From Scarface to Simlish (originally here) Blair Jackson investigates the people and practices behind three games which had significant parts of their sound crafted in the San Francisco Bay Area – Scarface’s in-game sound effects and mix at Skywalker Sound, Sam & Max’s dialogue recording at Studio Jory and The […]
At the inaugural Develop Conference in Brighton I spoke about the differences between sound in the real world and sound in the virtual worlds that we create. Right on cue, the day before my presentation, Mark Rein, VP of Epic Games, claimed in his keynote session that: “the future of […]
Screen/Play: Documenting Voice Assets
The Elder Scrolls IV: Oblivion Dev Diary Mark Lampert discusses creating and implementing the audio for Bethesda Softworks’ The Elder Scrolls IV: Oblivion.
Hollywood Sound: Part One Hollywood Sound: Part Two Hollywood Sound: Part Three Rob Bridgett looks at the convergence of Hollywood and the games industry from an audio perspective, covering music, surround sound and voice.
Audio Production for Halo 2 Eric-Jon Waugh reports on Jay Weinland and Marty O’Donnell’s GDC 2005 post-mortem on Bungie’s ‘Guerrilla’ proprietary audio system developed for the interactive audio in Halo 2.
The Seven Secrets of Voice-Over Production Chris Borders and Matt Case’s seven tips on how to create better voice-over assets for your game.
Creating an Interactive Audio Environment An interactive audio vocabulary featuring a wide assortment of sound cues and background noises immerses players far more than you may realize says Monolith’s Daniel Bernstein.
Actors’ Notes: Words Of Wisdom For Voice Actors and Those Who Hire Them Here’s some sound advice for voice actors moving into multimedia projects for the first time.