Louis-Xavier Buffoni from Audiokinetic gives and overview of the concept of HDR audio and discusses how it is implemented in their Wwise audio middleware.
Mark Kilborn’s advice for sound designers trying to break into the games industry.
Brian Schmidt on the challenges encountered whilst developing his audio-only game ‘Ear Monsters’.
Rob Bridgett in interview with Ariel Gross, exploring the evolving role of game audio personel, how they think about their work and promote themselves to the world.
Rob Bridgett discusses the pros and cons of automated vs snapshot based mixing systems, how they can work together and how to think about using them in a way which is more easily understood by non-audio creative personnel on a development team.
CCP Earworm on using EQ to make sounds sit well together in the mix.
@toogoodforthee (unknown man on internet) asks why there are so few examples of non-diegetic song used during gameplay. Thought provoking…
Jack Menhorn interviews Tomoya Kishi for Designing Sound on his background, approach to work, the centralised audio department at Capcom and, perhaps most interestingly, the cultural differences in audio aesthetic between the West and Japan.
Danielle Riendeau interviews Robin Arnott for Kill Screen on the high level audio direction in Antichamber.
Russ Pitts uncovers how a silent cartoon character from the 1930s was given a voice in ‘Epic Mickey 2′.