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Re: [microsound] Music Technology graduate interested in Game Audio
- To: microsound <microsound@xxxxxxxxxxxxx>
- Subject: Re: [microsound] Music Technology graduate interested in Game Audio
- From: Robert Lewis <ionizing@xxxxxxxxx>
- Date: Wed, 30 Jul 2008 14:26:33 -0400
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It really depends on the studio. Some game companies will have smaller
demand hence hire someone that can program the sound and create/implement
the assets. Others will divide the tasks. Still others will further divide
the task, having someone who specifically implements only while others
create while others program while others micromanage and dictate all that
you do because they think that is their job!
I found that rotation of tasks is generally acceptable, having the people
who create the audio also be in charge of at least understanding the
implementation. Heck you can't really create it with as much enthusiasm and
insight WITHOUT understanding the implementation, though it is possible.
Some studios will give the specific task with no other information, such
as: create gun shot that is 1 second long bla bla bla, and then simply
request changes if the implementor sees it doesn't fit. That is not an
acceptable model in my opinion.
We had a programmer that did the sound using FMOD, and that worked out quite
well. Request features, they get programmed. This allowed focus on design
and implementation by the designers, though at first the programmer wanted
to be the one implementing. No buddy, you go program other things now that
the sound engine is done... we will let you know if we need you.
It helps to know as much as possible about all the technical aspects of the
engines and such as well as being good at sound design itself. It never
hurts to learn more, as long as you don't EXPECT to be compensated for
additional knowledge.
as far as crossover with movies: in games they are called 'cut-scenes'
where you have linearly triggered audio rather than real-time triggers.
That is the main difference, though you can also forgo triggers completely
and create a track. One of the coolest part of game sound design in my
opinion is the whole idea of non-linearly triggered sound, and getting all
the pieces to mesh well with each other.
oh yeah I'm at work, gotta go...
On Wed, Jul 30, 2008 at 2:24 PM, js-alexander <craftid@xxxxxxxxx> wrote:
> You used the magic words, skill set. As i said, I'm a graduate, so right
> now I'm super focused on demo reels, resumes and covering letters. I'm
> considering doing (and have already applied for) a Masters degree in Sonic
> Arts at http://www.sarc.qub.ac.uk/ , because a Masters is better than a
> Bachelors, right?!
>
> It's all about making yourself "uber" employable, more so than that last
> slacker whose resume [insert awesome company] just rejected. The demo reel
> will show them you can make interesting blips and blops, and for some
> roles,
> that's all the employer wants, but I'm seeing a lot more job vacancies for
> "audio programmers" with strong C++ skills than pure sound design/artist
> jobs.
>
> As I've said about the middleware products like FMOD, having knowledge of
> those tools is probably essential as a musician/sound designer in the games
> industry, and understanding what goes on at the other end of that
> programming pipe can only help you help them help us all.
>
> 2008/7/30 Graham Miller <grahammiller@xxxxxxxxxxxx>
>
> > loving this thread...
> >
> > question: guys like richard devine, and other 'high profile' sound
> > designers - how much game coding are they actually doing?
> >
> > i mean it strikes me as two different kinds of skill sets. such there
> must
> > be overlap and there should probably be some overlap, but just 'cause you
> > can code some sound engine doesn't mean you have any idea how to make a
> > spaceship sound really cool... it's this classic debate that goes on
> forever
> > in the reaktor forums about the 'instrument builders' and the 'instrument
> > players.'
> >
> > g.
> >
> >
> >
> > On 30-Jul-08, at 12:22 PM, js-alexander wrote:
> >
> > I have a *basic *understanding of C...headers, functions...these are
> >> familiar words, so maybe a little revision would get me back on track
> with
> >> that. I do find it very interesting, but Max/Msp caused me to lose
> touch
> >> with "real programming", and I'm not sure if I'm enthusiastic about
> >> writing
> >> my own objects just yet....then again, maybe a great way to learn. :)
> >>
> >> 2008/7/30 john saylor <js0000@xxxxxxxxx>
> >>
> >> hey
> >>>
> >>> On Wed, Jul 30, 2008 at 9:27 AM, js-alexander <craftid@xxxxxxxxx>
> wrote:
> >>>
> >>>> but I really
> >>>> regret not taking a programming class in university. Never too late
> to
> >>>> learn I guess.
> >>>>
> >>>
> >>> definitely not.
> >>>
> >>> and depending on how far you want to go, there are plenty of open
> >>> source audio applications that you can study too [but that's prolly
> >>> getting a bit ahead of yourself ...]
> >>> --
> >>> \js [ http://or8.net/~johns/ <http://or8.net/%7Ejohns/> <
> http://or8.net/%7Ejohns/> <
> >>> http://or8.net/%7Ejohns/> ]
> >>>
> >>> ---------------------------------------------------------------------
> >>> To unsubscribe, e-mail: microsound-unsubscribe@xxxxxxxxxxxxx
> >>> For additional commands, e-mail: microsound-help@xxxxxxxxxxxxx
> >>> website: http://www.microsound.org
> >>>
> >>>
> >>>
> >>
> >> --
> >>
> >> Johnny.
> >>
> >
> >
> > ---------------------------------------------------------------------
> > To unsubscribe, e-mail: microsound-unsubscribe@xxxxxxxxxxxxx
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> > website: http://www.microsound.org
> >
> >
>
>
> --
>
> Johnny.
>