CONFERENCE
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AUDIO
The Audio Track brings the industry's top professionals to share their knowledge and experience from the real-world, addressing these unique problems: aesthetic, technical, business, logistical and then some.
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2013 HIGHLIGHTED SESSIONS
Contextually Driven Interactive Music in SSX
Gordon Durity (Electronic Arts - EA Sports)
What would it sound like if a virtual DJ could take any user provided music track and remix/rearrange it in real-time, while syncing it with the gameplay action of an over-the-top snowboarding game that involves racing, tricking, and survival? This is the exact scenario proposed to create the interactive music system for the latest SSX. This talk will take you through the creative, design, and technical considerations when coming up with an interactive music system that is context sensitive, audio artist driven, end user accessible, powerful, and flexible enough to provide a convincing, cybernetic music remix on the fly.
Crossing the Streams: Game Audio Rule Breakers of the Past Decade
Scott Selfon (Microsoft Corporation)
In the hectic world of game audio production, programming, and overall game development, it's easy for the audio creator's head to get buried in capturing and implementing the daunting spreadsheet of cues right in front of them. This talk challenges us to break free of audio as part of a "post-production" world. We'll highlight some of the unique and innovative audio developments of the past decade where the audio has turned around the equation, and instead been a key "pre-production" component, driving the implementation rather than the other way around. While some of the illustrations will be well known, others include tricks and tips not seen since their initial demonstrations, challenging us to continue to push on that fourth wall and provide sound that not only matches the visuals, but provides surprises to the user.
2012 HIGHLIGHTED SESSIONS
The Dynamic Audio of Vessel
Michael Csurics (2K Marin) and David Gilbert (Wadjet Eye Games)
This talk examines how the sounds were created for the independent 2D liquid physics puzzle game Vessel. All sounds were created using FMOD and Lua for the more complicated audio behaviors. Live examples will be shown from the game to show the modulation of parameters and the resulting sound. Pure Data and Open Sound Control were also utilized for rapid prototyping. Nearly all game events are physics-based triggers which require the audio design to reacts to rapid object dynamics generated by the game.
All sounds in the game were custom without the use of pre-existing sound effect libraries. Techniques of dynamic sound design will examine the methods of sequencing, layering, layered sequencing, spectral layering, effects parameter modulation, asymmetric loops and granulation. The overall goal for the audio was to create the illusion for the player where every drop of water is convincingly detailed.
All sounds in the game were custom without the use of pre-existing sound effect libraries. Techniques of dynamic sound design will examine the methods of sequencing, layering, layered sequencing, spectral layering, effects parameter modulation, asymmetric loops and granulation. The overall goal for the audio was to create the illusion for the player where every drop of water is convincingly detailed.
The Music of the Wasteland: Interactive Music in an Open World
Scott Lawlor (Obsidian Entertainment)
In this session, Scott will discuss his approach to the interactive music system in Fallout: New Vegas. Music in an open world game presents a unique set of challenges due to the size and scope of the game. With hundreds of hours of gameplay in a gigantic world, it is important that the music transitions seamlessly and does not get stale. He will discuss the techniques used to achieve this including; location based music, battle music transitions, reactive emotional switching and more.
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