One of the key differentiators between game audio artists and our cousins in linear media is the implementation of our sounds into the game engine. In a linear workflow, all sounds go onto a DAW timeline, which is then mixed to complete the finished product. In game audio, however, we have no DAW timeline that matches picture. Instead we’re creating sounds, putting them into a package that gets loaded by the game, and then building and tuning systems to control their playback. This stage is crucial; not only can we control the mix within the game engine, we can control the playback of layers, pitch modulation, and other creative effects.
I will even go as far as to say that implementation is half of the creative process. If anything ...
Get The Game Audio Strategy Guide now with the O’Reilly learning platform.
O’Reilly members experience books, live events, courses curated by job role, and more from O’Reilly and nearly 200 top publishers.
