Sound Design at Edinburgh Napier University

  • Understanding Game Sound: Fidelity, Verisimilitude, and Acoustic Ecology

    Dr. Milena Droumeva, an expert in game sound, acoustic ecology, and digital media, is an Associate Professor at Simon Fraser University. She researches sound studies, interaction design, and immersive audio environments. In an online guest lecture, Dr Droumeva explored how sound shapes experiences across various media, particularly in video games.

    Dr Milena Droumeva

    The Role of Sound in Games

    Game sound serves multiple functions, including:

    • Informational: Providing feedback through alerts, warnings, and reward sounds.
    • Affective: Setting the emotional tone of the game through music and sound effects.
    • Communicative: Enhancing storytelling and narrative engagement.
    • Spatial: Creating a sense of atmosphere and immersion.

    All game sounds interact dynamically, making each playthrough unique. Unlike traditional media, where sound is fixed, game sound reacts in real time to player input, enhancing immersion and believability in virtual environments.

    Fidelity vs. Verisimilitude: Two Paths to Realism

    Fidelity in game sound refers to how accurately in-game audio replicates real-world sounds. Technological advancements have drastically improved fidelity, moving from simple 8-bit chiptunes to highly detailed soundscapes with 3D spatial audio. For example, modern first-person shooter (FPS) games utilise high-fidelity sound to replicate gunfire, environmental acoustics, and movement sounds with great precision.

    While fidelity focuses on realism, verisimilitude concerns itself with believability within the game world. Not all games aim for strict realism—fantasy RPGs like Final Fantasy or Zelda prioritise creating an immersive, internally consistent soundscape rather than mimicking real-world sounds. Iconic game sound effects, such as Mario’s jump sound or Zelda’s treasure chest chime, are less about real-world accuracy and more about maintaining an established, recognisable aesthetic.

    The Evolution of Game Sound

    The history of game sound can be divided into key phases:

    1. Early Video Games: Minimalist, synthesised melodies with limited sound effects.
    2. 16-bit Era: Polyphonic MIDI compositions and richer audio textures.
    3. Modern Gaming: High-fidelity digital audio, dynamic soundscapes, and adaptive audio engines.
    4. 3D & VR Sound Design: Spatial audio and immersive environmental effects that enhance realism.

    Games have evolved from simple beeps and loops to intricate, cinematic experiences where soundscapes enhance gameplay and narrative depth. Today’s games feature dynamic audio that responds to player actions, creating immersive environments that rival film and television in complexity and emotional impact.

    Acoustic Ecology and Game Soundscapes

    Acoustic ecology, a concept introduced by Professor Barry Truax, views sound as part of an interconnected system where the environment and listener influence one another. In games, this means understanding how various sound elements—background music, ambient noise, dialogue, and sound effects—interact to create a cohesive soundscape.

    For instance:

    • FPS games use environmental reverb and echo to simulate realistic spaces.
    • RPGs incorporate thematic soundtracks to create a sense of place.
    • Arcade games employ catchy, repetitive melodies designed to grab attention in noisy environments.

    The balance of sound in a game environment is crucial. Overloading a soundscape with too many auditory elements can create clutter, while strategic use of silence can heighten suspense and impact.

    The Future of Game Sound

    Despite technological advancements, game sound design still faces challenges. Audio design often receives less investment compared to visual graphics, and many game developers rely on conventional sound design approaches rather than exploring new, experimental techniques. However, the rise of AI-generated sound, real-time adaptive audio, and VR-driven spatial audio suggest that the future of game sound will continue to push the boundaries of immersion and interactivity.

    Conclusion

    Game sound is a rich field that bridges technology, culture, and player experience. Understanding it through the lenses of fidelity, verisimilitude, and acoustic ecology offers a more nuanced perspective on how sound functions within interactive media. Next time you play a game, take a moment to listen—what role does sound play in your immersion? How does it shape the way you experience the game world? For those interested in exploring game sound further, consider experimenting with muting visuals or audio during gameplay to analyse how different sound elements contribute to the overall experience. The world of game audio is vast, and there’s always more to discover!

     

  • Exploring Field Recording: Insights from Paul Virostek’s Guest Lecture

    Field recording is an intricate blend of technical expertise, creativity, and craft. In a fascinating online guest lecture, Paul Virostek, an experienced field recordist, shared his journey, insights, and the deeper meaning behind capturing sound outside the studio. Virostek’s extensive experience in recording for film, television, and personal sound libraries provided a compelling exploration into the world of sound effects and their broader impact on creative projects.

    Paul Virostek

    The Journey into Field Recording

    Virostek’s journey into field recording was far from conventional. Originally studying writing and book publishing, he found himself drawn to sound while working as a sound effects assistant. This hands-on experience, coupled with mentorship from seasoned professionals, led him to discover his passion for capturing sound outside controlled environments.

    One of the key takeaways from his lecture was that field recording lacks a traditional apprenticeship structure. Unlike sound editors or mixers, field recordists often rely on self-teaching, experimentation, and real-world experience to develop their craft. Virostek highlighted that this process of discovery is one of the most rewarding aspects of the profession.

    More Than Just Gear: The Human Element of Field Recording

    While technical knowledge, equipment, and recording techniques are essential, Virostek stressed that the best sound effects do not come from gear alone—they come from the recordist. Every field recording is a reflection of the recordist’s perspective, creativity, and interpretation of sound.

    He identified seven key aspects of field recording:

    1. Sound Theory: Understanding the fundamental properties of sound, such as frequency, amplitude, and acoustics, helps recordists make informed decisions about mic placement and environmental factors.
    2. Equipment: – Knowing how to select, use, and maintain recording gear, including microphones, recorders, and wind protection, is essential for capturing high-quality sounds.
    3. Technique: This involves the practical skills required to operate recording equipment effectively, such as adjusting gain levels, using different mic patterns, and managing environmental noise.
    4. Creativity: A recordist’s personal approach to finding and capturing unique sounds that evoke emotion or tell a story plays a significant role in shaping the final audio.
    5. Sound Libraries: Organising and cataloguing recorded sounds for easy retrieval and reuse in future projects enhances efficiency and workflow.
    6. Mastering and Curation: Processing, editing, and refining raw recordings ensure they are polished and suitable for various applications, from film to game audio.
    7. Sharing and Community: Sound is meant to be shared. Engaging with other audio professionals, contributing to sound libraries, and participating in online communities help elevate the field as a whole.

    Many field recordists focus primarily on the first three—sound theory, equipment, and technique. However, Virostek encouraged listeners to go deeper, emphasising creativity, curation, and the importance of sharing sound within a community.

    Capturing Emotion Through Sound

    One of the most compelling aspects of the lecture was the idea that sound effects can evoke emotion and meaning beyond their technical accuracy. Virostek recounted a project on New Waterford Girl, a Canadian film set in Nova Scotia. He insisted on recording authentic environmental sounds rather than relying on standard sound libraries. By immersing himself in the atmosphere and capturing the region’s unique sonic identity, he was able to add depth and authenticity to the film’s audio landscape.

    This experience reinforced the idea that field recording is more than just collecting sounds—it’s about storytelling, immersion, and emotional resonance.

    Different Approaches to Field Recording

    Virostek described four primary methods of field recording:

    • Controlled Recording: The recordist has full control over the environment, ensuring precision in capturing specific sounds.
    • Investigative Recording: Exploring and capturing sound without a predetermined outcome, similar to investigative journalism.
    • Stealth Recording: Discreetly capturing sounds in natural environments without interfering with the scene.
    • Guerrilla Recording: Fast-paced, on-the-move recording, often in unpredictable or uncontrolled situations.

    Each of these methods offers unique opportunities and challenges, and Virostek encouraged recordists to explore different techniques to find what resonates with them.

    The Value of Foundational Sound Effects

    While many aspiring field recordists aim for spectacular soundscapes like race cars or gunshots, Virostek highlighted the importance of capturing foundational sound effects—everyday sounds such as doors, coffee makers, and street ambiences. These may seem mundane, but they form the backbone of many sound design projects and provide an excellent training ground for developing technical skills and creative instincts.

    Foundational sounds are the common and recognisable noises present in daily life. These include environmental sounds such as rustling leaves, footsteps, or urban traffic, as well as functional noises like doors closing, clocks ticking, and light switches flipping. Since they appear frequently in film, television, and games, they are crucial to creating immersive audio landscapes. By starting with foundational sounds, recordists can learn microphone placement, sound clarity, and environmental control, building confidence before moving on to more complex recordings.

    Signature Sound Effects: Finding Your Unique Voice

    As recordists gain experience, they develop their signature sound effects—recordings that reflect their unique perspective and expertise. Virostek’s own work in capturing the sonic identity of different cities for the World Series sound library showcased this concept. By focusing on the emotional and cultural significance of sound, he aimed to create recordings that resonated deeply with listeners, evoking memories and connections to specific places.

    Building a Community Through Sound

    Beyond personal expression, Virostek emphasised the importance of sharing sound. As a consultant and sound library curator, he has helped numerous projects by organising and distributing high-quality recordings. Metadata, mastering, and categorisation are just as crucial as the recording process itself, ensuring that sound effects are accessible and usable for a wider audience.

    Conclusion: The Power of Sound Recording

    Paul Virostek’s lecture provided an insightful look at field recording, moving beyond gear and technique to explore the deeper impact of sound. His experiences illustrated that field recording is an evolving journey—one of discovery, storytelling, and emotional resonance.

    For aspiring field recordists, the key takeaway is simple: get out there and start recording. Begin with foundational sounds, experiment with different techniques, and find what resonates with you. The best sound effects are not just technically accurate—they tell a story, convey emotion, and inspire creativity in others.

    For more insights from Paul Virostek, visit Creative Field Recording.

     

  • Reflecting on John Purcell’s Lecture: Time Management for Dialogue Editors

    John Purcell, an accomplished dialogue editor, has significantly influenced the field of film sound editing. His notable works include Dangerous Acts (1998), The Ref (1994), and Year Zero (2004). Beyond his editing contributions, Purcell is the author of Dialogue Editing for Motion Pictures: A Guide to the Invisible Art, a comprehensive textbook that delves into the intricacies of dialogue editing. In his insightful lecture on time management for dialogue editors, Purcell shared strategies to balance artistic excellence and practical efficiency. Delivered with clarity and depth, his session remains a valuable resource for professionals striving to meet deadlines, maintain quality, and preserve their well-being. This post revisits his core ideas and expands on how they continue to resonate in today’s editing landscape.

    John Purcell

    The Takeaway: Completion Matters More Than Perfection

    One of Purcell’s key points was the importance of finishing strong. He began with a vivid example: imagine editing five reels of a six-reel film to near perfection but failing to complete the last reel. The incomplete work overshadows all prior accomplishments, damaging your reputation and the project itself. This lesson remains a fundamental principle for dialogue editors. Success isn’t just about producing exceptional work—it’s about delivering a complete, cohesive project.

    The Layered Workflow: A Flexible Strategy

    During the lecture, Purcell introduced the idea of working in layers rather than attempting a perfect pass from start to finish. He advocated breaking the editing process into multiple stages, each building upon the previous one:

    • Pass 1: Laying the Groundwork
      •  Handle the most substantial tasks, such as initial edits, cleaning major noise issues, and spotting ADR.
      • Create a preliminary version that allows other departments to begin their work.
    • Pass 2: Refining and Resolving
      • Address unresolved problems from the first pass and refine transitions.
      • Collaborate with the director to finalise ADR spotting.
    • Pass 3: Integrating and Finalising
      • Cut ADR recordings, resolve outstanding issues, and prepare the project for the premix.

    This layered approach, emphasised in Purcell’s lecture, provides flexibility to adapt to changes, ensuring the final product is both polished and delivered on time.

    Preparation: The Unsung Hero of Editing

    A major theme of the lecture was the significance of preparation. Purcell stressed that setting up your workspace, clearing disk space, and organising materials before beginning the editing process is critical. This foundational work eliminates distractions during the actual editing, enabling editors to focus entirely on creative and technical tasks.

    Pacing: Sustaining Momentum

    Purcell drew a parallel between editing and running a race. Overexerting early can lead to burnout, while mismanaging energy can result in rushed work towards the end. He advised editors to pace themselves by setting measurable daily goals. For instance:

    • In the first pass, aim to edit a specific number of minutes of film per day.
    • During subsequent passes, adjust goals to reflect the reduced workload.

    These practical metrics, shared in his lecture, remain invaluable for managing time effectively across all stages of a project.

    Contingency Planning: Expecting the Unexpected

    Purcell also highlighted the importance of planning for the unforeseen. From technical failures to last-minute changes from the director, editing projects are rife with potential disruptions. By allocating a contingency buffer within the schedule, editors can handle these surprises without derailing their workflow or exceeding deadlines.

    Letting Go of Perfectionism

    In his lecture, Purcell tackled a common challenge for editors: the pursuit of perfection. While striving for quality is important, it’s equally vital to recognise when additional refinements aren’t worth the time. This pragmatic mindset ensures resources are allocated wisely and deadlines are met.

    Collaboration and Team Dynamics

    The lecture underscored the collaborative nature of film editing. Sharing progress with other departments—like sound design, Foley, and music—ensures the film’s various elements develop in harmony. By working in layers and providing regular updates, editors can foster better communication and alignment across the production team.

    Tracking Progress with Clear Metrics

    One of the standout elements of Purcell’s lecture was his emphasis on tracking progress through measurable metrics. He provided examples of how to break down tasks and allocate time effectively. For instance, if the first pass has a 120-hour budget and the film is 110 minutes long, an editor should aim to complete seven minutes of film each day. These metrics offer a clear framework for monitoring progress and staying on schedule.

    Adapting the Process to Your Style

    While Purcell shared his personal workflow, he encouraged editors to adapt his principles to suit their preferences and circumstances. Whether you prefer two passes, five passes, or a different order of tasks, the principles of preparation, pacing, and progress tracking are universally applicable.

    Closing Thoughts: Lessons That Endure

    Time management in dialogue editing is as much about strategic planning as it is about artistic precision. By adopting Purcell’s layered approach, measurable metrics, and emphasis on preparation, editors can achieve consistency, meet deadlines, and maintain their well-being. As Purcell noted in his lecture, “You don’t have to die for the job. You really can control your time and, to a certain extent, your life while working on a film.” His words continue to inspire a balance between professional excellence and personal sustainability—an essential lesson for every editor.

  • Unlocking the Secrets of Sci-Fi Sound Design: Kris Fenske’s Guest Lecture

    Sound design is more than just creating sounds; it’s about storytelling, emotion, and immersion. In an insightful guest lecture, seasoned sound designer Kris Fenske shared his expertise on crafting iconic soundscapes for science fiction and beyond. With years of experience on films like The Hunger Games and numerous horror projects, Kris offered a behind-the-scenes look at the meticulous art of sound design.

    Kris Fenske

    The Magic Behind the Mockingjay

    Kris opened by recounting the creative process behind the Mockingjay calls in The Hunger Games. Despite the fantastical nature of the sound, Kris rooted it in reality, blending recordings of real birds with a whistled melody. Using software to fine-tune the notes, he created a sound that was not only believable but also iconic. His approach exemplifies his philosophy: simplicity and authenticity often produce the most memorable sounds.

    Sci-Fi Soundscapes: Balancing Futurism and Realism

    One of the most insightful parts of the lecture was Kris’s exploration of sound design for science fiction films. He discussed how the aesthetic of a film—whether sleek and sterile like 2001: A Space Odyssey or gritty and industrial like Alien—informs the sound choices. In The Hunger Games, for example, hovercrafts were given a hauntingly organic tone by incorporating recordings of a street cleaner echoing through urban canyons.

    Kris highlighted the importance of creating sounds that feel plausible yet futuristic, often using unexpected methods. His description of experimenting with everyday objects—like a fishbowl and a computer fan to simulate an astronaut’s helmet—showed just how inventive sound design can be.

    Horror: A Playground for Sound Designers

    For Kris, horror films were a particular favourite because of their reliance on sound to create atmosphere. He recounted how subtle design choices, like amplifying the creak of a door or crafting unsettling ambient tones, could transform a scene into something truly terrifying. He also shared his more unorthodox methods, including using butchered meat to replicate the sound of tearing flesh—a detail that left the audience both fascinated and slightly squeamish.

    Advice for Aspiring Designers

    Kris offered plenty of practical advice for students and professionals eager to break into the field. He stressed the importance of developing a personal sound library, constantly recording unique sounds, and always being curious about how things work. “Don’t underestimate the power of a handheld recorder and a bit of curiosity,” he said, encouraging attendees to explore their environments for inspiration.

    Another key takeaway was his emphasis on collaboration. He explained how sound design is inherently a team effort, requiring clear communication with directors, editors, and other creatives to ensure the sounds enhance the story’s emotional impact.

    A Career Rooted in Passion

    Kris wrapped up his session with a reminder of the joys and challenges of the industry. He talked about the satisfaction of creating something new and the camaraderie among sound designers. For Kris, sound design wasn’t just a job—it was a craft, a passion, and an opportunity to tell stories in ways that transcend words and visuals.

    Kris Fenske was an accomplished sound designer with nearly two decades of experience in the film industry, renowned for his innovative approach to crafting immersive soundscapes. His work spanned a variety of genres, from the futuristic tones of The Hunger Games and Riddick to the visceral horror of The Call, Texas Chainsaw 3D, and Apollo 18. He also contributed to films like It, It: Chapter 2, and The Starving Games, using a mix of real-world recordings, creative experimentation, and advanced techniques to bring stories to life. Based in Hollywood, Kris collaborated with top production houses and filmmakers, leaving a lasting legacy in sound design.

  • Inside EA Sports: Driving Innovation in Audio Design by Jesse James Allen

    Welcome to an insider’s perspective on audio design at one of the world’s leading video game studios, EA Sports. Jesse James Allen, an audio director with a passion for sound design, video games, and automobiles, shared his expertise in a captivating lecture. With over 30 games and two decades of experience, Allen’s insights are a goldmine for anyone intrigued by the intricacies of video game audio design.

    Jesse James Allen

    From Passion to Profession

    Allen’s journey into EA Sports began with a love for sound and automobiles. His early work included recording cars for documentaries, a skill that eventually led him to a position at EA’s Tiburon studio in Orlando. Starting with the NASCAR series, he collaborated with the Need for Speed team to craft immersive engine sounds—a thrilling career path that remains as dynamic as the games he’s helped create.

    The Art of Music Selection

    One of the most common questions Allen receives is: “How do I get my music into a video game?” The answer lies in the tailored approach EA takes for each title. For global hits like FIFA, EA curates an internationally appealing playlist featuring emerging artists. On the other hand, cinematic games like Mass Effect rely on composed scores to complement their epic narratives. The meticulous selection process involves predicting future hits to ensure the music resonates with players upon the game’s release.

    Interactive Music Systems

    Allen highlighted cutting-edge interactive music systems that adapt to gameplay in real time. For instance, dynamic layering allows music to shift seamlessly based on player actions. A great example is SSX’s “Rider Remix” system, where gameplay mechanics like grinding or big air tricks trigger real-time music manipulations. These systems immerse players by aligning audio intensity with their in-game experiences.

    Arena vs Open World Soundscapes

    Allen distinguished between two core sound design philosophies:

    • Open World Design: Games like Mass Effect use a “virtual microphone” attached to the player to dynamically adjust sound volumes as they explore diverse environments.
    • Arena-Based Design: Sports games like Madden feature centralised soundscapes, where crowd noises and player interactions are carefully layered to enhance the atmosphere.

    The Science of Authenticity

    EA’s commitment to authenticity is exemplified by their meticulous recording techniques. From attaching microphones to NASCAR vehicles to simulating crowd reactions in football stadiums, the attention to detail ensures players feel truly immersed. Notable innovations include advanced recording setups for capturing car exhausts and snowboarding sounds, bringing unparalleled realism to games like SSX.

    Breaking into the Industry

    For aspiring sound designers, Allen provided a wealth of advice on making a successful entry into the video game industry. Here are the key takeaways:

    1. Master the Tools: Familiarise yourself with industry-standard tools such as Native Instruments’ Reaktor and Cycling ‘74’s Max. These platforms allow you to experiment with real-time sound manipulation and build a portfolio of interactive sound designs.
    2. Learn the Fundamentals: A strong foundation in audio engineering and sound design is essential. This includes understanding concepts like dynamic layering, mixing for interactive environments, and creating adaptive soundscapes.
    3. Gain Hands-On Experience: Seek opportunities to work on real-world projects. Whether it’s modding existing games, creating soundscapes for indie projects, or collaborating with other creatives, practical experience is invaluable.
    4. Explore Internship Opportunities: Look for paid internship programmes in the video game industry that offer direct mentorship and hands-on involvement in game development. These opportunities provide invaluable real-world experience and a chance to network with industry professionals.
    5. Stay Inspired and Persistent: Breaking into the industry requires passion and perseverance. Attend industry events, network with professionals, and never stop learning. Tools like Audio Kinetics’ Wwise can also help you gain a better understanding of runtime audio systems.
    6. Build a Unique Portfolio: Stand out by showcasing your creativity and technical skills. Include examples of dynamic audio systems, interactive music compositions, and authentic sound recordings.

    Final Thoughts

    Jesse James Allen’s lecture offers a rare glimpse into the world of video game audio design. His passion, innovation, and dedication are a testament to the artistry that underpins EA Sports’ iconic games. For anyone dreaming of crafting soundscapes that captivate millions, this masterclass was an invaluable inspiration.

     

  • Andrew Spitz: Crafting Soundscapes, Interactivity, and Innovations

    In the evolving world of design and technology, Andrew Spitz’s career serves as an inspiring example of how creativity and experimentation can lead to unique and impactful innovations. From sound design to interactive media and the art of prototyping, Andrew’s journey offers insights into building meaningful user experiences through multidisciplinary approaches. Andrew Spitz shared his experiences and knowledge during an online guest lecture, offering a glimpse into his journey and expertise.

    Andrew Spitz, Frolic Studio

    The Journey: From Linear Sound Design to Interactive Media

    Andrew Spitz started his career in the world of sound design, where his primary focus was creating immersive audio experiences for films. This phase of his work was marked by linear storytelling—designing soundscapes that enhanced the narrative of visual media. For example, Andrew recorded the sounds of African wildlife to bring animated characters to life, showcasing the meticulous effort involved in capturing authentic audio.

    However, this linear approach left him yearning for more dynamic ways to engage audiences. His desire to explore interactivity led him to Edinburgh, where he delved into interactive sound design during his Master’s programme. Here, tools like Max/MSP opened new doors, allowing Andrew to experiment with dynamic soundscapes that responded to user interactions.

    This transition marked a pivotal shift in his career—from designing sounds that followed a fixed storyline to creating experiences where users could shape the narrative. It was a move from being a storyteller to an enabler, allowing audiences to co-create their journey.

    Interactive Media: Bridging Empathy and Technology

    One of Andrew’s key insights into interactive media is the importance of empathy. As an interaction designer, he emphasises the ability to step into the user’s shoes. Whether it’s designing physical installations or digital interfaces, understanding the emotional and functional needs of users drives successful designs.

    In his work with prototypes and concepts, Andrew explores how technology can evoke emotions and foster connections. For instance, a project for BMW involved recreating the exhilarating experience of walking into a packed rugby stadium, complete with crowd noise and synchronised visuals. This installation not only showcased technological prowess but also highlighted how sensory design can forge powerful emotional connections.

    Andrew also stresses that great interaction design isn’t just about logic and utility; it’s about creating delight and emotional resonance. Products that succeed are those that strike a chord with users, making them feel connected and understood.

    The Art and Impact of Prototyping

    Andrew believes that “doing is the new thinking.” Prototyping is at the heart of his creative process, enabling him to turn abstract ideas into tangible experiences. He advocates for quick, iterative prototyping as a means to test concepts, gather feedback, and refine designs efficiently.

    One of his standout projects, Paper Note, involved turning sound into physical sculptures. What began as playful experimentation with materials like cornstarch and sand evolved into a compelling visualisation of sound frequencies. This process underscores how unstructured exploration can lead to innovative applications.

    Andrew also highlights the importance of embracing imperfection during prototyping. By failing fast and cheap, designers can refine their intuition and adapt to users’ real needs. Whether building a functional prototype like *Ice Cube*, a tangible music player, or creating tools for interactive sound, the goal remains to make ideas accessible, testable, and impactful.

    Lessons from Andrew Spitz’s Journey

    Andrew Spitz’s work offers several takeaways for anyone interested in sound design, interaction design, or creative innovation:

    1. Experiment Freely: Many of Andrew’s breakthroughs came from playful experimentation with new tools and ideas. Don’t be afraid to explore without a clear goal.
    2. Embrace Empathy: Understanding the user’s perspective is key to designing experiences that resonate emotionally and functionally.
    3. Prototype Iteratively: Start small, test often, and refine based on feedback. Prototyping is as much about learning as it is about building.
    4. Merge Creativity and Technology: Use technology as a tool to tell stories, evoke emotions, and create connections, rather than as an end in itself.

    Andrew Spitz’s career illustrates the power of curiosity and creativity in pushing the boundaries of what’s possible in design and technology. His work continues to inspire by showing how sound, interaction, and prototyping can come together to craft experiences that truly engage and delight.

     

     

  • Behind the Scenes of Game Audio Testing with Rob Pearsall

    Audio in video games isn’t just about what you hear—it’s about how you feel. Rob Pearsall, an experienced sound designer and audio tester, provided a fascinating deep dive into the intricacies of audio testing for games. Drawing from his work on iconic franchises like Halo, he shared valuable lessons on what makes game audio tick and how to test it effectively.

    Rob Pearsall Game Audio Specialist.

    What Makes Game Audio Unique?

    Unlike films, where soundtracks sync directly with linear visuals, game audio is dynamic and interactive. It adapts to player actions and constantly shifts depending on the game environment. Rob emphasised this distinction, explaining how sound systems in games are programmed to respond to varying in-game conditions, creating a fully immersive auditory experience.

    For example:

    • Interactive Music: Games often use “stems” (individual tracks for different instruments) to allow for endless variations of a song. This ensures players rarely hear the same combination twice.
    • 3D Soundscapes: Audio in games must convey spatial awareness. A helicopter passing overhead or a distant explosion must sound authentic, adjusting in volume, pitch, and filtering based on the player’s position.

    Essential Skills for Audio Testing

    Testing audio in games requires more than just a good ear. Rob highlighted two key areas of expertise:

    1. Testing Proficiency: The fundamentals of identifying, documenting, and tracking issues are crucial.
    2. Audio Knowledge: A professional understanding of sound design is indispensable. From mastering tools like Wwise and FMOD to comprehending audio behaviours like occlusion and attenuation, testers must be equipped to evaluate the nuances of game audio.

    Challenges in Audio Testing

    Rob shared several challenges he encountered while working on Halo:

    • Volume and Memory Balancing: Managing the memory footprint of audio is critical. Overloading the system with sounds can lead to important effects—like gunfire—being cut off during gameplay.
    • Consistency Across Game Modes: Audio transitions and behaviours can differ between campaign and multiplayer modes, requiring thorough testing in all scenarios.
    • Environmental Sound Design: Ambient sounds and reverb must seamlessly match the environment. For instance, moving from a cave to an open field should feel natural to the player.

    One particularly intriguing example involved reverb mismatches on vehicles. In one scenario, players riding in a Halo Warthog experienced reversed indoor and outdoor reverb effects depending on their position in the vehicle—a fascinating bug that required careful debugging to resolve.

    Lessons from the Field

    Rob’s anecdotes revealed just how intricate audio testing can be:

    • Dynamic Sound Systems: Testing dialogue systems, which must adapt to various player interactions, requires a keen ear to ensure appropriate responses are triggered in the right contexts.
    • Material Systems: Every surface in a game world—be it grass, metal, or water—affects the sounds of footsteps, gunfire, and interactions. Testing involves ensuring these sounds match their environments accurately.
    • Loop Points: Ambient audio loops must blend seamlessly. A poorly looped sound can disrupt the immersion, drawing players out of the experience.

    Tips for Aspiring Audio Testers

    1. Build Relationships: Collaboration with designers and developers is crucial. Gaining their trust can improve feedback and streamline the debugging process.
    2. Leverage Tools: Use profiling tools in middleware systems like Wwise or FMOD to isolate and test specific sounds or scenarios.
    3. Study the Game: Understanding the lore and design principles of a game ensures consistency across sequels and expansions.

    Final Thoughts

    Rob concluded with a message of optimism: as game audio continues to evolve, so too will the tools and techniques used to create and test it. By fostering a partnership between creativity and technology, developers can craft unforgettable soundscapes that immerse players like never before.

    For Rob, the ultimate goal is simple: make games fun and immersive. And with experts like him pushing the boundaries of audio, the future of gaming sounds brighter than ever.

    Game Credits

    Rob Pearsall has an extensive portfolio in game audio, contributing to over 50 titles including The Lamplighters League, Falcon Age, Necropolis, Destiny: The Taken King, Destiny, Halo 4, Halo: Combat Evolved Anniversary, and The Lord of the Rings. His company, Rip Street Audio, has played a significant role in delivering audio direction, music, and sound design for these projects.

     

  • Mastering the Art of Game Audio Direction: Insights from the late Saki Kaskamanidis

    In the world of video games, audio still is often an unsung hero, subtly enriching our gaming experiences. Yet, it is a complex and intricate field that demands expertise, creativity, and innovation. Saki Kaskamanidis, the late Audio Director at United Front Games, provided compelling insights into the art of audio direction for interactive entertainment, drawing from his experience on the critically acclaimed game Sleeping Dogs.

    Saki Kaskamanidis (1971 - 2016)

    The Evolution of a Career in Game Audio

    Saki’s journey into game audio was as inspiring as it was unique. Starting as a composer for Electronic Arts’ Need for Speed series, his lack of technical knowledge didn’t hinder him—musical skills opened the door. Over 18 years, he grew to master sound design, implementation, post-production, dialogue direction, and even scriptwriting. This diverse background laid the foundation for his role as Audio Director at United Front Games.

    The Birth of Sleeping Dogs

    Originally codenamed Blue Lotus, Sleeping Dogs was a bold attempt to challenge the dominance of open-world giants like Grand Theft Auto. Set in contemporary Hong Kong, the game’s narrative focused on an undercover cop, delivering a darker, more serious tone compared to its competitors. Despite setbacks, including being dropped by its original publisher, Activision, the project found a second life under Square Enix and became a critical success.

    Audio: The Heartbeat of Interactive Storytelling

    Saki emphasised that sound was an integral part of storytelling. “Sound and story are one,” he explained, underscoring the importance of integrating audio into every phase of production. Unlike film, video game audio had to adapt dynamically to player interactions, making it a unique challenge.

    The Three Pillars of Game Audio

    Saki categorised game audio into three pillars: sound design, music, and dialogue. Each played a crucial role in crafting immersive experiences:

    1. Sound Design: From the visceral crunch of hand-to-hand combat to the roar of vehicle engines, sound design in Sleeping Dogs was meticulously planned. For instance, vehicle engine sounds were created using recordings of real cars, classified into 15 categories to streamline production.
    2. Music: The score for Sleeping Dogs blended traditional Chinese instruments with Western elements, reflecting the game’s cultural setting. The dynamic score adapted to gameplay scenarios, while diegetic music added realism, playing from radios, boomboxes, and more.
    3. Dialogue: Dialogue brought authenticity to Sleeping Dogs. Over 75,000 lines were recorded, with 45,000 making the final cut. To ensure cultural accuracy, ambient Cantonese dialogue was recorded on-site in Hong Kong, capturing the city’s vibrant soundscape.

    Innovative Tools and Techniques

    A key aspect of game audio was the use of middleware tools like Wwise and FMOD, which enabled dynamic soundscapes. For instance, the same explosion sound could vary in intensity and distance based on the player’s position. Such tools empowered designers to create immersive, context-sensitive audio experiences.

    Challenges and Triumphs

    Saki shared the challenges of creating convincing audio for vehicles, fighting, and gunplay. Early attempts at realistic fight sounds fell flat, leading to the creation of “hyped-up reality” effects inspired by films like The Bourne Ultimatum. Gun sounds required layered effects and innovative use of sound libraries to replicate the visceral punch of firearms.

    The Future of Game Audio

    Saki envisioned advancements in 3D audio, sound reflections, and occlusion. Technologies like binaural sound and improved computational power promised to elevate audio realism, enhancing player immersion. He believed these developments would bring unparalleled depth to gaming experiences, making them more lifelike than ever before.

    Conclusion

    Saki Kaskamanidis’ lecture illuminated the artistry and technical mastery behind game audio. From crafting dynamic soundscapes to recording authentic dialogue, his work on Sleeping Dogs exemplified how audio elevated storytelling and gameplay. For aspiring audio professionals, his journey was a testament to the power of passion, adaptability, and continuous learning.

     

     

  • The Abridged Evolution of Audiobook Production: Dr David Darlington

    In the ever-evolving world of audio production, audiobooks have carved out a unique niche, combining storytelling with technical precision to create immersive listening experiences. Dr David Darlington, a seasoned audio producer, shares his journey and expertise in the field, shedding light on the nuanced art of audiobook production.

    Dr David Darlington Audio Book Producer

    From Graphic Design to Audio Mastery

    Dr Darlington’s path to becoming a full-time audio producer was anything but linear. Initially pursuing graphic design, physics, and electrical engineering, he discovered his passion for digital signal processing, eventually earning a Ph.D. in the field. His academic background enriched his understanding of sound, allowing him to transition seamlessly into audio production. After stints in academia, Dr Darlington found his calling in audio drama, editing, and mastering, collaborating with renowned companies like Big Finish Productions and the BBC.

    Understanding Audiobooks vs. Audio Drama

    One of the key distinctions Dr Darlington emphasises is the difference between audiobooks and audio dramas. While traditional audiobooks are straightforward readings of texts, often by a single narrator, audio dramas are more akin to “audio movies,” featuring soundscapes, music, and multiple actors. This difference extends to production methods:

    • Continuous Recording:Favoured for commercial audiobooks, this method involves recording continuously and editing afterwards, ensuring precision.
    • Rock-and-Roll Recording: This technique, often used in rapid-turnaround projects, involves stopping and re-recording immediately after any mistakes, streamlining post-production.

    The Role of Technology

    Technological advancements have significantly influenced audiobook production. Tools like iPads have revolutionised the recording process, enabling narrators to read directly from digital screens without the noise of turning pages or using bulky equipment. This innovation has made recording more efficient and accessible, particularly for home-based producers.

    Enhanced Audiobooks: A Niche Yet Growing Market

    Enhanced audiobooks, featuring elements of sound design and music, occupy a middle ground between traditional audiobooks and audio dramas. Dr Darlington describes these as a “spectrum,” with varying levels of immersion:

    • Minimal Enhancement: Subtle sound effects or music at chapter breaks.
    • Full Immersion: Complex soundscapes and environmental effects designed to transport listeners into the narrative.

    While these productions can elevate the listening experience, they are labour-intensive and costly, often reserved for children’s literature or franchise-based content like Doctor Who.

    Challenges and Innovations in Sound Design

    Creating compelling sound design requires careful timing and restraint. For instance, a battle scene in an audiobook must balance dramatic sound effects with the clarity of narration. Dr Darlington underscores the importance of prioritising the words, ensuring that any added elements enhance rather than overshadow the storytelling.

    DIY Audiobook Production

    The rise of accessible technology has democratised audiobook production, enabling individuals to record and distribute their work independently. While this trend has introduced diverse voices into the market, Dr Darlington notes that professional studios still hold an edge in quality and polish. The challenge lies in navigating a fractured industry, balancing high-quality productions with the growing prevalence of DIY efforts.

    The Growing Audiobook Market

    The audiobook industry has seen remarkable growth in recent years, with global revenues surpassing £4 billion annually. This growth is driven by the increasing popularity of digital platforms, the convenience of audiobooks for multitasking listeners, and a growing library of diverse titles. As more people embrace audiobooks for entertainment and learning, the industry continues to expand, contributing significantly to the global GDP.

    Looking Ahead

    As the audiobook industry continues to grow, Dr Darlington envisions a future where sound design becomes a more integral part of storytelling. However, he acknowledges that the demand for traditional, unembellished audiobooks remains strong. The key to success lies in understanding the audience and adapting to their preferences while maintaining the artistry and technical excellence that define the medium.

    Dr David Darlington’s insights offer a comprehensive view of audiobook production, blending creativity with technical expertise. Whether you’re a budding producer or an avid listener, his reflections underscore the transformative power of sound in bringing stories to life.

     

  • A Journey Through the Art of Radio Drama: Tony Palermo

    Radio drama may seem like a bygone art in today’s world of high-definition visuals and digital effects. Yet, as Tony Palermo—renowned sound effects artist, radio dramatist, director, and composer—illustrates, this timeless medium still captivates audiences by harnessing the power of sound and imagination. In a his lecture, Tony shared his experiences and philosophies that have shaped his career, offering a deep dive into the world of storytelling through sound. His journey, marked by innovation and artistry, is as compelling as the sounds he crafts.

    Tony Palermo with radio sound effects props

    The Essence of Sound in Storytelling

    Tony began by reminding us that storytelling through sound is as old as humanity itself. From prehistoric times, humans have used sound to share experiences, mimic nature, and convey emotions. This primal connection to sound makes radio drama an inherently intimate and imaginative medium. He emphasised that sound is a powerful tool to convey clarity in storytelling. A single sound cue can suggest an entire scene, but the key lies in striking a balance—providing just enough to guide the listener’s imagination without overwhelming them. As Tony aptly put it, “We sketch the scene; we don’t paint it.”

    From Pirate Radio to Hollywood

    Tony’s career began in the world of pirate radio and AM music deejaying. His early experiments with sound led to writing radio ads for iconic music acts like U2 and Michael Jackson. Over the last two decades, he has specialised in radio drama, blending manual sound effects with live performances to create immersive experiences. His mentors—who worked with legends like Orson Welles and Jack Benny—inspired him to master the art of manual sound effects. Tony’s work often involves creating sounds in real-time alongside actors, using inventive techniques and handcrafted devices.

    The Craft of Sound Effects

    Tony shared several anecdotes that showcased his ingenuity:

    • Snake Crawling Backwards Up a Bell Cord: When faced with an impossible script direction, Tony advocated for adding clarifying dialogue to help the audience interpret the sound. This collaboration between sound artist and writer exemplifies the importance of teamwork in creating effective audio storytelling.
    • Mechanical Soundscapes: Whether simulating a plane crash with a vibrating pen on a cardboard box or recreating jungle ambience with bird calls and crash boxes, Tony’s dedication to mechanical sound effects brings authenticity to his productions.

    Listening as an Art

    A standout element of the lecture was Tony’s focus on the art of listening. He encouraged aspiring sound artists to tune into not just natural sounds but also human vocalisations. The nuances of breath, tone, and non-verbal expressions can add depth and emotion to characters and scenes.

    The Theatre of the Mind

    One of the most fascinating aspects of radio drama is its ability to transport listeners to places beyond the reach of visuals. Tony’s work with live radio productions, such as those with L.A. Theatre Works, underscores the magic of combining sound with live performances to captivate audiences. From the doors and floors that frame dramatic entrances to the subtleties of a character’s interaction with a doorknob, Tony demonstrated how small details can enrich storytelling. These elements become subconscious cues that guide the listener’s imagination, making the experience both personal and vivid.

    For Aspiring Sound Artists

    Tony’s advice to aspiring sound artists is both practical and inspiring:

    1. Start Small: Use household items to practise creating sound effects. A creaky door or a pair of shoes can be a gateway to storytelling.
    2. Learn to Listen: Develop an ear for detail by observing how sound interacts with the environment and human emotion.
    3. Embrace Simplicity: As Tony highlighted, the best sound effects are those that serve the story without stealing focus.
    4. Collaborate and Innovate: Work closely with writers and directors to ensure clarity and creativity in your contributions.

    Conclusion

    Tony Palermo’s lecture was a masterclass in the art and science of radio drama. His passion for sound as a storytelling medium reminds us of its unique ability to spark imagination and evoke emotion. Whether you’re a seasoned sound artist or a curious listener, Tony’s insights offer a renewed appreciation for the craft of audio storytelling. As Tony himself said, “We hitch the ear to the imagination.” In an age dominated by visuals, his words serve as a powerful reminder of the timeless magic of sound.

     

The BSc (Hons) Sound Design at Edinburgh Napier University is a comprehensive four-year programme that equips students with the skills to seamlessly integrate sound into various media, products, and environments. The curriculum covers both linear and interactive media, allowing students to specialise in areas such as film, radio, television, theatre, and video games. Collaborative projects with peers from disciplines like Acting, Digital Media, and Games Development are integral to the course, fostering a multidisciplinary approach. Additionally, students benefit from online guest lectures by internationally recognised sound designers, providing valuable industry insights.  

Close up of mixing console in D38