all have expenses, and kind words don’t pay your bills. Obviously, receiving usable currency is often the ideal outcome for a gig. However, it isn’t the ONLY positive result. What are some examples of ways we can extract value?
Credit and “exposure” receive a horrific reputation, and yet without these things, we have no reputation at all. There is a monetary value to exposure, and it is in fact calculable. Compare the eyes a project will put on your music to the equivalent cost in marketing/PR.
Milestone today – 50 #gameaudio job rejections (in 2 years – screenshot from spreadsheet with the automated rejection counter)!
Here are some of the lessons I’ve learned and things I’ve observed, hopefully this can help people in similar positions!
Rejection – A Thread (1/18)
Here are some of the lessons I’ve learned and things I’ve observed, hopefully this can help people in similar positions!
Rejection – A Thread (1/18)
Any job application you’re not 100% “in” on, you probably shouldn’t bother applying. Some applications I’ve put in, I haven’t been convinced that even I would give myself the job – so someone else certainly won’t! (2/18)
They say the definition of insanity is doing the same thing over and over and expecting different results. It’s easy to just keep applying with the same material, but at points you must question whether what you’re applying with is reflective of your best work. (3/18)
Here are my top 5 recommendations of free resources for aspiring #GameAudio folks trying to break into this competitive industry! (especially AAA)
Not a definitive guide but something to get you started in case you're wondering where to start
🧵
Not a definitive guide but something to get you started in case you're wondering where to start
🧵
1. First up is this bible created by @FlorianArdelean on how to get a job in game audio!
A comprehensive guide containing a range of material from interviews with industry veterans to advice on CV, Cover letters etc.
docs.google.com/document/d/1sA…
A comprehensive guide containing a range of material from interviews with industry veterans to advice on CV, Cover letters etc.
docs.google.com/document/d/1sA…
2. Next is reel reviews by @regameyk on his Twitch channel @PowerUpAudio - he takes on 2 requests in each stream and gives some valuable advice on ways to improve your website/portfolio
Check out any video from his VOD on Twitch or YouTube channel:
youtube.com/user/PowerUpAu…
Check out any video from his VOD on Twitch or YouTube channel:
youtube.com/user/PowerUpAu…
gimme yer #gameaudio tips.
•transient designer followed by a clipper for big punchy impacts. gives the impression of a really sharp transient even though it’s shaved off
•transient designer followed by a clipper for big punchy impacts. gives the impression of a really sharp transient even though it’s shaved off
•envelope follower is great for gluing a bunch of layers together (one sound controls the amplitude of all the others) and makes things cohesive
•for snappy sounds, break the rules and use hard cuts with no fades (gasp!) and sometimes even tiny amounts of complete silence (GASP)
I'm building an upgrade to sfxr.me for creating sample packs for games.
Progress so far:
🔉 pro.sfxr.me landing page.
🔉 Triaged feature reqs.
🔉 UI & features mockup.
🔉 Project planning.
I'll post updates on this thread.
#buildinpublic #gameaudio
Progress so far:
🔉 pro.sfxr.me landing page.
🔉 Triaged feature reqs.
🔉 UI & features mockup.
🔉 Project planning.
I'll post updates on this thread.
#buildinpublic #gameaudio
Here's my plan for the new interface.
#gamedev #indiedev #gameaudio
I'd like to share a couple tracks I made for APICO which were thrown out or never developed.
I've added comments to most of the tracks.
#1: Much too dark and mysterious.
I'd like to share a couple tracks I made for APICO which were thrown out or never developed.
I've added comments to most of the tracks.
#1: Much too dark and mysterious.
#2: Also too dark and ominous.
#3: This was my first attempt at creating the track "Vulpes" (a shop theme). This attempt just... doesn't sound good.
And that's okay. Sometimes you just have to force yourself to come up with *something* in order to reach something you're happy with.
And that's okay. Sometimes you just have to force yourself to come up with *something* in order to reach something you're happy with.
Ok, time for the big one. What are appropriate rates for #gameaudio/#gamedev composers? How do you calculate what to charge? What is everyone ELSE charging? What do the numbers look like in AAA, midcore, indie, and so on? Let's deep-dive. #GameDevPaidMe
(1/23)
(1/23)
Sources: 1. I'm gonna be referencing stats from the Game Audio Industry survey by @GameSound. This is wonderful, but is biased in that respondents are folks who are well-enmeshed in this community. They are likely more successful than the average.
gamesoundcon.com/post/2019/09/1…
(2/23)
gamesoundcon.com/post/2019/09/1…
(2/23)
I'll also be sourcing convos w/ other studios, composers, etc. To protect privacy, I will not be providing names or identifying details. You'll kinda just need to trust me that these equal real people who replied. I don't want folks to get in trouble!
(2b/23)
(2b/23)
Friends in #gameaudio, I'd like to expand on this after a conversation with a composer buddy of mine. We talk about the importance of reels constantly without ever acknowledging that most of the best jobs don't actually consider reels whatsoever. (1/7)
What do I mean? Well, a reel serves a proof of concept for when you are pitching your services as a way of convincing someone else to hire you. However, many of the highest paying gigs (AAA etc) will tend to originate on the company end AKA they reach out to you. (2/7)
This is relevant because your reputation IS your reel. A lot of your favorite composers don't have video reels, or even audio samples. If asked for one, they'll send a disorganized dropbox link, or tell you to go on spotify; the sorta stuff I often call less than ideal 😅 (3/7)
bit overdue but here's a thread of the most common mistakes I saw while going through #gameaudio entry level #sounddesign reels you guys sent a while
back. Its just my personal take but hopefully some will find this useful...
Audio vets chime in too!!
back. Its just my personal take but hopefully some will find this useful...
Audio vets chime in too!!
1. Dead space - a lot of reels contained slow or eventless moments. Replace slow moments for more action and chances to show off your skills. You can show
ambience design, but make it tastefully short
ambience design, but make it tastefully short
2. Repeat Plays - many segments contained SD (sound design) shown multiple times (repeated creature attack or gunshot). If you want to show any variations, two will be good enough with tasty variation.
I can rewind the reel when I hear something awesome.
I can rewind the reel when I hear something awesome.
Celeste's dialogue design is the #1 most-asked-about topic when it comes to the game's sound. I figured I'd share some of how we went about creating it.
First, we explored some simple synth sounds to figure out a general tone for a given character's voice. Once we had a foundation timbre established, we moved on to setting up how that tone might change over time.
Essentially, using a Parametric EQ in FL Studio, we modelled what are called "formants" - that is, naturally occurring spectral peaks in human vowel sounds. These spectral peaks have specific frequency positions and relationships, and they looked something like this:
Challenges on #WFH in AAA games after COVID: A thread.
This is my opinion on the future of Work From Home in big games, does NOT represent the view of my employer or any of my co-workers. #gamedev #GameAudio #gamedeveloper
This is my opinion on the future of Work From Home in big games, does NOT represent the view of my employer or any of my co-workers. #gamedev #GameAudio #gamedeveloper
After COVID, some developers glorify the idea of WFH permanently.
If you ever worked in a film or TV set, played with a band
or performed for a living you probably have an idea
about creative collaborative effort and the hurdles of doing it if people are not in the same space...
If you ever worked in a film or TV set, played with a band
or performed for a living you probably have an idea
about creative collaborative effort and the hurdles of doing it if people are not in the same space...
But beyond the ability or not to do it, is the casual interaction with people that are not in your immediate circle of collaboration what make a difference between just getting-your-job-done and a learning and growth path that is what I call a 'career'...
We’re hiring for a couple of sound design roles at @HexanyAudio so I thought I’d share a bit what that process looks like at our studio. These things are true for us alone, not every studio. #gameaudio #sounddesign #gamedev
Reels 1: Our very first step is a blind review of demo reels. We don’t look at names, years of experience, resume, or anything else. We’ll pass if your reel isn’t excellent. And if your link doesn’t work, we move on. Pro Tip: Test your link a private window before sending.
Reels 2: We’re looking to hire video game sound designers. If your reel is 100% film and doesn’t contain anything at all from a game and your resume doesn’t have anything related to games, you’re probably not the best fit for this position.
#NiaHansen #sounddesign thread on EXPLOSIONS and fun with liquid nitrogen. Because liquid nitrogen is fun. Don’t try this at home. 💥💦❄
#filmsound #soundeffects #fieldrecording #audiopost #postproduction #gameaudio
#filmsound #soundeffects #fieldrecording #audiopost #postproduction #gameaudio
This explosion recording day was for War Horse. World War I is a time period that not very many living people have actually HEARD. This gave the sound designer and editors some liberty to be interpretive and nonliteral with some of the war environment, guns, vehicles, etc.
We tried various things with the liquid nitrogen, which all had very different qualities. When sealed in a plastic jug, it will eventually explode (or implode a trash bin). We tried different sized jugs… and different material cans.
Another #sounddesign thread, this time about #soundeffects #fieldrecording for film!
#audiopost #postproduction #filmsound #filmmaking #gameaudio
#audiopost #postproduction #filmsound #filmmaking #gameaudio
We don’t always have the time or budget to collect many new/unique sounds for every film, esp. on Marvel projects which are so busy. We also may not know what we need until a visual effect shows up, or we learn that something cut/designed isn’t working.
Ideally, we put together a recording wish list at the very start of the project. These are sounds we don’t have in the library, or have but want better recordings of/variations of, or textures & components to use for designing.
