{"id":203,"date":"2025-09-08T09:00:51","date_gmt":"2025-09-08T08:00:51","guid":{"rendered":"https:\/\/blogs.napier.ac.uk\/sounddesign\/?p=203"},"modified":"2025-04-25T09:49:08","modified_gmt":"2025-04-25T08:49:08","slug":"vehicle-sound-design-in-video-games","status":"publish","type":"post","link":"https:\/\/blogs.napier.ac.uk\/sounddesign\/2025\/09\/08\/vehicle-sound-design-in-video-games\/","title":{"rendered":"The Fast and the Sonorous: Vehicle Sound Design Insights from Codemasters\u2019 Jethro Dunn"},"content":{"rendered":"

Jethro Dunn, Senior Audio Designer at Codemasters, has contributed to a range of projects, from tactical military shooters to arcade racing games. During his lecture, he shared how vehicle sound effects are shaped by technical constraints, creative objectives, and genre-specific requirements\u2014whether simulating the weight of an armoured convoy or signalling damage in a playful kart racer.<\/p>\n

Drawing on titles such as Operation Flashpoint: Red River<\/em> and F1 Race Stars<\/em>, Dunn focused on practical techniques for crafting immersive vehicle soundscapes, managing acoustics, and enhancing player feedback.<\/p>\n

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

Streamlining Vehicle Audio in Tactical Shooters<\/h3>\n

In Operation Flashpoint: Dragon Rising<\/em> and Red River<\/em>, vehicles like jeeps and APCs required sound design that balanced realism with hardware limitations. Early designs utilised layered loops for engines, transmissions, and mechanical effects, but this approach led to unnecessary system overhead.<\/p>\n

\u201cWe were wasting more memory managing complex sound events than on the actual audio data, so we had to rethink how we structured vehicle sounds.\u201d \u2014 Jethro Dunn<\/p>\n

The team restructured vehicle audio into smaller, independent elements. Engine and exhaust sounds were separated to enhance spatial realism, and mechanical \u201csweeteners\u201d were introduced at low acceleration to add life and responsiveness during slower movements.<\/p>\n

Shaping Player Perspective: Interior and Exterior Vehicle Sound<\/h3>\n

When players moved inside a vehicle, soundscapes shifted to reflect enclosed acoustics. Manual adjustments ensured consistent transitions between interior and exterior perspectives, with positional tweaks placing engine noise appropriately whether driving, seated as a passenger, or operating a turret.<\/p>\n

Conveying Distance: Designing Distant and Ultra-Distant Vehicle Sounds<\/h3>\n

Vehicle sounds were deliberately simplified at distance, becoming ambient rumbles to reflect real-world acoustic behaviour. For ultra-distant scenarios, low-frequency layers simulated convoys heard kilometres away, enhancing environmental awareness without cluttering the soundscape.<\/p>\n

Practical Choices: Avoiding Granular Synthesis<\/h3>\n

Dunn noted that granular synthesis, commonly used in racing games for dynamic engine sounds, was intentionally avoided for military vehicles.<\/p>\n

\u201cWe didn\u2019t use granular synthesis for these vehicles because we didn\u2019t have the recordings, and we didn\u2019t need that level of complexity.\u201d<\/p>\n

Adding Mechanical Detail: Transmission Whine and Brake Squeals<\/h3>\n

To enhance realism, layers such as transmission whine and brake squeals were incorporated, helping players interpret vehicle behaviour and reinforcing the mechanical character of military vehicles.<\/p>\n

Communicating Through Sound: Feedback in Arcade Racing<\/h3>\n

In F1 Race Stars<\/em>, sound effects prioritised clear communication over realism.<\/p>\n

\u201cIn arcade racing, players need to hear when something\u2019s wrong before they even look at the screen.\u201d<\/p>\n

Exaggerated mechanical noises signalled damage, while distinct cues marked repairs or performance drops\u2014providing immediate, intuitive feedback in a fast-paced environment.<\/p>\n

Recording Challenges and Creative Solutions<\/h3>\n

Capturing vehicle audio involved logistical challenges, from limited access to military hardware to managing motorsport recordings.<\/p>\n

\u201cYou can\u2019t ask a military driver to do ten perfect laps for recording\u2014you get what you get.\u201d<\/p>\n

For smaller projects, Dunn recorded toy cars in controlled environments\u2014demonstrating adaptability across varying project scopes.<\/p>\n

Reflections on Vehicle Sound Design<\/h3>\n

Jethro Dunn\u2019s lecture demonstrated how vehicle sound effects are shaped by technical awareness, efficient workflows, and responsiveness to gameplay needs. From spatial realism through engine and exhaust separation to mechanical sweeteners and clear gameplay cues, his approach highlights the practical decisions that define vehicle sound design across both realistic and stylised game environments.<\/p>\n","protected":false},"excerpt":{"rendered":"

Senior Audio Designer Jethro Dunn shares practical insights into vehicle sound design across tactical shooters and arcade racing games. From managing spatial realism to delivering clear gameplay feedback, this lecture highlights how technical choices shape the player\u2019s auditory experience in contrasting game genres.<\/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":[6,27,12],"tags":[],"class_list":["post-203","post","type-post","status-publish","format-standard","hentry","category-online-guest-lectures","category-vehicles","category-video-games"],"yoast_head":"\nThe Fast and the Sonorous: Vehicle Sound Design Insights from Codemasters\u2019 Jethro Dunn - Sound Design at Edinburgh Napier University<\/title>\n<meta name=\"description\" content=\"Explore vehicle sound design in video games with Jethro Dunn. 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