Aaron Trammel shares his thoughts and observations on how sound and music work in video games, looking at Limbo and other titles.
The soundtrack of Limbo says a lot about the game, which in turn says a lot about our culture.Video games are rarely the object of analysis for sound culture studies, this is fairly counterintuitive considering both their social impact and technological nature.
Should sound studies take a closer look at video games – where would it start?
Read Aarons full post here.
Posted by Asbjoern Andersen, Epic Sound - Contact
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game audio, interactive sound, limbo, music, sound design — 
Join Head of Sound Design for Visual Media Shane Rees for an exclusive inside look at BioWare’s Edmonton campus, and interviews with the many Vancouver Film School grads on the Dragon Age and Mass Effect sound teams.
Posted by Asbjoern Andersen, Epic Sound - Contact game audio Bioware audio team, dragon age audio, game audio, mass effect sound, vancouver film school — Have a peek at this interesting video on the sound of ‘The Elder Scrolls V: Skyrim’, an eagerly-awaited upcoming game from Bethesda:
You can see the official in-game trailer for the game here:
Posted by Asbjoern Andersen, Epic Sound - Contact game audio game audio, game music, game score, skyrim, soundtrack, The Elder Scrolls V — Posted by Asbjoern Andersen, Epic Sound - Contact game audio Deus Ex: Human Revolution, game audio, game music, score, sound design — Rob Bridgett has posted a great feature on how to integrate audio production into your game development schedule:
This feature takes a brief look at how to tie audio production dates into the overall delivery schedule of a large-scale video game — including the key dependencies you should be fully aware of.
During production, it is often the case for each component of game audio to be either dependent on some other area of work to be completed, or some other area of the game is dependent on audio finishing a particular piece of work. Understanding how all these pieces are inter dependant is the key to not only locking-in and delivering on-time, but also to staying agile and having a production schedule that is simple to read and aides communication across groups.
The working practice behind scheduling for video game production is an increasingly complicated one and boils down to an approach that embraces locking-in tightly and firmly committing, yet being ready and prepared for changes at any time.
At the same time, you must also fully understand that any changes will have implications elsewhere in the production.
Be sure to check out the full feature on game audio over at Gamasutra.
Posted by Asbjoern Andersen, Epic Sound - Contact game audio development, game audio, game development, game sound, planning, scheduling — Mix Magazine takes a look at what it takes to get started in game audio:
So you’ve been thinking about trying your hand at the gaming industry, but is it a realistic goal for a studio like yours? The optimistic answer is, anything is possible. However, we’re not going to mislead you into thinking it’s going to be easy or that it’s going to happen overnight.
Read the full feature on breaking into game audio here.
Posted by Asbjoern Andersen, Epic Sound - Contact game audio game audio, game music, getting started, howto, music, sound design — Sound on the PC has come a long way from the humble PC speaker to the full-blown orchestral soundtracks of today – and here, the evolution of the sound card is told through a snippet of the brilliant Monkey Island soundtrack.
Posted by Asbjoern Andersen, Epic Sound - Contact game audio game audio, game music, monkey island, pc sound card, sound cards, video — Fellow ex-demo scene member and game composer Alexander Brandon has released Earthscape, a new album with clear references to that old-school demo scene sound – check it out over at his Bandcamp page.
Posted by Asbjoern Andersen, Epic Sound - Contact game audio album, demo scene, game audio, music, soundtrack — 
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