A Run Time Utopia Rob Bridgett on the attractiveness of a run-time production environment for game audio.
Behind The Music of Tearaway An interview with composers Kenneth Young and Brian D’Oliveira on their music for Tearaway.
Tearaway is an adventure game exclusive to the Sony PlayStation Vita handheld system. The player is tasked with guiding their little paper messenger buddy on a mission to deliver the message that is trapped inside their envelope head by escaping the paper world and reaching the player out in the real […]
Why Isn’t Audio Involved From The Start? Ariel Gross on how to get audio in a position where it is involved from early on in a project.
An Interview with Rob Bridgett 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.
Capcom Audio Director Tomoya Kishi Interview 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.
After Sound Design Rob Bridgett on the evolving collaborative relationship between audio personnel and development teams.
LittleBigAudio John Broomhall discusses audio development for one of PlayStation’s best-loved video game franchises with Media Molecule’s audio ace, Kenny Young. This article originally appeared here.
Notes from the Mix: Prototype 2 Rob Bridgett on the process and approach of mixing a game from pre-production all the way through to the final mix stage itself, eloquently defining the concepts of high level “horizontal” mix decisions and low level, context-specific “vertical” mix decisions.