{"id":190,"date":"2025-07-21T09:00:11","date_gmt":"2025-07-21T08:00:11","guid":{"rendered":"https:\/\/blogs.napier.ac.uk\/sounddesign\/?p=190"},"modified":"2025-08-17T18:11:18","modified_gmt":"2025-08-17T17:11:18","slug":"ben-mintos-guest-lecture-the-complexity-and-craft-of-runtime-sound-design-in-video-games","status":"publish","type":"post","link":"https:\/\/blogs.napier.ac.uk\/sounddesign\/2025\/07\/21\/ben-mintos-guest-lecture-the-complexity-and-craft-of-runtime-sound-design-in-video-games\/","title":{"rendered":"Ben Minto\u2019s Guest Lecture: The Complexity and Craft of Runtime Sound Design in Video Games"},"content":{"rendered":"

Ben Minto, Audio Director at DICE in Sweden, recently delivered an engaging guest lecture on the intricate world of runtime video game sound design. With a career spanning over 15 years in game audio, including work on Star Wars Battlefront<\/em> and Battlefield 4<\/em>, Minto shared insights into the evolution of interactive sound, the technical and creative challenges of implementing audio in real time, and the balance between realism and stylisation in modern video games. His talk provided fascinating insights into the process of creating dynamic, responsive soundscapes, where audio is not just a background element but a crucial part of gameplay and player immersion.<\/p>\n

\"Ben<\/a><\/p>\n

From Simple Playback to Dynamic Sound Design<\/h3>\n

Minto reflected on how game audio has evolved from its early days, where sound was handled using two basic types: one-shot sounds and looping sounds. Previously, sound was mapped directly to game events, meaning a door opening would always trigger the same sound effect. Over time, game audio has moved towards a more interactive, system-driven approach, where runtime parameters influence how sounds are played.<\/p>\n

Instead of a single \u201cdoor opening\u201d sound, modern games now generate variations based on factors such as who opened the door, how quickly it was moved, and whether it had been used recently. This shift extends to more complex systems like weapons, explosions, and vehicles, where sounds are constructed from multiple component layers, ensuring they react dynamically to gameplay conditions.<\/p>\n

Case Study: The Explosion System in Battlefield 4<\/em><\/h3>\n

Minto detailed how Battlefield 4<\/em> moved away from pre-recorded explosion sounds and instead dynamically constructed them from multiple elements. The explosion system in the game considers various factors, including the initial crack, the main body of the explosion, reflections and echoes based on the surrounding environment, and additional sounds caused by debris. The way an explosion sounds is also influenced by the player\u2019s distance from the event, with close-up explosions featuring sharper, high-energy transients and distant ones creating a rolling, thunderous effect.<\/p>\n

The environmental setting also plays a key role, with explosions in urban environments producing sharp, slapback echoes while those in forests have a more diffuse, drawn-out reverb. Destruction layers add further realism by introducing the appropriate material sounds, such as metal debris, shattered glass, or splintering wood, depending on what has been damaged. By using this method, Battlefield 4<\/em> ensures that no two explosions sound exactly the same, making each in-game encounter feel distinct and grounded in its environment.<\/p>\n

Field Recording and \u201cEmbracing the Dirt\u201d<\/h3>\n

Minto emphasised the importance of authentic field recording in capturing believable soundscapes. The team at DICE combines high-fidelity recordings with those made using everyday devices like smartphones and handheld recorders. This approach, which he refers to as \u201cembracing the dirt,\u201d acknowledges that imperfections in sound recordings often add to their authenticity.<\/p>\n

For example, explosions recorded with professional microphones provide clean, detailed transients, while those captured with handheld recorders or consumer devices introduce compression, clipping, and saturation, mimicking how explosions might sound on news footage or personal recordings. This method was particularly effective in Battlefield 4<\/em>, where the audio aesthetic was influenced by real-world military footage captured on handheld cameras.<\/p>\n

Dynamic Range and Player Experience: \u201cWar Tapes\u201d Mode<\/h3>\n

Minto also discussed the HDR (High Dynamic Range) audio system used in Battlefield 4<\/em>, which dynamically prioritises important sounds. In fast-paced combat, players rely on audio cues to stay aware of their surroundings. The HDR system ensures that critical sounds like gunfire and footsteps are emphasised while background noise is adjusted in real time to prevent clutter.<\/p>\n

The team also implemented player-adjustable sound profiles, including the \u201cWar Tapes\u201d mode, which heavily compresses and saturates the sound for a raw, documentary-like aesthetic. Other modes were tailored for home cinema systems and standard TV speakers, allowing players to adjust the dynamic range based on their listening environment.<\/p>\n

The Role of Foley in Game Audio<\/h3>\n

Unlike traditional Foley in film, where sounds are added in post-production, game Foley must be implemented as modular elements that adapt to in-game actions. The sound design approach varies depending on the project. For Mirror\u2019s Edge<\/em>, Foley was recorded in a highly controlled studio environment, resulting in clean, precise sounds. In contrast, Battlefield<\/em> used a more organic approach, recording footsteps and clothing movements outdoors to capture the natural imperfections of real-world sound.<\/p>\n

DICE\u2019s Foley system separates different elements into multiple layers, including upper body fabric movement, torso and equipment rustling, boot sounds, and surface interactions such as gravel, snow, or metal. By combining these layers in real time, the system creates a responsive, realistic movement system that changes based on the character\u2019s actions and surroundings.<\/p>\n

The Future of Game Audio<\/h3>\n

Minto concluded by discussing the future of runtime sound design, highlighting advancements in procedural sound synthesis, frequency-based mixing, and AI-assisted adaptive soundtracks. He emphasised the importance of collaboration across disciplines, noting that sound designers must work closely with animators, programmers, and level designers to create truly immersive audio experiences.<\/p>\n

One of his key takeaways was the importance of curiosity and adaptability in game sound design. Aspiring sound designers should experiment with different recording techniques, explore procedural sound methods, and challenge traditional workflows to push the medium forward.<\/p>\n

Conclusion<\/h3>\n

Ben Minto\u2019s lecture provided a detailed look into the evolving world of video game sound, highlighting the technical expertise and creative problem-solving required to craft dynamic and immersive audio experiences. His insights underscored that sound is not just an add-on to games but a fundamental part of storytelling, player immersion, and emotional engagement. As game worlds become increasingly complex and interactive, sound will continue to shape the way players experience and engage with virtual environments.<\/p>\n","protected":false},"excerpt":{"rendered":"

In his guest lecture, Ben Minto, Audio Director at DICE, explored the evolution of runtime video game sound design, explaining how it has shifted from simple one-to-one mappings\u2014where a single pre-recorded effect was triggered by an event\u2014to highly dynamic, interactive systems that adapt to gameplay in real time. He highlighted the modular explosion system in Battlefield 4, which constructs each detonation from multiple components, including an initial crack, a booming core, reflections based on the environment, and debris sounds tailored to the materials affected, ensuring that no two explosions sound exactly alike. Discussing his field recording approach, he described how the team combined professional microphone captures with handheld consumer recordings, mimicking the compressed, overdriven quality of military footage, an approach he calls \u201cembracing the dirt\u201d, which contributes to Battlefield\u2019s distinctive, documentary-style aesthetic. He also touched on HDR audio systems, which prioritise critical sounds in combat, and layered Foley techniques, where player movement dynamically influences clothing and footstep sounds. Throughout his lecture, Minto underscored that audio is not just a background element in games but a core part of storytelling, gameplay, and emotional engagement, shaping how players experience and interact with virtual environments.<\/p>\n","protected":false},"author":433,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_crdt_document":"","footnotes":""},"categories":[6,12],"tags":[],"class_list":["post-190","post","type-post","status-publish","format-standard","hentry","category-online-guest-lectures","category-video-games"],"yoast_head":"\nBen Minto\u2019s Guest Lecture: The Complexity and Craft of Runtime Sound Design in Video Games - Sound Design at Edinburgh Napier University<\/title>\n<meta name=\"description\" content=\"Discover how Ben Minto, Audio Director at DICE, explores the intricacies of runtime video game sound design, from modular explosion systems in Battlefield 4 to dynamic Foley techniques and HDR audio. 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