Becoming an ever more important aspect of pro audio, video games are setting new standards for audio design and production – as discussed in a recent Fast-and-Wide blog.
Accordingly the 131st AES Convention Game Audio Track has set its sights on designers, producers and engineers compelled to maintain ‘top of their game’ standards in a community in which longevity is measured in nanoseconds.
‘Game Audio Track Chair, Steve Martz is a “player” in the best sense of the word,’ says Convention Chair, Jim Anderson. ‘He is deeply immersed in every facet of this burgeoning industry. He has an encyclopedic knowledge of the creative’s, the manufacturers and the audience, and he’s tapped that pool of experts liberally in his pursuit of a record-breaking score for this year’s event.’
Events include:
Emerging Trends in Audio for Games
Michael Kelly (SCEE) and Steve Martz (THX), Co-Chairs, AES Technical Committee on Audio for Games, will survey the current state of technology requirements for audio in game applications. Emerging trends and the technical requirements imposed by those trends will be reviewed.
Histrory of Audio Implementation Toolsets
Damian Kastbauer, (Bay Area Sound) Extensive audio/visual examples and a pictorial overview will illustrate this history of standard, and proprietary audio middleware toolsets. Features, functionality, trends, and techniques will be reviewed in an attempt to define the current state of options engaged in today’s game development environments.
Education: Prerequisites for a Career in Game Audio
Stephen Harwood Jr. (IASIG; Dynamic Systems Music) Professional success is built upon a sound, professional education. This panel will feature an overview of a comprehensive game audio curriculum, published this year by the IASIG, presented in the context of a discussion of the specialised knowledge and skill sets needed to work and excel in the video game industry today.
Careers in Game Audio
Stephen Harwood Jr. (IASIG; Dynamic Systems Music) A panel of industry veterans share their experience and perspectives on a broad range of professional topics, with a focus on how to begin and develop a successful career in game audio. The audience will acquire 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.
Audio for Motion Controllers
Scott Selfon, (Microsoft) will chair a panel from the console manufactures’ point of view on techniques for delivering audio specifically designed to support games that use motion controllers and visual inputs.
Game Audio Programming for Android: FMOD vs Java
Peter Drescher (Twittering Machine) Using a silent, open source pinball game as a starting point to create audio files based on 80’s synth tech, Drescher compares and contrasts sound implemented using FMOD audio middleware to Java methods built into the operating system.
Audio Shorts
Included in the full programme of workshops and panels, the Game Audio Program will offer three 20-minute crash courses on specific designer ‘preferences.’ Scheduled ‘Shorty’ presentations include: #1 Distortionation; #2 O3 - Occlusion, Obstruction, and other Obstacles and #3 My Favorite Plug-in
‘Our goal was to devise the most useful programme possible for video game professionals,’ says Martz. ‘The 12 Workshops and Panels in this year’s Game Audio Track represent an extremely comprehensive assessment of the issues, technologies and creative thinking impacting today’s game industry. We are confident that attendees will walk away with information that will be of great use to them. And, that they will also appreciate the opportunity to meet with their peers on the AES Convention’s clear and open playing field.’
The 131st AES Convention will be held in NY’s Jacob Javits Convention Center, 20-23 October 2011.
More: www.aes.org
