My Shopping Cart

[ 0 ]

View Cart | Checkout

Game Developer Research
bullet Research Reports

bullet Contractor Listings

GDC Vault
bullet Individual Subscription

GDC Audio Recordings
bullet App Developers Conference 2013
bullet GDC Next 2013
bullet GDC Europe 2013
bullet GDC 2013
bullet GDC Online 2012
bullet GDC Europe 2012
bullet GDC 2012
bullet GDC 2011
bullet GDC 10
bullet GDC 09
bullet GDC Austin 08
bullet GDC Mobile 08
bullet GDC 08
bullet GDC Austin 07
bullet GDC Mobile 07
bullet GDC 07
bullet GDC 06
bullet GDC 05
bullet GDC 04
bullet GDC 03
bullet GDC 01
bullet GDC 2000 & Before

Newest Item(s)

Why Now Is the Best Time Ever to Be a Game Developer

Ingress: Design Principles Behind Google's Massively Multiplayer Geo Game

Playing with 'Game'

Gathering Your Party with Project Eternity (GDC Next 10)

D4: Dawn of the Dreaming Director's Drama (GDC Next 10)

Using Plot Devices to Create Gameplay in Storyteller (GDC Next 10)

How I Learned to Stop Worrying and Love Making CounterSpy (GDC Next 10)

Luck and Skill in Games

Minimalist Game Design for Mobile Devices

Broken Age: Rethinking a Classic Genre for the Modern Era (GDC Next 10)

Storefront > GDC Vault Store - Audio Recordings > Topic > Audio

View larger image


Game Audio : Coding Vs. Aesthetics
Price $5.95
Stock Unlimited
Weight 7 lb, 7 oz
SKU GDC-03-120
Game Audio : Coding Vs. Aesthetics,

Audio, Lecture

Leonard Paul
Video Game Audio Instructor, Vancouver Film School
The key to creating successful immersive game audio is the balance between the technical and creative aspects of audio generation. Too often one is sacrificed at the expense of the other due to their assumed opposing natures. In the “good old days” of video game audio, one person would wear both hats of audio coder and sound designer/composer. In today’s video game world with escalating budgets and highly complex game console machines, the work must be split between several people, which threatens to increase this fundamental rift. If one sides with the creative, then the approach becomes very similar to producing audio for film. If one sides on the technical, then the audio is seen as something which is fundamentally defined by the constraints of the target platform. The problem with the creative approach is that often not enough thought is given to the highly interactive aspects of video games as well as not placing enough emphasis on the limitations of the target platform. The problem with the technical approach is that it often misses out on the subtle emotive nuances which make audio so important in the total video game experience as well as overly limit the sound designer by what is easily realizable on the target platform. What is really needed is to approach game audio production simultaneously from the creative and technical viewpoints and arrive at the balance known as successful game audio.

The key idea to gain from this talk is a new comprehensive viewpoint to produce effective game audio which balances the technical side with the creative side. Topics from the creative side which can influence the technical side will be explored in detail as well as the technical issues which influence the creative side. The overall audio design must work from both sides simultaneously, but most times the audio is flawed due to direction from one side at the expense of the other.

Please leave this field blank.

There are no related products to display.

Related Products...

Please leave this field blank.