Jennifer Walden interviews the DICE audio team about their work on the WW1 shooter, Battlefield 1.
Blizzard’s Scott Lawlor and Tomas Neumann’s GDC 2016 presentation, in which they discuss the choices made on an aesthetic and technical level to help achieve Overwatch’s dynamic audio landscape.
Asbjoern Andersen interviews Max Lachman about the vehicle engine sounds in Avalanche Studio’s Mad Max game.
Rob Bridgett on dynamically adjusting the loudness levels in mobile titles in response to background noise.
GANG IESD co-chair Kenneth Young speaks to Naughty Dog’s Phillip Kovats and Jonathan Lanier about the GANG award winning mix in The Last of Us.
Rob Bridgett on making informed decisions early enough in the game development process to avoid clunky mix decisions later in the project.
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.
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.
Raison Varner and Mark Petty from Gearbox discuss weapon and monster SFX, music, ambience, dialogue and mixing in this series of exclusive Game Informer video features about Borderlands 2.