Why You Probably Shouldn’t be Contributing More Than 33% to the Soundtrack Rob Bridgett on making informed decisions early enough in the game development process to avoid clunky mix decisions later in the project.
The Sound of Grand Theft Auto V
Next-Gen Audio in Killer Instinct
Finding Your Way With High Dynamic Range Audio In Wwise 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.
Aesthetic Mixing & Sound Lenses 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.
Crafting the sound of DUST 514 CCP Earworm on using EQ to make sounds sit well together in the mix.
Gary Miranda & Rodney Gates retrospective on the sound for Planetside 2.
The Sounds And Monsters Of Borderlands 2 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.
Video Games and Loudness Standards: Interview with Sony’s Garry Taylor Mike Taylor gets the lowdown on the recommended mix spec being implemented at Sony’s first-party studios from Garry Taylor, Audio Director for Sony WWS Europe.
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.