Aaron Marks' Complete Guide to Game Audio : For Composers, Sound Designers, Musicians, and Game Developers

Whether trying to land that first big gig or working to perfect the necessary skills to fill a game world with sound, Aaron Marks Complete Guide to Game Audio 3rd edition will teach the reader everything they need to know about the audio side of the multi-million dollar video game industry. This book builds upon the success of the second edition with even more expert advice from masters in the field and notes current changes within the growing video game industry. The tools of the trade excerpts will showcase what professionals, like Marty ODonnell, Richard Jacques and Tom Salta, use to create their work and to help newcomers in the field prepare their own sound studios. Sample contracts are reviewed within the text as well as helpful advice about contractual terms and negotiable points. These sample contracts can also be found as a downloadable zip for the readers convenience. Aaron Marks also explores how to set your financial terms and network efficiently along with examples of how projects can go completely awry and achieving the best results in often complicated situations. Aaron Marks Complete Guide to Game Audio serves as the ultimate survival guide to navigating an audio career in the video game industry. Key Features Cover 1 Half Title 2 Title Page 4 Copyright Page 5 Dedication Page 6 Contents 8 Foreword 20 Acknowledgments 24 Author 26 1. An Introduction to Game Audio 28 Insert Quarter Here 28 The Bleeps and Bloops of Yesteryear 30 Where Sound Is Now 31 Where Sound Is Going 35 Chances of Finding Work 40 The Rewards 40 Fame 41 Fortune 45 Let’s Go Get ‘Em 48 2. Essential Skill Sets and Tools 50 Important Skills 50 Attitude 50 Business Sense 51 Marketing 51 Music Skills 52 Musicianship 52 Creativity and Compositional Skills 53 Engineering Skills 54 Producer Skills 55 Technical Knowledge 56 Computer Knowledge 56 Sound Design 57 Voice-Overs 58 Industry Knowledge 59 Tools for Your Business 59 Computers 63 Interfaces 64 Software 65 Sound Editors 65 Multi-Track 66 Sequencers 68 Loop Software 68 Plug-Ins 69 Mastering 69 Sound Modules, Keyboards, and Virtual Instruments 71 Other Instruments 72 Field Recording 73 Sound Effects Libraries 73 Development Systems 75 Preparing Your Studio for Surround Sound 75 Equipment and Placement 76 Studio Setup 81 Surround Tips 84 Dolby Support 87 3. Getting Organized and Ready for Business 88 Understanding the Business of Game Composing 88 Expectations 89 Reasonable Costs 89 Flavor of the Month 90 Composing versus Sound Design 91 In-House Audio versus Independent Contractor 91 In-House Composing 92 In-House Equipment 93 Independent Contractors 94 Audio Demo Reel 100 Putting Your Demo Together: The First Step 100 Demo Content 101 Short and Sweet 101 Demo Style 102 The Presentation 103 What Format Is Best? 108 Delivery 109 Follow-Ups 110 Some Final Demo Reel Thoughts 110 Determining Your Costs 111 Types of Fees 111 Creative Fees 111 Studio Fees 113 Talent Fees 115 Media and Material Costs 116 Hourly Wages 116 The Kicker 116 Rate Calculation 116 Organization Is Key 118 4. Finding and Getting the Jobs 122 Marketing 122 Tell Everyone 122 Tale #1 123 Tale #2 123 Tale #3 124 Look Professional 124 Design a Cool Logo 125 Business Supplies 127 Web Sites 127 Industry Presence 133 Basic Marketing Tools 135 Direct Marketing 135 Telephone Marketing 136 Internet and E-Mail Marketing 137 Print Advertisements 138 Press Coverage 138 Write Relevant Industry Articles and Books 139 Presence at Industry Events 140 Word of Mouth 140 Other Resources for Marketing Success 141 Where to Look for Clients 141 Internet 141 Industry Magazines and Books 142 Telephone Books 142 Store Shelves 142 Game Developer Headhunters 148 Networking 149 Nextdoor Neighbors 149 Finding Your Niche 150 Stay Educated 150 Start Small 151 Start Locally 151 Getting the Break 152 Networking Basics 152 Industry Functions 154 Make Yourself Available, Make Yourself Known 154 5. The Bidding Process 156 How Much Do You Charge? 156 Let’s Play Twenty Questions 157 Details, Details, Details 157 Asking the Right Questions 157 What Platform Is the Project Intended For? 163 Are You Bidding the Project or Just One Song or Sound Effect? 163 How Much Music Is Needed? Number of Tracks? Lengths? Styles? Format? 163 Are Sound Effects Needed? How Many? What Specific Sounds? Recognizable or Original Creations? Actions to Accompany? Critical Timing Points for Animations or Character Movement? Type of Device Used for Playback? Format? 163 Any Dialog Needed? Do You Need to Hire Voice Talent? Will There be Background Sounds to Accompany Narrations? Do You Have Rewrite Authority of Scripts? 164 Timeframe Needed? 165 Delivery Method? 165 Is a Speculative Demo Needed? 165 What Is the Production Budget? 165 Who Will Publish? What Method of Distribution? 168 Payment Method? 168 Target Market? 168 Who Has Final Authority to Accept Your Work? 168 Preproduction Made Simple 169 Contract Payment Options 170 Salary or Hourly Wage 170 Payment According to Milestones 170 Good Faith, Barter Arrangement and Small Royalties 170 Straight Royalties 171 Variations of the Above 171 Speculative Demos 171 Covering Your Expenses 171 Words of Caution 176 The Bid Submission 176 The Bid 177 Example Bid Request 177 Example Response 178 There Is Still More 181 6. Making the Deals 182 Understanding Industry Contracts and Terminology 183 Nondisclosure Agreements (NDAs) 183 Work-for-Hire Agreements 185 Copyrights 186 Licenses 186 Platforms 187 SKUs 187 Ancillary Rights 188 Bonuses and Royalties 188 Property Rights 194 Talent Releases 195 Negotiable Contract Points 195 Money 196 Licensing 197 Platforms 197 SKUs 198 Ancillary Rights 198 Bonuses and Royalties 199 Property Rights for Soundtrack Release 200 Name Credits, Logos, and Splash Screens 200 Final Authority 201 Navigating Negotiations 202 A Real-World Negotiation 202 Negotiation Pointers 208 Change Orders and Reworks 210 Sample Agreements and Contracts 214 Sample Nondisclosure Agreement 215 Contract A 218 Contract B 221 Contract C 226 Conclusion 231 7. Setting the Stage 232 Company Liaisons 232 Executive Producers 234 Producers 234 Creative Directors 234 Audio Managers, Audio Directors, Audio Leads 234 Meetings with the Game Development Team 235 Details to Discuss 235 What Is the General Theme of the Game? 235 What Genre of Music Will Set the Mood? 236 What Examples of Reference Music Will Fit the Game? 241 What Are the Sound Effect Needs? 242 What Are the Dialog Needs? 243 Precompositional Considerations 243 The Big Trade-Off 244 Sound Quality versus File Size 246 Sample Rates 246 Resolution 246 Mono, Stereo, or Surround? 248 File Types 249 Setting Up Shop 250 Get in the Mood 251 High Quality from the Start 251 “Gotchas” and Other Things to Watch Out For 257 Placeholders 257 A Developer’s Listening Preference 258 Endless Reworks and Change Orders 258 Communication Breakdown 259 Conclusion 261 8. Creating Music for Games 262 Game Music Categories 263 Intro, Closing, and Credit Sequences 263 Cinematic Sequences 264 Menu Screen Music 264 Gameplay Music 265 Plot Advancement, Cut Scenes, and Tie-Ins 265 “Win” and “Lose” Finale Cues 265 Adaptive and Interactive Music 266 Loops 267 Ambient Tracks 268 Stingers 268 Exercises to Create Fitting Game Music 268 Watch and Listen 269 Create in Different Styles 270 Try Something New 270 Practice Makes Perfect 278 Some Technical Considerations 278 Which Platform Is the Game Being Developed For? 279 What Is the Playback and Delivery Format? 279 Is a Preset Sound Bank Available? 280 What Memory Parameters Will You Have to Work Within? 281 Technical Wrap-Up 281 Musical Details to Reconsider 282 What Are the Specific Intentions of the Music in the Game? 282 What Is the Genre of the Game? 282 What Similar Music Styles Can Be Used as Examples? 282 Is There a Preference for Instrumentation? 282 Is the Sound Bank Predetermined or Will You Be Creating It? 283 What Is the Length of Each Cue? 283 Will the Music Transition, Fade, or Loop? 283 Compositional Methods 284 Determine Your Best Personal Methods 284 Choosing the Best Palette of Sounds 285 Stay within the Theme 285 Immersion 286 Compose While Recording 287 Using Loops as a Tool 288 Experimentation 288 Compose While Playing the Game 288 Recording Methods 289 Traditional Recording 289 Progressive Recording Methods 290 Multitrack Computer-Based Recording 291 Loop-Based Production 292 Other Music Making Methods 293 Streamline to the Final Format 293 Editing Music 298 Audio Editing Software 298 Sound File Cleanup 298 Visual File Inspection 298 Conversions 303 9. Creating Sound Effects for Games 304 The Creative Aspects of Sound Design 304 Types of Sound Design 305 Foley 305 Remote Recording 307 In-Studio Recording 308 The Acquired Skills of Listening and Manipulating 309 Sound Libraries 311 Original Development 312 Editing Methods 318 Using Audio-Editing Software 318 A Simple Sound Design Example 319 Making Your Effect Unique 322 A Complex Sound Design Example 324 Using Multitrack Software for Sound Design 327 Sequencing Software and Samplers 330 Sound Design in the Production Cycle 333 Specific Sound Design Questions to Answer 334 What Genre of Game Is This Intended to Be? 334 Sample Rate, Resolution, and Stereo versus Mono? 334 Will the Sound Effects Be Treated through Any In-Game Software or Hardware Processors? 334 Are Any Ambient Sounds Needed? 335 Will Certain Effects Have Priority During Playback? 335 Will There Be Any Voice-Overs or Speech Commands That Need to Be Heard? 335 Is Any Dialog Needed? Background Sounds to Accompany the Narration? 335 Any Special Sound Considerations? 335 What Platform Are the Sounds Being Created For? 336 What Type of Music, If Any, Will Play as the Sounds Are Triggered? 336 Are Any Sound Resources Available to the Sound Designer for Licensed Materials? 336 Are Any Special File-Naming Conventions Required for Final Delivery of Sounds? 336 When Can I Expect a Build of the Game? 336 Determining Necessary Sounds 339 Sound Effects Lists 339 Alpha Game Versions and Other Visuals 341 Beta Testing 343 Creating Original Sound Effects That Fit 344 Getting Organized 344 Creating a Sound Palette 345 Effective Creation 345 Creative Forces 348 Presenting the Final Work 349 Conclusion 350 10. Field Recording for Games 352 The Purposes of Field Recording 354 Field Recording Prep 355 Equipment Choices 358 Field Microphones 358 Microphone Types 359 Types 359 Polarity Patterns 360 Microphone Selection Factors 361 Field Recorder Choices 366 Recorder Features 366 Storage Media and Backup Capabilities 368 Power Requirements 368 Recorder Size 369 Ruggedness 369 Comfort 369 Accessories 371 Recording Techniques 373 Two-Channel Recording Methods 373 Multichannel Recording 374 Production Agreements 374 Production Agreement 380 The Business Side of Field Recording 389 That’s a Wrap 390 11. Voice-Over in Games 392 The Goal of Voice In Games 393 Voice Placement and Creaton 394 Character Dialog 394 Voice Then Animation 395 Voice and Animation Together 395 Animation Then Voice 395 Narration 402 Game Interface 403 Vocal Sound Effects 403 Prepping for Voice-Overs 404 Script Writing 405 Vocal Asset List 406 Facial Motion Capture 408 The Money Side of Voice-Overs 408 How Much Do Voice Actors Cost? 409 Choosing Voice Actors 410 Recording Voice Talent 412 Voice-Over Sessions 412 General Rules for a Smooth Session 413 Recording 414 Directing 416 Voice File Editing 417 Vocal Sound Effects 418 Character Dialog 419 Multiple Characters 419 Timing 420 Continuity 424 File Rendering 424 Synchronization 425 The Final Step 427 Beta Testing Game Voice-Overs 429 Conclusion 430 12. Blending the Total Soundscape 432 Maintaining Consistency in Production with Audio Elements 434 Consistency in Music 435 Music Mastering 436 Consistency in Sound Effects 441 Sound Effects Mastering 441 Consistency in Voice-Overs and Speech 442 Quality Control 442 Check Mixes on Several Systems 444 Check Your Sounds in the Actual Game 444 Teamwork with the Developer 448 Conclusion 450 13. Middleware and Scripting 452 Dynamic Audio 453 Middleware 454 Use in Sound Design 455 Use in Music 456 Scripting 464 Middleware Solutions 465 FMOD—Firelight Technologies (fmod.org) 466 Wwise—Audiokinetic (audiokinetic.com) 469 Fabric—Tazman Audio (tazman-audio.co.uk) 470 CRI ADX2—CRI Middleware, Inc. (criware.com) 474 Other Middleware Options and Solutions 475 The Miles Sound System—RAD Game Tools (radgametools.com) 475 Unreal Audio System/Unreal Engine—Epic Games (epicgames.com) 476 Wrap it Up 477 14. Game Platforms and Audio Development 480 Eighth-Generation Consoles 481 Sony PlayStation 4 482 Microsoft Xbox One 483 Nintendo Wii U 485 Previous-Generation Consoles 486 Seventh-Generation Consoles 486 Microsoft Xbox 360 486 Sony PlayStation 3 491 Nintendo Wii 492 Sixth-Generation Consoles 493 Sony PlayStation 2 494 Nintendo GameCube 495 Microsoft Xbox 497 Nintendo GameBoy Advanced 500 Other Gaming Platforms 502 CD/DVD-ROM Games 502 Web- and Smartphone-Based Games: Java and Flash 504 Nintendo Dual Screen 505 New Nintendo 3DS/3DS XL 506 Nintendo 2DS 506 Nintendo 3DS/3DS XL 506 Nintendo Dual Screen/Dual Screen Lite 507 DS Audio Development 507 Sony PlayStation Portable and Vita 508 Coin-Op Games 509 Conclusion 512 15. The Developer’s Guide to Audio Content 514 Understanding Sound 515 The Psychology of Sound 515 Soundscapes 516 Size versus Quality 517 Working with Contractors 527 Reconnaissance and Homework 528 Questions Composers and Sound Designers Will Ask 529 What is the intended genre for the game? 530 What sample rate, resolution, number of channels, and file format is desired? 530 Will sound effects be altered by any software or hardware processors? 530 Are any ambient sounds or music tracks needed? 530 Will certain audio have priority during playback? 530 Will there be any voice-overs or speech commands that need to be heard? 530 Are any narratives needed? Will there be background sounds or music to accompany narration? 532 Any special sound considerations? 532 What platform are they creating audio for? 532 What type of music, if any, will play as the sounds are triggered? 532 Are any sound resources available to the composer or sound designer for licensed materials? 533 Are any special file-naming conventions required for final delivery of audio? 533 Getting to Work 533 Working with Sound Designers 533 Working with Composers 534 Music Creation Example 535 Soapbox Time 543 The Next Step 544 Production Nightmares 544 Conclusion 546 16. Postscript 548 Appendix: The Grammy Awards and Other Game Audio Awards 550 Index 556 Whether trying to land that first big gig or working to perfect the necessary skills to fill a game world with sound, Aaron Marks'Complete Guide to Game Audio 3rd edition will teach the reader everything they need to know about the audio side of the multi-million dollar video game industry. This book builds upon the success of the second edition with even more expert advice from masters in the field and notes current changes within the growing video game industry. The tools of the trade excerpts will showcase what professionals, like Marty O'Donnell, Richard Jacques and Tom Salta, use to create their work and to help newcomers in the field prepare their own sound studios. Sample contracts are reviewed within the text as well as helpful advice about contractual terms and negotiable points. These sample contracts can also be found as a downloadable zip for the reader's convenience. Aaron Marks also explores how to set your financial terms and network efficiently along with examples of how projects can go completely awry and achieving the best results in often complicated situations. Aaron Marks'Complete Guide to Game Audio serves as the ultimate survival guide to navigating an audio career in the video game industry. Key FeaturesNew, full color edition with a complete update of information.Added and expanded coverage of field recording for games, creating voiceovers, adaptive and interactive audio and other cutting edge sound creation and implementation techniques used within games.Update/Replacement of interviews. Include interviews/features on international game audio professionals New and expanded interview features from game composers and sound designers of every experience level such as Keith Arem, Bradley Meyer, Christopher Tin and Rodney Gates including many international professionals like Pasi Pitkanen, Henning Nugel and Christos Panayides.Expanded and updated game console coverage of the Wii, Wii U, Xbox 360, Xbox One, PS3 and PS4.Includes new scripting and middleware concepts and techniques and review of powerful tools such as FMOD and Wwise. Annotation Whether trying to land that first big gig or working to perfect the necessary skills to fill a game world with sound, Aaron Marks¿ Complete Guide to Game Audio 3rd edition will teach the reader everything they need to know about the audio side of the multi-million dollar video game industry. This book builds upon the success of the second edition with even more expert advice from masters in the field and notes current changes within the growing video game industry. The tools of the trade excerpts will showcase what professionals, like Marty O¿Donnell, Richard Jacques and Tom Salta, use to create their work and to help newcomers in the field prepare their own sound studios. Sample contracts are reviewed within the text as well as helpful advice about contractual terms and negotiable points. These sample contracts can also be found as a downloadable zip for the reader¿s convenience. Aaron Marks also explores how to set your financial terms and network efficiently along with examples of how projects can go completely awry and achieving the best results in often complicated situations. Aaron Marks¿ Complete Guide to Game Audio serves as the ultimate survival guide to navigating an audio career in the video game industry Whether trying to land that first big gig or working to perfect the necessary skills to fill a game world with sound, Aaron Marks’ Complete Guide to Game Audio 3 rd edition will teach the reader everything they need to know about the audio side of the multi-million dollar video game industry. This book builds upon the success of the second edition with even more expert advice from masters in the field and notes current changes within the growing video game industry. The tools of the trade excerpts will showcase what professionals, like Marty O’Donnell, Richard Jacques and Tom Salta, use to create their work and to help newcomers in the field prepare their own sound studios. Sample contracts are reviewed within the text as well as helpful advice about contractual terms and negotiable points. These sample contracts can also be found as a downloadable zip for the reader’s convenience. Aaron Marks also explores how to set your financial terms and network efficiently along with examples of how projects can go completely awry and achieving the best results in often complicated situations. Aaron Marks’ Complete Guide to Game Audio serves as the ultimate survival guide to navigating an audio career in the video game industry. Content: Chapter 1: An Introduction to Game Audio Chapter 2: Essential Skill Sets and Tools Chapter 3: Getting Organized and Ready for Business Chapter 4: Finding and Getting the Jobs Chapter 5: The Bidding Process Chapter 6: Making the Deals Chapter 7: Setting the Stage Chapter 8: Creating Music for Games Chapter 9: Creating Sound Effects for Games Chapter 10: Voice Overs for Games Chapter 11: Blending the Total Soundscape Chapter 12: Scripting and Middleware Chapter 13: Game Platforms and Their Audio Development Issues Chapter 14: The Developers Guide to Audio Content Chapter 15: Game Over? Not Hardly Appendix A Game Audio: Getting the Help You Need to Succeed Appendix B The Grammy's and Other Game Audio Awards