Sound Story Network

20 great new audio jobs at Vertigo Games, Respawn, Audiokinetic, Voice Trax West, Playable Worlds, Berklee, Bethesda, EA Madrid, Bulkhead, Native Instruments, Gala, Rooster Teeth, Epic, Symphonic Distribution, Bergpeak Studios, Blizzard Irvine, Riot Games

Adriane Kuzminski — Thu, 08 Jun 2023 17:36:51 +0200

We came across interesting new jobs at Vertigo Games, Respawn, Audiokinetic, and Playable Worlds – and they’re looking for a Audio Engineer (Netherlands), Senior Technical Sound Designer (CA, US), C++ Spatial Audio Intern (QC, Canada), and Sound Effects Designer (CA, US).

We also found openings for a Part-time Faculty in Voice at Berklee College of Music (MA, US), Audio Outsource Manager at Bethesda Game Studios (QC, Canada), Speech Audio Artist at EA Madrid (Spain), Principal Audio Designer at Bulkhead (England), ML Audio Research Engineer at Native Instruments (MA, US), Music Marketing Manager at Gala (Philippines), Post Production Intern at Rooster Teeth (TX, US), and Broadcast Audio Intern at Rooster Teeth (TX, US).

Bonus: The Audio Jobs Facebook and LinkedIn groups also have opportunities for a Senior QA Engineer – Audio at Epic Games (Multiple Locations), Royalties Manager at Symphonic Distribution (Remote), Freelance Podcast Quality Control at Bergpeak Studios (Remote), Senior Sound Designer at Blizzard Irvine (CA, US), Sound Design Lead at Riot Games Shanghai (SH, China), Professor of Sound Design at Savannah College of Art & Design (GA, US), Part-time Recording Engineer at Voice Trax West (CA, US), and Music Brand Manager at Riot Games Shanghai (SH, China).

Having trouble viewing the LinkedIn jobs? Be sure to join the LinkedIn Audio Jobs group here first. Happy job hunting!

Highlight – sound stories this week:

• AirCon ’23 – the free online conference about sound featuring 50+ talks & interviews – is live! Learn more and get the chance to win Mindful Audio SFX here

• Stuart Ankers takes you behind the making of his ‘Tree Felling’ sound effects library.

• Last Chance: Land excellent deals on sound libraries, plugins and instruments here – while you have the chance!

• 22 great new sound libraries: Aquatic creativity, toy vehicles, South American deserts, British trains, morgues, and more!

Audio Engineer
Company: Vertigo Games
Location: Rotterdam, Netherlands

Job description

We at Vertigo Games are looking for an experienced Audio Engineer to join our team based in the center of Rotterdam, The Netherlands. Join us on a mission to develop and launch cutting-edge VR games internationally and help us on our quest to push the boundaries of virtual reality gaming.

Are you looking for a challenge implementing audio systems in VR? Then we are looking for you!

KEY RESPONSIBILITIES

Creating Implementing, debugging, optimizing and adapting audio features, pipelines, tools and infrastructure.
Connect with project leads and other studio audio teams to facilitate multi-platform feature development.
Make sure dynamic systems work for VR audio.
Work on audio localization and audio obstruction tools for our VR games.
Write clear, portable and maintainable code.
Mentor other engineers and provide technical guidance to individuals and teams.
Identifying opportunities to improve existing workflows.
Share insights, solutions, and best practices.
Please note this position is strictly location based and we will not offer remote work as an option for this role.

Your profile

A minimum of 3+ years of programming experience.
Bachelor of Science in computer science or a related field.
Excellent demonstrable C# knowledge.
Fluent in English, both verbally and written.
Experience with audio middleware such as Fmod or Wwise.
Comfortable interfacing with large C# codebases.
A passion for game development and sustainable software.

Please include a link to your portfolio or, even better, a Zip file containing: multiple code samples (5+) demonstrating your code qualifications and a readme explaining them.

Bonus points for

Creating audio playback engines is a clear plus.
Experience working with Unreal or Unity.
Experience with making audio within VR.
Experience in VR development.
Dutch is a plus.

We offer

A company culture that values a healthy work-life balance.
Room to learn, grow and share your creative input.
Flexible working hours.
Pension plan (50% own contribution, 50% paid by employer).
Free train commuting when living outside of Rotterdam.
The latest VR hardware and titles which you can borrow and take home.
Health benefits such as fresh fruit at the office and discounted gym memberships.
A free massage every month.
Office with a panoramic view, located in the city center of Rotterdam.

More about this job

Source: Vertigo Games Careers

Senior Technical Sound Designer
Company: Respawn
Location: Sherman Oaks, CA, US

Job description

Founded in 2010 by the original creators of the Call of Duty Franchise, Respawn was created with the philosophy that when talented people have creative freedom, they'll make extraordinary games that achieve the unexpected. From our roots as an indie studio to joining the expansive roster of studios at Electronic Arts, this remains our guiding principle. We truly love what we do and want to share our passion with players worldwide.

Our shipped titles include critically acclaimed multi-platform games Apex Legends, Titanfall, Titanfall 2, Star Wars™ Jedi: Fallen Order, Star Wars™ Jedi: Survivor and Medal of Honor: Above and Beyond.

We’re looking for an experienced Senior Technical Sound Designer who will embrace our culture and share their hard-earned expertise to create an incredible experience for our players. We want you to be passionate about making great games and demonstrate excellent sound design skills. If this sounds like you, please send us your resume along with a link to your sound design reel!

What You Will Do…

Reporting to the Audio Director, you will create, optimize, and manage systems for sound implementation using Unreal Blueprints and Wwise
Provide clear documented guidelines for sound designers to make sounds compatible with these systems
Assist sound designers as needed and demonstrate an understanding of our audio pipeline along with using our custom audio systems
Create and implement sound assets
Work with Animation, Mission Design, and other departments to help achieve excellent pairing of audio and audio systems with their creations
Work with QA to plan and support testing of sound
Work with Engineering to ensure audio systems are performant and rock-solid
Contribute to defining the tone and style of our audio direction

Ideally, You Will Have…

3-5 of years game audio experience
Expert-level command of sound design and mixing skills
Experience with Wwise and Unreal Engine 4; Unreal Engine 5 is a big plus
Strong proficiency with Unreal Blueprints
Excellent proactivity and problem-solving skills
C++ knowledge not required, but is a definite plus

US COMPENSATION AND BENEFITS

The base salary ranges listed below are for the defined geographic market pay zones in these states. If you reside outside of these locations, a recruiter will advise on the base salary range and benefits for your specific location.

EA has listed the base salary ranges it in good faith expects to pay applicants for this role in the locations listed, as of the time of this posting. Salary offered will be determined based on numerous relevant business and candidate factors including, for example, education, qualifications, certifications, experience, skills, geographic location, and business or organizational needs.

BASE SALARY RANGES

California (depending on location e.g. Los Angeles vs. Sacramento):
$113,300 – $171,700
New York (depending on location e.g. Manhattan vs. Buffalo):
$111,500 – $171,700
Jersey City, NJ:
$126,700 – $171,700
Colorado (depending on location e.g. Denver vs. Colorado Springs):
$111,500 – $144,000
Washington (depending on location e.g. Seattle vs. Spokane):
$111,500 – $157,300

Base salary is just one part of the overall compensation at EA. We also offer a package of benefits including paid time off (3 weeks per year to start), 80 hours per year of sick time, 16 paid company holidays per year, 10 weeks paid time off to bond with baby (following 1 year of service), medical/dental/vision insurance, life insurance, disability insurance, and 401(k) to regular full-time employees. Certain roles may also be eligible for bonus and equity.

More about this job

Source: EA Careers

C++ Spatial Audio Intern
Company: Audiokinetic
Location: Montréal, QC, Canada

Job description

Join our team and experience Audiokinetic!

We are looking for an intern to join our Spatial Audio team. This person will help create and improve the sound propagation tools offered by the Wwise middleware.

What will you do?

To be immersed in a virtual environment, it is important that sound propagation is credible. That's why our Spatial Audio team is dedicated to providing versatile yet easy-to-use tools for sound designers. By joining our team, you will have the opportunity to participate in the design of these tools and improve their robustness and accessibility.

The Spatial Audio product is closely linked to several aspects of the Wwise middleware. As an intern, you will be able to contribute to several projects. From creating tools for sound propagation, to adding tests and documentation, to improving the graphical interface. There is no doubt that this will be an ideal environment to apply and deepen your knowledge in the field.

As quality and reliability are top priorities, the implementation of unit and integration tests is everyone's responsibility. Systematic online code review by peers will also enable you to obtain rapid feedback at every stage of your work. This will also enable you to hone your skills in detecting flaws in your colleagues' code and proposing innovative solutions.

Audiokinetic has adopted a flexible and hybrid work style to meet the needs of the team, while allowing for in-person collaborative moments determined by the teams.

What do you bring to the team?

Experience in programming C or C++.
Visual Studio debugging skills.
Autonomy at work.
Good written and verbal communication skills (bilingualism is an asset).
ASSET: GUI experience with Qt, GTK or MFC.
ASSET: Proficiency in scripting languages (Python, Lua, etc.).
ASSET: Experience with a version management software (Git).
ASSET: Experience with a game engine such as Unreal or Unity.
ASSET: Interest in audio.

Rejoignez notre équipe et découvrez l’expérience Audiokinetic!

Nous sommes à la recherche d’un ou d’une stagiaire afin de se joindre à notre équipe de Spatial Audio. Cette personne contribuera à créer et améliorer les outils de propagation de son offerts par l’intergiciel Wwise.

Ce que vous ferez :

Pour faciliter l'immersion dans un environnement virtuel, il est important que la propagation du son y soit crédible. C’est pourquoi, notre équipe de Spatial Audio s'affaire à offrir des outils versatiles tout en étant faciles d’utilisation aux créateurs et créatrices de design sonore. En rejoignant notre équipe, vous aurez l’occasion de participer à la conception de ses outils et à améliorer leur robustesse et leur accessibilité.

Le produit Spatial Audio est étroitement lié à plusieurs aspects de l’intergiciel Wwise. En tant que stagiaire, vous pourrez contribuer à plusieurs projets. Que ce soit la création d’outils en lien avec la propagation du son, en passant par l’ajout de tests et de documentation, jusqu’à l’amélioration de l’interface graphique. Il n’y a pas de doute qu’il s'agira d'un environnement idéal pour appliquer et approfondir vos connaissances dans votre domaine.

La qualité et la fiabilité étant des priorités, la mise en place de tests unitaires et d'intégration est la responsabilité de tous. La revue du code systématique en ligne, par les pairs, vous permettra également d'obtenir une rétroaction rapide à chaque étape de travail. Ceci vous permettra aussi de perfectionner vos compétences à détecter des failles dans le code de vos collègues et à proposer des solutions novatrices.

Audiokinetic a adopté une forme de travail flexible et hybride permettant de répondre aux besoins des membres de l'équipe, tout en permettant des moments collaboratifs en personne lorsque cela est possible.

Ce que vous apportez à l'équipe :

Programmation du langage C ou C++.
Aptitudes de déverminage avec Visual Studio.
Autonomie au travail.
Bonnes communications écrites et orales (bilingue un atout).
ATOUT: Expérience en interface graphique avec Qt, GTK ou MFC.
ATOUT: Maîtrise de langages de script (Python, Lua, etc.).
ATOUT: Avoir déjà utilisé un logiciel de gestion de versions (Git).
ATOUT: Expérience avec un engin de jeu tel que Unreal ou Unity.
ATOUT: Intérêt pour l’audio.

Pourquoi vous joindre à l’équipe d’Audiokinetic ?

Audiokinetic est le principal fournisseur de solutions audio multiplateformes pour les médias interactifs et les jeux vidéo, et établit de nouvelles normes en matière de production audio interactive pour le divertissement basé sur la localisation (LBE), l'industrie automobile, l'électronique grand public et la simulation de formation. Partenaire stratégique et de confiance des plus grands développements et fabrications d'équipement d'origine (FEO) de médias interactifs, Audiokinetic dispose d'un écosystème de partenaires établi de longue date au sein de l'industrie audio et la fabrication de plateformes. Les solutions middleware d

Early Summer Sale! Huge savings on 100s of sound libraries, land wild 1-day deals and get lots of bonus sounds with ANY order:

Asbjoern Andersen — Thu, 08 Jun 2023 17:00:48 +0200

Land excellent deals on sound libraries, plugins and instruments here - while you have the chance!

The post Early Summer Sale! Huge savings on 100s of sound libraries, land wild 1-day deals and get lots of bonus sounds with ANY order: appeared first on A Sound Effect.

22 great new sound libraries: Aquatic creativity, toy vehicles, South American deserts, British trains, morgues, and more!

Adriane Kuzminski — Wed, 07 Jun 2023 17:15:31 +0200

Adriane Kuzminski highlights the very latest in sound effects - hear the new sound libraries here:

The post 22 great new sound libraries: Aquatic creativity, toy vehicles, South American deserts, British trains, morgues, and more! appeared first on A Sound Effect.

May 2023 Live Stream Recap

Admin — Mon, 05 Jun 2023 21:18:39 +0200

Catch up on everything that happened in the May REAPER Blog Community live streams

The post May 2023 Live Stream Recap first appeared on The REAPER BLOG.

AirCon ’23 – the free online conference about sound featuring 50+ talks & interviews – is now live!

Asbjoern Andersen — Mon, 05 Jun 2023 15:33:18 +0200

AirCon, the free online audio community conference, is now live! Learn more about it - and find out how to attend - here:

The post AirCon ’23 – the free online conference about sound featuring 50+ talks & interviews – is now live! appeared first on A Sound Effect.

AirCon ’23 – the free online conference about sound featuring 50+ talks & interviews – is live! Learn more & Enter The Giveaway here:

Asbjoern Andersen — Mon, 05 Jun 2023 15:33:18 +0200

AirCon, the free online audio community conference, is now live! Learn more about it - and find out how to attend - here:

The post AirCon ’23 – the free online conference about sound featuring 50+ talks & interviews – is live! Learn more & Enter The Giveaway here: appeared first on A Sound Effect.

How to create a tree felling sound effects library – a highlight by Stuart Ankers

Asbjoern Andersen — Mon, 05 Jun 2023 15:16:21 +0200

Stuart Ankers takes you behind the making of his Tree Felling sound effects library here:

The post How to create a tree felling sound effects library – a highlight by Stuart Ankers appeared first on A Sound Effect.

With Fronds Like These…

Nathan — Mon, 05 Jun 2023 00:47:57 +0200

The same winter storms that I mentioned in my last post also brought down a ton of fronds off the King Palm (Archontophoenix alexandrae) in our front yard. One can never have enough foliage source recordings, so… (the video below is just camera audio, not the Sennheiser MKH 50+30 mid-side rig I used to do the recording)

Field recording greatly improves one’s motivation to do yard work!

Here is a designed vegetation movement or destruction sound effect made from the material I recorded in this session. Soundcloud’s MP3 compression won’t be kind to this sort of material, but oh well!

noisejockey · Plant Movement/Destruction from Palm Fronds

20 great new audio jobs at Nintendo, Netflix, Formosa, String and Tins, id Software, Santa Monica Studio, Edinburgh Napier University, Ubisoft, EA Create Audio, DSP Concepts, POLITICO, Interfacio, Paradigm Electronics, Criterion Games, Asimuth Post Produc

Adriane Kuzminski — Thu, 01 Jun 2023 14:19:59 +0200

We came across interesting new jobs at Ubisoft Toronto, EA Create Audio, and id Software – and they’re looking for a PCAP Audio Project Manager (ON, Canada), Commentary Recording Engineer (FL, US), and Senior / Principal Sound Designer (TX, US).

We also found openings for a PhD Sound Designer for VR/AR Navigation at Edinburgh Napier University (Scotland), Audio Producer at POLITICO (VA, US / Hybrid), Senior Audio Programmer at Ubisoft Montreuil (France), Audio Programmer at Ubisoft Montreuil (France), Lead Acoustic Engineer at Interfacio (England), Audio Software Engineer at DSP Concepts (Germany), Acoustic Engineer at Paradigm Electronics (ON, Canada), and Audio Director at Criterion Games (England).

Bonus: The Audio Jobs Facebook and LinkedIn groups also have opportunities for a Music Production Specialist at Netflix (South Korea), Senior Sound Designer at Formosa Interactive UK (England), Full Time Technical Assistant at String and Tins (England), Associate Technical Sound Designer at Nintendo (WA, US), Head of Audio at Asimuth Post Production (England), Audio Programmer at Santa Monica Studio (CA, US), Audio Data Gathering at Appen (Remote), Audio QA Lead at Creative Assembly Sofia (Bulgaria), and Audio QA Technician at Creative Assembly Sofia (Bulgaria).

Having trouble viewing the LinkedIn jobs? Be sure to join the LinkedIn Audio Jobs group here first. Happy job hunting!

Highlight – sound stories this week:

Early Summer Sale! Huge savings on 100s of sound libraries, land wild 1-day deals and get lots of bonus sounds with ANY order:

Announcing AirCon 2023 – the free online audio conference happening June 5-16th!

21 great new sound libraries: Medieval and fantasy RPGs, flip flops, neoprene wetsuits, 1929 Ford Model A, windy textures, and more

PCAP Audio Project Manager
Company: Ubisoft Toronto
Location: Toronto, ON, Canada

Job description

As a Project Manager (Audio) on the Performance Capture Team at Ubisoft Toronto, you will oversee, review and enhance current processes and tools and ensure their proper implementation and sustainability. You will be the point of contact during all project phases to assess issues and needs in collaboration with stakeholders, and suggest and implement solutions.

Ensure and/or define process and system quality improvement by implementing best practices and/or relevant techniques;
Meet with clients, determine, assess and understand their needs and ensure their understanding and involvement in future approaches;
Define and apply best management methods and practices and take part in their development and implementation;
Along with managers, determine the resources required by teams (availability, skills) and ensure knowledge transfer;
Take part in the implementation of appropriate methodologies for effective project management that meet quality standards, budgets and deadlines;
Understand the workflow processes and the inter- and intra-departmental relations and collaborate with in-house partner services to orchestrate and facilitate the implementation of optimal solutions and/or improvement projects and workshops;
Follow up on the progress of the work (team/project/production support), provide guidance on project initiatives and communicate statuses to project stakeholders on a regular basis, ensuring adequate communication between project collaborators;
Close projects (report, post-mortem, accounting);
Carry out proactive follow ups with clients and on mandates with the customers;
Know your client base, especially by keeping client information up-to-date (follow up on production mandates, general satisfaction, timelines etc.);
Regular reporting on the status of your projects. Escalate risks and scope projects when needed.
Ensure the quality of communications with clients (frequency, adaptation based on the context and product, etc.);
Carry out all other related tasks.

We know that skills and competencies show up in different forms and can be based on different experiences. If you are excited about the role, we strongly encourage you to apply even though you may not have all the qualifications listed below.

Experience in audio production;
Knowledge of the Office Suite (PowerPoint, Excel, etc.) + familiarity with project management software (e.g. Jira)*;
Strong communication and client relations skills;
Ability to balance shifting short-term priorities and long-term goals;
Excellent time management, organizational, interpersonal, and communication skills;
Critical thinking, open-mindedness, adaptability, flexibility, ability to receive feedback;
Organization skills, rigorous, autonomous, ability to plan, and able to work with tight deadlines;
Ability to learn new tools and workflows quickly;
Ability to clearly explain complex ideas;
Sense of aesthetics, understanding of video games language as a media.
Minimum 5 years of management experience or related experience (experience in the video game industry or as a scrum master is an asset);
Training/certification in project management or optimization and continuous process improvement approaches is an asset;

What to send our way

Your CV, highlighting your education, experience, and skills

We Offer:

A hybrid, flexible work model
Six weeks of vacation
An enhanced parental leave program
Comprehensive Total Rewards Package:
- Disability Insurance
- Dental Insurance
- Extended medical insurance
- (Optional) RRSP contribution
- Relocation Assistance
- Bonus (If Applicable)

Life at Ubisoft

At Ubisoft Toronto, we look for people who are excited to create the future of games in one of the most diverse cities in the world. We believe that embracing our individuality helps us build stronger creative teams and develop better games for all players.

When you’re a member of our team, your professional development is a priority. You’ll have opportunities to be challenged, learn and grow in your role. Pushing the boundaries of what’s possible within game development while working with Ubisoft’s most powerful technologies – from game engines to performance capture and more. Annual performance reviews and salary increases will help you further your career and grow with our studio. We also offer hybrid remote work options, six weeks of vacation for all employees, an enhanced parental leave program, a comprehensive health benefits package, generous RRSP matching, industry education support, training and career development.

We celebrate the big and small moments together – with virtual events, get togethers, giveaways and more. In addition to our “right to disconnect” philosophy, the studio offers a variety of health and wellness initiatives including yoga, an on-site gym, flexible work hours, and other programs to create a better, sustainable work environment for our teams.

We encourage you to read our Code of Conduct prior to applying. It is our collective responsibility at Ubisoft Toronto to maintain a respectful and inclusive work environment, and be the best possible place to work and grow. Knowing and respecting our Code of Conduct’s principles and guidelines is key to achieving that goal.

Join Us!

At Ubisoft Toronto, we believe diversity is our studio’s biggest strength. We’re committed to creating an inclusive workplace that reflects the diversity of our player community, is inclusive and respectful of the individuality of our team and embodies our core values – trust, integrity, excellence and care.

We encourage applications from First Nations, Métis and Inuit peoples, Indigenous peoples of North America, racialized persons, persons with disabilities, and those who identify as women and/or 2SLGBTQIA+.

If this sounds like your kind of studio, what are you waiting for?

Ubisoft Toronto is committed to providing accommodations for accessibility upon request.

We thank you for your interest, however, only those candidates selected for an interview will be contacted. No agencies please.

More about this job

Source: XP Game Jobs

Commentary Recording Engineer
Company: EA Create Audio
Location: Orlando, FL, US

Job description

We are a global team of creators, storytellers, technologists, experience originators, innovators and so much more. We believe amazing games and experiences start with teams as diverse as the players and communities we serve. At Electronic Arts, the only limit is your imagination.

Audio Artist 2 – Commentary Recording Engineer Role Overview

Create Audio is looking for an enthusiastic and skilled Audio Artist who can make an
immediate contribution to our team. You will work with the audio team for a specific project.
You should have core experience in select phases of audio design and production, in every
important component – sound design, music, voice production, and implementation. You
will work within the Create Audio team and should have a basic understanding of game
development. You should have a passion for video games, with an overwhelming drive to
create a world class audio experience.

This is a contract position.

Responsibilities

Create quality audio for video games
Record talent and process recordings
Directly supports portions of features or tasks
Ensure quality of assets meet project standards
Dialogue editing, mastering, naming and file organization

Requirements

Deep experience in recording, editing and processing audio with DAWs
Multiple years working on recording, game audio, or audio post-production
Is comfortable with modern audio creation equipment, software and recording techniques,
with a high l evel of proficiency in at least one DAW
Good understanding of dialogue/commentary audio standards in video games
Self-motivated individual with a solution-oriented work ethic
Team oriented with a strong desire to both learn and teach
Strong artistic and creative sensibilities

About Electronic Arts

Everything we do is designed to inspire the world to play. Through our cutting-edge games, innovative services, and powerful technologies, we bring worlds with infinite possibilities to millions of players and fans around the globe.

We’re looking for collaborative and inclusive people with diverse perspectives who will enrich our culture and challenge us. We take a holistic approach with our benefits program, focusing on physical, emotional, financial, career, and community wellness to support our people through every chapter of life. Our goal is to provide a safe and respectful workplace that empowers you to thrive in both work and life.

Electronic Arts is an equal opportunity employer. All employment decisions are made without regard to race, color, national origin, ancestry, sex, gender, gender identity or expression, sexual orientation, age, genetic information, religion, disability, medical condition, pregnancy, marital status, family status, veteran status, or any other characteristic protected by law. We will also consider employment qualified applicants with criminal records in accordance with applicable law. EA also makes workplace accommodations for qualified individuals with disabilities as required by applicable law.

More about this job

Source: GrackleHQ

Senior / Principal Sound Designer
Company: id Software
Location: Dallax, TX, US

Job description

id Software, part of the ZeniMax Media Inc. family of companies, is seeking a Senior/Principal Sound Designer to join our team in making AAA games. This position assumes a prominent position on the team, helps establish and optimize production pipelines, and contributes to the execution of the vision of the game in close collaboration with colleagues.

Work closely with the Audio Lead and other team members to develop all types of audio assets.
Create and integrate high quality sounds for numerous settings, different types of gameplay, visual effects, and narrative events.
Implement audio using proprietary and third-party tools and technology in close collaboration with game play designers, effect artists and animators.
Actively learn tools, technology, and explore new features with other team members.
Develop and refine systems for delivering compelling and immersive audio.
Minimum 5 years’ experience creating audio for games; including shipping at least one AAA title as sound designer.
Ability to make high quality audio, VO editing and processing, and SFX for in-game use.
Experience with postproduction and mastering audio.
Excellent working knowledge of modern studio equipment and industry standard audio tools.
Strong sound design & technical skills.
Familiarity with a variety of audio middleware applications.
Ability to interface with internal and external development teams.
Excellent knowledge and understanding of the vid

21 great new sound libraries: Medieval and fantasy RPGs, flip flops, neoprene wetsuits, 1929 Ford Model A, windy textures, and more!

Adriane Kuzminski — Thu, 01 Jun 2023 12:44:19 +0200

Discover the very latest sound libraries out there, in this new highlight from Adriane Kuzminski:

The post 21 great new sound libraries: Medieval and fantasy RPGs, flip flops, neoprene wetsuits, 1929 Ford Model A, windy textures, and more! appeared first on A Sound Effect.

How good is Acon Digital’s Deverberate 3 ?

Admin — Wed, 31 May 2023 23:56:00 +0200

Putting Acon Digital's Deverberate 3 and Extract: Dialogue to the test for voice and music applications, and comparing to some other products.

The post How good is Acon Digital’s Deverberate 3 ? first appeared on The REAPER BLOG.

Boz Digital ReCoil Spring Reverb

Admin — Wed, 31 May 2023 21:03:27 +0200

When I heard Boz Digital makes a powerful, weird and yet easy to use Spring Reverb plugin, I immediately bought it and MAN it is fun to use as well.

The post Boz Digital ReCoil Spring Reverb first appeared on The REAPER BLOG.

AirCon 2023 – the free online audio conference - is happening June 5-16th at airwiggles.com/aircon !

A Sound Effect — Tue, 30 May 2023 11:49:35 +0200

New Audio Job at Nintendo – for an Associate Technical Sound Designer

Asbjoern Andersen — Tue, 30 May 2023 10:06:45 +0200

There’s a new contract audio job opportunity for an Associate Technical Sound Designer at Nintendo Software Technology Corporation in Redmond, WA, US for you here (via Nadia Wheaton):

Learn more about the audio job opportunity here

Be the first to know about exciting new audio job posts: Get the Audio Jobs newsletter here

The post New Audio Job at Nintendo – for an Associate Technical Sound Designer appeared first on Soundlister.com.

New Features in REAPER v6.80 tutorial video

Admin — Mon, 29 May 2023 22:11:25 +0200

REAPER 6.80 is out now and in it there are some small, but really nice changes. Some highlights are setting snap offset of item to mouse cursor, better handscroll/Zoom, and hold shift to create folder when dragging track order.

The post New Features in REAPER v6.80 tutorial video first appeared on The REAPER BLOG.

20 great new audio jobs at Rockstar, Bose, Bungie, Audacity, Liquid Violet, EA Metalhead, Gearbox, Lucid Games, Behaviour Interactive, Criterion Games, Ripple Effect Studios, Arrowhead, Coatsink, CareerVillage, GSC Game World, Reel2Media, Ghost Ship Games

Adriane Kuzminski — Fri, 26 May 2023 15:18:10 +0200

We came across interesting new jobs at Lucid Games, Behaviour Interactive, EA Metalhead, and Gearbox Entertainment – and they’re looking for a Senior Audio Programmer (England), Audio Team Lead (QC, Canada), Senior Sound Designer (Philippines), and Lead Audio Programmer (TX, US).

We also found openings for an Audio Programmer at Rockstar New England (MA, US), Senior Technical Audio Designer at Criterion Games (England), Senior Audio Artist I at Ripple Effect Studios (OR, US), Senior Voice Over Artist at Ripple Effect Studios (Remote / Multiple Locations), Audio Lead at Arrowhead (Sweden), Audio System Engineer at Bose Corporation (MA, US), Senior Sound Designer at Coatsink (England), and Volunteer Sound Designer at CareerVillage.org (Remote).

Bonus: The Audio Jobs Facebook and LinkedIn groups also have opportunities for a Marathon Senior Audio Lead at Bungie (WA, US), Project Senior Audio Lead at Bungie (WA, US), Sound Designer at GSC Game World (Ukraine / Remote), Business Development and Partnership Director at Reel2Media (UK / Remote), Sci-Fi Happy Sound Designer at Ghost Ship Games (Denmark), Audio Director at Deep Silver Dambuster Studios (England), Sound Engineer at Liquid Violet (England / Hybrid), and Producer at Audacity, Inc. (PA, US).

Having trouble viewing the LinkedIn jobs? Be sure to join the LinkedIn Audio Jobs group here first. Happy job hunting!

Highlight – sound stories this week:

What is storytelling in game audio?

Creating the Signature Sound of ‘Barton Fink’ – with Oscar-winning Re-Recording Mixer & Sound Supervisor Skip Lievsay | A Sound Effect Podcast EP 24

Creature Vocal Design – a roundtable with Michael Kent, Beau Jimenez, Jeff Darby, and Ash Read:

xxxxxxxx

19 great new sound libraries: Cinematic metal, sirens and alarms, celestial harps, voice bundles, and more

Early Summer Sale! Huge savings on 100s of sound libraries, land wild 1-day deals and get lots of bonus sounds with ANY order:

Senior Audio Programmer
Company: Lucid Games
Location: Liverpool, UK

Job description

We’re looking for a Senior Audio Programmer to join our team. You will be working in a talented team made up of Audio Designers and Programmers and work closely with our Programming team. Your main responsibility will be to design, implement and maintain innovative audio solutions that can be deployed across a range of projects both internally and externally.

Responsibilities:

Collaborate with Sound Designers to design, implement and maintain innovative audio solutions that can be deployed across a range of projects.
Mentor other members of the team through code, documentation and other interactions.
Identify technical roadblocks and suggest solutions.
Develop a range of audio features in Unreal Engine 5 / Wwise / C++.
Participate in code reviews to maintain quality and share knowledge.
Bug fixing and optimization, including at the engine level.
Own the technical implementation of game-wide audio systems.
Key player in our audio team delivering multiple titles across multiple platforms.
Collaborating with feature teams and content creators to give direction and feedback on content requirements, and to give guidance for our engine, tools and frameworks.
Being proactive and helping with problem solving in other audio and related areas.

Requirements:

Significant professional experience with C++.
Shipped titles as an Audio Programmer.
Good understanding of Unreal Engine / Blueprints / Wwise.
Attention to detail and a demonstrable passion for audio in games.
Passionate about playing and building video games!

Desired experience:

Experienced team player comfortable with sharing ideas and mentoring with others.
Experience in the technical design, implementation, and maintenance of game audio systems.
Experience coding audio DSP a plus.
Knowledge of audio design patterns.

Important:

The interview process for the Senior Audio Programmer role is made up of 2 stages:

First interview (30 – 45 minutes) – An informal chat to discuss your background, experience and working history relating to the position with our Audio Director and Associate Studio Technical Director. In return, we will provide a full overview of the role, life at the studio as well as answer any questions you may have.
Final interview (45 minutes) – A final Interview with our Studio Head and Studio Technical Director. This will be a chance for you to get to know the Senior Management team and all the things that make Lucid, Lucid! You will have a lot of opportunities to ask any questions about the studio and Culture.

Our recruitment process typically takes 2-4 weeks depending on availability. We work our process around your availability and try to be as accommodating as possible. A member of our recruitment team will be in touch prior to your first interview and will keep in contact throughout the process. If you have any specific questions prior to this please contact jobs@lucidgames.co.uk

Lucid Games is an equal opportunity employer. We celebrate diversity and are committed to creating an inclusive environment for all employees. We can provide suitable adjustments during our recruitment processes. Should you require adjustments/flexible arrangements to interview, or take up a role at Lucid, please let us know in the notes/cover letter section of your application. This will not affect your application.

More about this job

Source: GameJobs.co

Audio Team Lead
Company: Behaviour Interactive
Location: Montréal, QC, Canada

Job description

Since several work modes are offered to all our employees (100% from home, Flex, 100% in-office), job opportunities posted here are available whether you live in Quebec or Ontario, unless indicated otherwise.

The Audio Team Lead ensures members of his/her team work together towards a common goal. He/she will collaborate with the Audio Director to provide a framework to produce audio elements. He/she will also establish and foster a creative and motivating work environment for their team. The ideal candidate for this role is recognized for his/her sense of responsibility, his/her leadership and ability to set objectives and deliver results. He/she has the necessary background and experience to oversee the work of the artists in their team, and to support them in their daily tasks.

In this role you will:

Take charge of a team of sound designers for one specific project;
Monitor ongoing tasks;
Work with the Producers to assess the project development status and risks;
Manage the development and implementation of audio assets according to schedules and production constraints;
Understand the pipeline and tools;
Follow up on the audio designers’ work and development of their professional skills;
Use your audio skills and experience to provide a framework for the development of audio assets, and ensure they are in line with the artistic vision;
Help the Audio Director in preparing and managing the audio budget according to the project’s needs.

What we're looking for:

7 years of experience in video game development;
Previous experience as a Lead on a AAA production or 3 years’ experience as a Lead on other types of projects;
Good knowledge of Reaper and/or Pro Tools;
Knowledge of the most common audio software used for video game production;
Mixing experience (stereo and multi-channel) a plus;
Interest in the latest software and new technologies used in audio;
Good knowledge of the MS Office suite;
Ability to think strategically and find solutions to problems;
Production experience with Unreal 4 and Wwise 2021 required;
Ability to manage priorities;
Good command of English and French.

Joining Behaviour means being part of a company that believes in equity and diversity. We base all employment decisions on merit, qualifications, and competence. We will never discriminate on the grounds of national or ethnic origin, health, religion, age, sex, sexual orientation, gender identity or expression or disability. The masculine is used without any discrimination and for the sole purpose of lightening the text.

More about this job

Source: School of Game Audio @SchoolGameAudio

Senior Sound Designer
Company: EA Metalhead
Location: Victoria, Philippines

Job description

Electronic Arts Inc. is a leading global interactive entertainment software company. EA delivers games, content and online services for Internet-connected consoles, personal computers, mobile phones and tablets.

The team at Metalhead comes from diverse backgrounds, unified by a passion to make original games. We\'ve supported and inspired each other through the development and evolution of the Super Mega Baseball series and have built a fiercely loyal fanbase in the process. And we get to do it all from downtown Victoria. We\'re growing the studio and hope you\'ll consider joining us.

We\'re expanding our in-house team so that we can build the next generation of our light-hearted, ultra-customizable athletes (and off-field characters!), both male and female. Our approach is modular and efficient but we also work toward a unique sense of character and charm. We\'re looking for someone who can help us with this vision, take ownership of a large amount of work that is often technical, and help us improve our processes and pipelines.

What you’ll do:

Follow the Audio Direction and understand how each piece fits into and supports a readable, quality soundscape, by creating assets and implementations that live up to the creative and technical aspirations.
Oversee the sound lead an audio sub team, for a substantial area of a title.
Ensure you understand the tasks and context, to balance effort and quality against the intended purpose of the asset. Produce audio for the game to quality, within the planned budget and to an agreed schedule.
Ask for and act on feedback concerning your work. Also provide and act on feedback within the sound team, with a focus on audio execution.
Be structured; estimate your work, update plans, submit good data into the branch.
As a part of the Audio team provide and respond to Audio feedback and be an active mixer for your assets and provide feedback on the title\'s overall mix

Qualities we’re looking for:

3 or more years of experience of sourcing, creating and implementing quality sound assets in a AAA title, from both a creative and technical standpoint especially vehicles or weapons.
A solid appreciation and understanding of how sound works in real-life, with a sense for realism and believability, but able to favor readability to support gameplay.
Developed artistic qualities; excellent at interpreting reference and following direction.
Desire to develop your implementation, design, editing and engineering skills.
Proficient in common studio hardware, editing techniques and software such as Reaper, Sound Forge, Waves, Fabfilter and IzoTope RX.
Experience with technical workflows and integrating audio into the game environment using the tools at hand. Creating with efficiency, and being mindful of performance constraints.
Knowledge of audio middleware, e.g. WWISE, FMOD, Unity and Unreal
Knowledge of graphical audio programming, e.g. Reaktor, Max-MSP, Pure Data, is a bonus

More about this job

Source: XP Game Jobs

Lead Audio Programmer
Company: Gearbox Entertainment
Location: Frisco TX, US

Job description

The Gearbox Entertainment Company is an award-winning creator and distributor of entertainment for people around the world. Gearbox Entertainment develops and publishes products through its subsidiaries, Gearbox Software and Gearbox Publishing. Gearbox Entertainment has become widely known for successful game franchises includin

Creating the Signature Sound of ‘Barton Fink’ – with Oscar-winning Re-Recording Mixer & Sound Supervisor Skip Lievsay | A Sound Effect Podcast EP 24

Asbjoern Andersen — Thu, 25 May 2023 12:09:51 +0200

Go behind the signature sounds of Barton Fink, in Jennifer Walden's new interview with Oscar-winning sound supervisor Skip Lievsay here:

The post Creating the Signature Sound of ‘Barton Fink’ – with Oscar-winning Re-Recording Mixer & Sound Supervisor Skip Lievsay | A Sound Effect Podcast EP 24 appeared first on A Sound Effect.

19 great new sound libraries: Cinematic metal, sirens and alarms, celestial harps, voice bundles, and more!

Adriane Kuzminski — Thu, 25 May 2023 11:51:39 +0200

This week on A Sound Effect, we have 19 new sound effects libraries that will help you take your projects to the next level:

The post 19 great new sound libraries: Cinematic metal, sirens and alarms, celestial harps, voice bundles, and more! appeared first on A Sound Effect.

Well worth the wait !! SoundToys SuperPlate vintage reverb plugin

Admin — Wed, 24 May 2023 17:45:13 +0200

SoundToys has finally released SuperPlate reverb plugin!
SuperPlate gives you choice of 5 vintage plates, through 3 amp modes, with flexible EQ, subtle modulation, and auto-decay for clarity.

The post Well worth the wait !! SoundToys SuperPlate vintage reverb plugin first appeared on The REAPER BLOG.

Commercial Fireworks: Up Close and Loud

rick@evocativesound.com — Tue, 23 May 2023 18:30:50 +0200

Fireworks: Up Close and Loud is a collection of commercial-grade fireworks – the big stuff - shooting from mortar tubes not 20 feet from my microphones. Each colorful burst can be heard directly overhead with a healthy decay at the end. The result is an assemblage of sounds filled with power and punch. Every round leaving its tube gives off a solid thump. Only such nearby access can provide this perspective. But if you’re not into the patriotic thing and are just looking for mortar round sounds for a battlefield scene, this library has you covered too.… Read More

We’re very impressed by this De-noiser and De-Reverb tool – FREE – GOYO Voice Separator

Admin — Mon, 22 May 2023 19:50:26 +0200

If you don't have a voice de-noiser and de-reverb plugin, stop what you're doing and try this one today.

The post We’re very impressed by this De-noiser and De-Reverb tool – FREE – GOYO Voice Separator first appeared on The REAPER BLOG.

What is storytelling in game audio?

Asbjoern Andersen — Mon, 22 May 2023 17:43:26 +0200

What does storytelling mean when it comes to game audio? Audio director Jean-Edouard Miclot shares his thoughts and insights on this here:

The post What is storytelling in game audio? appeared first on A Sound Effect.

Creature Vocal Design – a roundtable with Michael Kent, Beau Jimenez, Jeff Darby, and Ash Read:

Asbjoern Andersen — Mon, 22 May 2023 09:18:17 +0200

Get creature vocalization and sound design insights from some of the most talented sound designers in the games industry here:

The post Creature Vocal Design – a roundtable with Michael Kent, Beau Jimenez, Jeff Darby, and Ash Read: appeared first on A Sound Effect.

Ultimate control room monitoring software for surround & immersive audio – Ground Control Sphere

Admin — Sat, 20 May 2023 19:50:45 +0200

Sphere is a comprehensive control room monitoring software for surround and immersive audio. In-depth video tutorial and review by Matt Glenn [sponsored]

The post Ultimate control room monitoring software for surround & immersive audio – Ground Control Sphere first appeared on The REAPER BLOG.

20 great new audio jobs at Disney Media, Bulkhead, Tencent, Sago Mini, Panic Button, The Chinese Room, Phoenix Labs, Motorsport Games, RUN Studios, Full Sail, Lightspeed LA, Frostbite, Atomic Arcade, Voicemod, University of West London, Ubisoft Reflection

Adriane Kuzminski — Fri, 19 May 2023 14:51:40 +0200

We came across interesting new jobs at Bulkhead, Tencent Games, Sago Mini, and Panic Button – and they’re looking for a Audio Designer (Remote), Game Audio Design Intern (Singapore), Sound Designer (ON, Canada), and Audio Designer (TX, US).

We also found openings for a Lead Sound Designer at The Chinese Room (England), Audio Director at Phoenix Labs (BC, Canada), Lead Audio Designer at Bulkhead (England), Sound Designer at Motorsport Games (England), Sound Designer at RUN Studios (WA, US), Lab Specialist – Film Audio and Editing at Full Sail University (FL, US), Senior Audio Programmer at Lightspeed LA (CA, US), and Principal Audio Designer at Lightspeed LA (New Zealand / Remote).

Bonus: The Audio Jobs Facebook and LinkedIn groups also have opportunities for a Associate Audio Programmer at Tencent Games (CA, US / Hybrid), Audio Post Production Engineer at Disney Media (CA, US), Technical Product Owner for Audio at Frostbite (Remote / Canada), Audio Director at Atomic Arcade (NC, US / Hybrid), Business Analyst at Voicemod (Remote), Lecturer/Senior Lecturer in Music Performance at University of West London (England), Lead Audio at Ubisoft Reflections (England), and Senior Audio Designer at Gearbox Studio Québec (QC, Canada).

Having trouble viewing the LinkedIn jobs? Be sure to join the LinkedIn Audio Jobs group here first. Happy job hunting!

Highlight – sound stories this week:

‘Working with Sound’ – Rob Bridgett takes you behind the excellent new game audio book (+ gives you the chance to win it!)

The Savage Sound of ‘Sisu’ – behind the detailed sound design & Dolby Atmos Mix with Panu Riikonen

21 great new sound libraries: Fantastic beasts, ambiences from South Africa, Serbia, Germany and the UK, silky fabrics, and much more

Audio Designer
Company: Bulkhead
Location: Remote

Job description

As our Audio Designer at BULKHEAD, you will support the design and implementation of a wide variety of audio assets. You will work alongside other audio designers and audio programmers to execute the vision of our games, having a keen interest in first person shooters.

The team at BULKHEAD are a tight knit group of individuals who strive to build impressive multiplayer games. Our team members are multi-disciplined developers who strive to push boundaries, question the norm and are always looking for better ways to do things.

// RESPONSIBILITIES

Create and implement sound effects for various aspects of the game, including characters, weapons, environments and UI elements.
Record, edit, and process audio for use in the game, using various software tools to manipulate audio files and create desired sound effects.
Work closely with the development team to implement audio assets into the game engine, including setting up audio triggers, ensuring audio playback is synchronised with the game’s visuals, and testing audio in various scenarios.
Collaborate with other team members, including game designers, programmers, artists, and producers, to ensure that audio elements fit within the game’s overall design and vision.
Maintain and organise audio assets, including keeping track of audio files, version control, and archiving old audio assets when necessary.
Contribute to sound design documentation, including style guides and best practices for audio implementation in the game.

// REQUIRED SKILLS AND EXPERIENCE

Should be able to demonstrate a high level of skill when designing unique sound effects.
Passionate about audio and games, with a well-developed ear for game audio.
Understanding of middleware and implementation pipelines.
Great communication skills, a willingness to learn and share knowledge and able to act upon and give constructive feedback.
Ability to work independently.

// DESIRED SKILLS AND EXPERIENCE

Interest and passionate about games.
Understanding of music production and theory.
Experience and knowledge of recording techniques [field and studio], and sound synthesis [Max MSP, SuperCollider, etc]

More about this job

Source: SoVGA.com @SchoolGameAudio

Game Audio Design Intern
Company: Tencent Games
Location: Capital Spring, Singapore

Job description

Tencent Games was launched in 2003, and has since grown into a leading global platform for game development, publishing and operations. We provide high-quality interactive entertainment experiences to players and currently offer more than 140 games, including PUBG MOBILE, Call of Duty Mobile and h League of Legends, to hundreds of millions of players across over 200 countries and regions.

We are committed to exploring the full potential of games, leveraging the rich IP resources within Tencent that span across literature, anime, film, and television. In addition, we actively collaborate with game developers and publishers to create high-quality interactive entertainment experiences.

We are seeking a highly motivated and creative individual to join our audio team and assist in creating high-quality content for our games. As a Game Audio Intern, you will work closely with our audio team to create and implement audio assets for our video games. This is an exciting opportunity for someone who is looking to learn and gain practical experience in the video game industry and contribute to the development of our next hit game.

Assist in the creation and implementation of audio assets and resources
Work closely with the audio team to ensure high-quality audio content
Edit and mix audio content to ensure the best audio experience for our players
Test and troubleshoot audio-related features and functionalities
Perform other audio-related tasks as assigned by the audio team lead
Help organize and maintain sound libraries

Requirements:

Currently enrolled or have recently graduated, with a degree related to audio/media production, or game development
Basic understanding of audio production and sound design principles, and/or game development
Strong communication and collaboration skills
Ability to work independently and as part of a team
Passion for video games

Pluses:

Proficiency in audio editing software (e.g., Nuendo, ProTools, Reaper..)
Familiarity with game engines and middleware (e.g., Unity, Unreal Engine, FMOD, Wwise)

Benefits:

Practical experience in the video game industry
Exposure to industry-leading tools and technologies
Exposure to teams from other disciplines in the video game development pipeline
Opportunity to work with an experienced audio team that has shipped multiple AAA titles
Opportunity to cross-collaborate with overseas teams
Opportunity to contribute to the development of a highly anticipated video game

If you are interested in this exciting opportunity, please submit your resume and a cover letter highlighting your qualifications and passion for video games. A demo reel of your work is highly encouraged. We look forward to hearing from you!

More about this job

Source: Tencent Careers

Sound Designer
Company: Sago Mini
Location: Toronto, ON, Canada

Job description

Sago Mini is an award-winning publisher of preschool apps and toys worldwide. We are supported by a team of artists, designers, developers, product managers, thinkers, and doers devoted to play. With over 100 million downloads, three subscription services, and 40+ apps, Sago Mini brings thoughtful design to life for kids and parents worldwide.

About You

You are a creative at heart with a passion for sound design. You are a great communicator, an organized individual, and a team player who thrives off collaboration. You are open to feedback and use it as an opportunity to improve your skills. You have no problem diving into the weeds and getting your hands dirty. You excel at balancing multiple priorities, shifting gears, and wearing many hats. Your colleagues appreciate your ability to keep on top of your work and stay ahead of the game.

About the Role

Sago Mini is seeking a sound designer to join our team! You will have the opportunity to wear many hats, work with different teams, and manage multiple priorities as it relates to sound at Sago Mini. Using your skills and experience, you will have the opportunity to work closely with developers and technical artists to bring the joy of sound to content and experiences created for kids.

What You'll Be Doing

Working on the coordination of sound files; adding and organizing of the audio library
Communicating requests to the sound engineer, voice over team, and external studios
Mastering audio files to provide consistency and balance between sound effects and music
Editing and mastering voice over content
CAssisting in creating sound effects consistent with the Sago Mini brand
Managing sound requirements from developers and technical artists
Reviewing sound implementations and helping to adjust in Unity

Qualifications and Skills

1-3 years of experience in sound design or a related field
Digital Audio Workstation (DAW) experience
Experience in mixing and mastering
Proficiency in asset management software
Strong organizational skills
Excellent communication skills

Nice to Haves

Interest or experience in the children’s space
Music composition abilities
An interest or background in character voiceover work
Familiarity with Unity

About the Process

You'll get an email response confirming we've received your application and portfolio, and we'll let you know within a few days if we'd like to schedule a follow-up.
If you're moving ahead, we'll book a call to learn more about your experience in a first round interview.
If the fit is there and your skills and competencies align with the role, you will complete a short sound design exercise for submission.
If the exercise is successful, you will meet with the hiring manager and team prior to a decision being made.

We welcome and encourage applications from people with disabilities. Accommodations are available upon request for candidates taking part in all aspects of the selection process.

Based in Toronto, Sago Mini is a subsidiary of Toca Boca, the No. 1 mobile-first kids brand in the App Store. Both companies are part of Spin Master Corp., a global children's entertainment company that creates, designs and manufactures a diversified portfolio of innovative toys, games, products and entertainment properties. We hire humble, collaborative, and ambitious people who care about doing great work. Sago Mini is an equal opportunity employer. We value diversity at our company.

More about this job

Source: Devbrada

Audio Designer
Company: Panic Button
Location: Austin, TX, US

Job description Requirements

Ability to be onsite
Problem-solving skills
Technical documentation skills
Organizational and interpersonal skills
PC building and troubleshooting
Windows 10/11 knowledge
Ability to lift 50lbs
Excellent customer service

Preferred

Linux knowledge
Windows Server knowledge
Networking
Antivirus and Malware solutions
Onsite firewall skills
Public website maintenance experience
Version control software maintenance
Helpdesk software and ticketing system usage experience
WiFi configuration and maintenance
Associate degree or advanced apprenticeship in Computer Science or relevant disciplines
Proven work experience in IT support or IT technician roles
Practical experience with internet and network security protocols

Salary Range

$41,600-$52,000

More about this job

Source: GameJobs.co

Want to showcase your audio skills â€“ and be discovered by those who need them? Join 100s of other audio profession

The Sound of All Quiet On The Western Front

info@resurface.audio — Thu, 18 May 2023 10:50:13 +0200

At the recent Media Production and Technology Show 2023, Resurface co-founder Ben Nemes spoke one-to-one with Markus Stemler in front of a standing-room-only audience at the Audio Theatre. Markus spoke about his craft, his career, and his award winning work on the sound of All Quiet on the Western Front.

The full recording of that interview can be found here:

A full transcript is below.

Ben Nemes: Good morning everyone, and welcome to day two of the Media Production and Technology Show 2023. You join us at the Audio Theatre for the first session of the day. It’s our keynote chat. My name’s Ben Nemes, I’ll be your host. And I’m delighted to tell you that I’m joined by Markus Stemler, who’s come from Berlin last night to be with us. We’re going to talk a little about Markus’s craft, Markus’s career, and then we’ll dive a little bit into a very particular piece of work that I’m guessing many or all of you will certainly know about, probably have seen. And if you have seen, certainly have enjoyed – called All Quiet on the Western Front. A feature film that I believe was shot in 50-something days? It was quite a quick shoot.

Markus Stemler: I think it was 60 days of shooting, something like that.

BN: Over here, you’d see that on Netflix. All Quiet on the Western Front was nominated for an American Academy Award – an Oscar, for sound. The more important award, the BAFTA, the British Academy Award, it of course won! So congratulations on that – well deserved. You got the AMPS Award as well, is that right? AMPS is the Association of Motion Picture Sound, if you’d like to see them, Andrew’s on the stand. They’re about 20 yards in that direction.

So, without further ado, we’ll get started. We should be about 40 minutes, give or take.

Questions: a couple of cabin announcements. First of all thanks to Alex who’s doing our sound today. You should all be on the blue channel. You’ll be very confused if you’re not.

If you want to submit any questions as we go along, there’s a thing called Slido (slido.com). If you use the hashtag MPTS2023, that will allow you, as questions come to you, to submit questions. Towards the end, I’ll check my phone for any questions that you have for Markus, and we can look at those at the time. If, during the questions, you are struck by the need to ask an urgent one, there is a radio mic somewhere. We can accommodate those too if you can’t get onto the slido at that point.

I think that’s everything.

So, Markus, we’ll get into the specifics of All Quiet on the Western Front, but I think we’re going to make our way there. What always fascinates me is the journey to becoming a supervising sound editor. Just because it’s not something that, at school or at college, you see as ‘a thing’. It’s not architect / firefighter / supervising sound editor. And so I’m always curious, there’s always a moment, there’s always an epiphany or some sort of awakening of this is what I want to do. And the route there I think is always interesting. So what’s your origin story?

MS: Good morning everybody. My story? I knew that I wanted to do something with sound pretty early on, but I hadn’t heard about something like sound editing. I didn’t have a clue that people do that. I was really interested in music production and, as a normal thing as a teenager, maybe you go to music school, you learn to play an instrument. I learned to play the piano a little bit and then you end up playing in bands or whatever. And for me, that never really happened. I never ended up playing in a band somehow, back at that time, in my area, having a keyboard on stage was really the last thing any band would be looking for.

BN: This is the 90s, when no-one wanted keyboard players?

MS: Exactly. So it was all about punk rock and grunge and all about guitars, really. So I never ended up playing in a band, but maybe that was a good thing because that somehow led me to “Well, maybe I can start recording these bands?”. And that’s what I started to do. With my dad, I build a little home recording studio in the basement. And then I started to record bands in our house, basically, which was sometimes a little full-on for my parents actually! So I followed that path for quite a while. I also started working a little bit at the local theatre and someday one of the sound techs at the theatre recommended to check out the sound faculty of the film school in Babelsberg, which is close to Berlin, where the film studios are. And so I went there for, what do you call it? The open doors?

BN: The Open Day?

MS: Open day. Yeah. So I went there and checked it out. Back then, especially as a teenager, if you’d see a mixing desk that is five metres wide, it feels like this is the place where you want to spend time! And so I made a decision. I really wanted to go to that film school, and I applied, and luckily it worked out. But at that point I still didn’t have any clue about film sound, really. I had never been on a set, I didn’t know what to do with a boom pole. I was still interested in music production and at that film school they had a really cool thing for the students. They had a deal with the local film orchestra. So every six or eight weeks there was a recording session. Only for the students. The orchestra would come in and they would play the little scores and pieces that the students had written.

BN: Oh, wow.

MS: Amazing. That’s fabulous if you haven’t done that before, I’d never had such an experience. I did that a couple of times. I wrote some little pieces of music for short firms and stuff like that. And then the orchestra came in and 30 people would play your stuff and this was absolutely overwhelming.

BN: It never sounded like you thought it was going to!

MS: No, no. Absolutely overwhelming. I mean, if you think about it, you start to work in film and normally all the early projects you do, they’re all a bit lousy and a bit crappy, but who cares if you can get a whole orchestra coming in? Play a score for you!

BN: So I guess by now you’re starting to narrow it down. You’ve gone from ‘something to do with sound’ and, as a keyboard player, I suppose there’s a technology aspect to that, that there probably isn’t for a drummer or a bass player. Computers get involved really quickly if you’re into keyboards and stuff, and then you’re narrowing it down to Film. At this point you’re enrolled in the film school and starting to have this amazing experience of recording actual orchestras, which so few will ever get to do anyway.

MS: The process was ended at some point, I realized that composing wasn’t really something that would work for me long term, because it just took me too much time. But naturally at the Film School, you’re exposed to all the different fields of film sound. So you do production sound, sound mixing, you have to do the editing, and later on you also do the mixing.

BN: So the course gives you that exposure to all the different stages?

MS: Yes. You go through all the stages together and you get an idea of how to produce film sound. And for me, production sound was never really something that I would develop a love for. It’s just that the challenge is something that, I don’t know, it’s not really my thing..

BN: It’s too cold!

MS: It’s too cold, and you have to make a lot of compromises also. I have the highest respect for all the people that can manage to do that. I’m just not the right person for working on a set. And ending up in the re-recording stage was also not my thing, because you’re sitting in a dark room all day long. But then I also felt like sound editing, it felt to me like a very boring thing to do! You know, back then it was very common, also because of the level of technology, that what you could do during sound editing was a bit limited. So, you would basically collect sounds cut them in sync to picture, and that was mainly it. And then you would go to the rerecording stage and that was where all the fun stuff happened.

You would start levelling things. You would use reverbs, you would use EQ and really form a soundscape, but that normally didn’t happen during the sound editing. Which is why it didn’t really feel appealing to me. If you compare it to the kitchen, if you’re cooking: For me, sound editing was a bit like – you’re the guy that goes to the supermarket, gets the ingredients, peels it, cuts it, cleans it, and then you put it on the table and then the chef comes in and then they will start cooking. And so, at some point, I didn’t really know what to do, really.

And then and then a project came around the corner that was really a game changer for me. It was a student film, but it was sound supervised by a guy who had already finished film school.

He guided us how to do it on this film. And he also showed us his way of working. So he had a little bit of a different style of working. He would just ignore all that I mentioned earlier, the common rules that, as an editor, you don’t really do much of what I call the fun stuff. He would just collect the sounds, treat them, mess around with them, level them, pan them, and do all sorts of things. Like basically doing the editing and do already a premixing pass. This guy’s name is Frank Kruse.

BN: Right, OK. So this is the moment. Behind everyone’s story there’s a moment. You having someone show you something that changed your mind, and opened your mind, and for that person to be Frank. In that sliding doors thing, that’s the sliding doors thing, isn’t it? That’s the moment.

MS: Absolutely. Because as I mentioned, until then, I felt like sound editing is really kind of a boring part of the process. But seeing how he worked really changed everything for me, because it’s not just about doing all the fun stuff. The more important part is that you want to present an idea to the director. So if you create a soundscape, it’s hard to present the full version of your idea, of the idea you have in mind. If you don’t do a little bit of premixing and creating a soundscape that doesn’t need any computing in your head. Like, if you have to tell the director, “OK if you imagine these elements come from the left and these come from the right and these are a bit further away, this is my idea. What do you think?”

And it doesn’t really work unless someone has a lot of experience and imagination. Now it’s a bit like coming back to the kitchen.

You invite a director to your edit room, then you try to present your idea, and you point them to the chopping board where you have slices of onions and some chopped potatoes and a bag of un-boiled lentils. And then you say, okay, this is my vision. How do you like it so far? And it doesn’t really work. The director likes to taste the soup.

And so by doing that, by really cooking and boiling during the editing process you were able to present the whole idea you had in mind. And that really changed everything for me. Then suddenly I thought, OK – this is interesting.

BN: It sounds like the big moment because, for those that don’t know, Frank we’re talking about now, Frank Kruse, was the co-supervising sound editor on All Quiet on the Western Front. But that’s the culmination of quite a lot of work you guys have done together, starting at film school, when an already-graduated supervising sound editor came in and showed you the way.

How did you guys move from there? I guess you’ve worked together a lot, I know a couple of things. I first came across Frank’s work on Rush, the Ron Howard thing. Sorry, I’m answering for you!

MS: So what happened after that, the student project, the first thing I did was that I did an internship at their place. And by that time they were working on a film, it’s called Perfume: Story of a Murderer, which was quite a big German production. The normal stuff you do when you do an internship.

You clean up the foley stage, you paint walls. I ended up cutting some footsteps of people walking by in the background. So that was everything I did. Then the internship ended, but I just didn’t leave, and nobody threw me out. So I just stayed there and this is where I started to work with Frank a lot.

This is maybe 15 years ago or something. Then, with every project we worked together, I learned a lot from him in working with him. And today we are sound design partners and the way we work is really like we split the project.

BN: It’s quite tricky though, having two people as supervising sound editors? Because you need to really know where you stop and they start. And you need to know that when you take that thing apart into two places, that it comes back together again. And works. Is that just a thing you know, now it’s been so many years, or is there a set formula? Do you have rules of: you don’t touch that, I won’t touch this?

MS: Well, this is what you do, at the beginning, it’s quite a common thing to split work into what we call food groups. Somebody would do the backgrounds or just the car-bys or things like that. That’s what we did at the beginning and nowadays it’s more like we split the film into sections: Somebody’s doing the first half, somebody’s doing the second half maybe.

And the way, or why, this works is because over time we really aligned ourselves. Our ideas and our vision in terms of aesthetics is pretty much in line. So when we put these sections together, it’s not like at the joint you will hear a shift or something. And that’s something that really developed over time and we pretty much know what the other one is doing. Sometimes the timeframe is really short and sometimes we don’t get to listen to what the other one actually did on the film. You just have to know.

We worked on a film a couple of years ago where he was doing the first half, I was doing the second half and I never got to listen to it. And we sent it off because also we couldn’t take part at the mixing. But it all worked out.

BN: I want to get into the meat of All Quiet a bit as well. So you guys worked on a few films over the last 15 years, after that initial meeting, and working on the student film, and then with working under Ron Howard on Rush, that was what, 20…..?

MS: 2013 I think. It was a very big thing for us.

BN: Was that a big step up for you guys, into Rush?

MS: Definitely, definitely. Actually we couldn’t believe that this is happening in Germany, but it happened because there was some funding, so they had to do the sound work in Germany.

All of a sudden it was Ron Howard coming in and we’re working on a Formula One movie with him. Obviously on a film like that sound is so important.

BN: We’ve seen that a lot with Drive to Survive and what Nick Fry and his team are doing on that. It’s a lot of fun. They’ve got a lot to work with and they seem to really enjoy it. I imagine you had the same kind of experience. The subject matter lends itself to, ’Right, we can do some stuff with it’.

MS: It’s a movie you wish for to happen. But it’s also a lot of responsibility, really. Working with Ron and especially also his editor, Dan Hanley was, I have to say, the best experience. Sometimes I think if directors have proven that they can do excellent work, they don’t need to show it? So the vibe was really relaxed. I can say that all of these guys, they were total team players. It’s not like they kind of command you. So they, and I think it’s always the case with good directors, they try to get your creative input and that’s what happened on Rush. It’s also what happened on All Quiet on the Western Front.

BN: Let’s do that now. Show of hands – who has seen All Quiet on the Western Front?

MS: Oh wow!

BN: ‘Cos Netflix won’t tell you who’s seen it. Right? There’s no way of knowing! It’s a staggering piece of work. My congratulations on that. And it’s also – in the nicest possible way – horrible. As in, it’s unsettling. It’s not an easy watch. It makes you really, really uncomfortable. And most of that’s your fault, I think!!

When you’re thinking about a World War 1 piece, what you don’t have as a starting block, is library. You don’t have sound effects. When you’re doing a thing set in Manhattan in 1986, you’ve got a bunch of stuff you can get to, to define that Manhattan in 1986 sound. There’s nothing, I guess, with World War 1? Also, I suppose the timing of the shoot was such that you couldn’t really go to set and record tanks and artillery and the hardware that’s so evocative. So where do you start with building that soundscape of the battlefields of World War 1?

MS: So basically it all starts with the script, of course. We got to read the script before they started shooting, and you read into it and immediately you notice, OK – this is this is a huge challenge.

Obviously with all the battle sequences and stuff, what you normally do as a sound designer, you go through the script and you look for sonic treasures that you could find at the set.

And

The Savage Sound of ‘Sisu’ – behind the detailed sound design & Dolby Atmos Mix with Panu Riikonen

Jennifer Walden — Wed, 17 May 2023 14:29:34 +0200

Award-winning sound designer/re-recording mixer Panu Riikonen talks about creating detailed sound design for 'Sisu' - from the restless winds to the huge action-led moments + how sparse dialogue let the sonic details shine & so much more:

The post The Savage Sound of ‘Sisu’ – behind the detailed sound design & Dolby Atmos Mix with Panu Riikonen appeared first on A Sound Effect.

A Crash Course in XO Drum Sampler

Admin — Wed, 17 May 2023 01:55:04 +0200

Someone said they thought XO from XLN Audio looked confusing so I quickly gave a tour of everything it can do. How to browse sound files, how to program beats, effects, dropping patterns into REAPER and more. This is a clip from my stream on March 31 2023 Interested in XO? Click here to check […]

The post A Crash Course in XO Drum Sampler first appeared on The REAPER BLOG.

Toys in the Attic

Nathan — Mon, 15 May 2023 01:43:08 +0200

California’s winter of 2022-2023 was one of the stormiest and wettest on record. Near-constant atmospheric rivers and wind events for four months generally made going outside A Bad Idea.

Not great news for those of us that like to do field recording. But, as often happens, constraints do wonders for spurring inspiration.

During one especially torrential downpour, I was thinking about how loud it was on the roof…but we have an attic crawlspace between us and the roof, so how loud must it be up there? I had just created a small, compact ORTF recording setup (Sound Devices MixPre 6ii, two Schoeps MK4/CMC1U microphones, Rycote blimp), and its size allowed me to put the rig in the crawlspace, and let it record all through the night while I slept.

The results were deliciously unusual: The rain was close-miked, but it was still clearly an interior perspective. Its volume drowned out whatever neighborhood noises there might have been. The open-faced insulation batting in the crawlspace created a space with almost no reverb. The result took reverb in post very well, providing flexibly usable interior rain and wind tones.

In fact, I now have a similar setup using a pair of Line Audio CM3 microphones ready to be put up into my attic at a moment’s notice; I keep it up there most of the winter, and just plug a 5-pin XLR cable into it, running to the recorder, whenever there’s a blustery day or some rain. This “attic rig” delivers gold pretty regularly…assuming I can record at night. There’s too much noise of general house habitation during the daytime hours. The CM3’s are no Schoeps, but they are a whole lot more expendable due to their lower price, in case of a leak, particulate matter, or rodents.

Here’s a composite of heavy winds, light rain and some wind, and heavy rain from a few different recording sessions.

Protected: Album Cover Designs

rick@evocativesound.com — Mon, 15 May 2023 00:35:14 +0200

There is no excerpt because this is a protected post.

21 great new audio jobs at Pinewood, Avid, Life Beyond Studios, Clean Cuts, Rev Rooms, PlayStation Global, The Gang, Team17, Criterion Games, thatgamecompany, Swann Studios, Ridgeline Games, Haven Studios, Beatport, Mighty Sound, One97, Wild Woods Picture

Adriane Kuzminski — Fri, 12 May 2023 14:30:29 +0200

We came across interesting new jobs at Ridgeline Games, Sony PlayStation, Pinewood Studios, and Life Beyond Studios – and they’re looking for a Senior Voice Over Audio Artist (WA, US), UX Designer for Search & Voice (CA, US), Junior Re-Recording Mixer (England), and Sound Designer (France).

We also found openings for a Senior Sound Designer at Rev Rooms (UK), Sound Designer at Clean Cuts (Remote), Senior Manager of Sound at PlayStation Global (QC, Canada), Senior Technical Sound Designer at PlayStation Global (England), Audio Designer at The Gang (Remote), Producer at Team17 (England), Producer at Criterion Games (England), Technical Producer at thatgamecompany (Remote), Customer Care Expert for Media Composer at Avid (Multiple), Audio Lead at ProbablyMonsters (WA, US), and Senior Sound Designer at Ridgeline Games (WA, US).

Bonus: The Audio Jobs Facebook and LinkedIn groups also have opportunities for a Freelance Audio Engineer at Swann Studios (Remote), Audio Designer at Haven Studios (QC, Canada / Hybrid), People & Culture Manager at Beatport (Remote), Mid / Senior Sound Post Producer at Mighty Sound (NSW, Australia / Hybrid), Audio Engineer at One97 (KA, India), and Mix Tech at Wild Woods Pictures & Sound (CA, US).

Having trouble viewing the LinkedIn jobs? Be sure to join the LinkedIn Audio Jobs group here first. Happy job hunting!

Highlight – sound stories this week:

Classic Cartoon Sound Effects – The Wild Sounds of Treg Brown:

Tuning into the Future: A Sound Designer’s Experience at GDC 2023

22 new sound libraries: Robots, mutations, ambiences & much more

Get the SoundBits deals here

Get the SoundMorph deals here

Get the Krotos deals here

‘How Nintendo Designed The Sounds In Tears Of The Kingdom’ – a Zelda game audio analysis by Marshall McGee

Senior Voice Over Audio Artist
Company: Ridgeline Games
Location: Seattle, WA, US

Job description

Ridgeline Games is focused on building rich narrative campaigns with memorable characters and powerful experiences all in the Battlefield universe. We are building a new studio in the Seattle area composed of leaders and talent with a vast array of AAA game dev experience. As we assemble our diverse team, all who have a voice in making great games together, we're looking for a healthy mixture of tempered veterans and young passionate individuals eager to make a difference.

Role Overview: You are a Senior VO Audio Artist supporting our Voice Over/Narrative team. This will involve assisting the Dialogue Lead in recording and editing voice assets, document and asset management, and the technical aspects of asset integration in our 3D editor Frostbite.

For this position, we are looking for an experienced Voice Over Audio Artist. This is not an entry level position.

Responsibilities:

Help our Audio Team create a world class Audio experience
Use a DAW to edit, name, process and organize voice over sound files
Work within the FrostED game editor to import, name, and organize voice over assets for in game playback
Participate in voice over recording and performance capture sessions
Test and Quality Control of in-game audio assets
Organize and update script documents, design documents, and voice over .wav files
Manage studio recording schedule while communicating with external partners
Take direction from the Audio Director and Senior VO Audio Artist, and work as a positive and productive member of the Audio Team

Qualifications:

BA, Technical School Degree, or equivalent work experience in Sound Recording Arts.
Prior work experience on a AAA Game development team.
3+ years of experience with scripted and systemic voice over.
Knowledge of \ experience with Performance Capture voice over workflow.
3+ years of experience or Knowledge of common voice over microphones, microphone placement, and recording studio setups.
Basic knowledge of audio theory and audio editing practices; includes knowledge of waveform editing, equalization, compression, mixing, plug ins.
Proficiency with audio software \ DAW, such as Reaper, Nuendo, Pro Tools, Sound Forge, Vegas, Cubase, Logic.
Proficiency with audio plug in software such as Waves, FabFilter, iZotope, Soundtoys, etc.
Experience or knowledge of audio game development tools, such as Wwise, FMOD, or other proprietary Editors.
Basic technical proficiency or knowledge of 3D editors. Knowledge or experience with any visual scripting program (such as Reaktor, Max, Pure Data, UDK)
You must be committed to growing within your craft, and improving your skills as a VO Audio Artist.

Next Steps

The following are required as part of the application process:

Apply online with a resume.
Provide a web link on resume for online Sound Design Demo / Portfolio (required).
As part of the application process, we may ask you to complete an audio questionnaire.

US COMPENSATION AND BENEFITS The base salary ranges listed below are for the defined geographic market pay zones in these states. If you reside outside of these locations, a recruiter will advise on the base salary range and benefits for your specific location. EA has listed the base salary ranges it in good faith expects to pay applicants for this role in the locations listed, as of the time of this posting. Salary offered will be determined based on numerous relevant business and candidate factors including, for example, education, qualifications, certifications, experience, skills, geographic location, and business or organizational needs. BASE SALARY RANGES • California (depending on location e.g. Los Angeles vs. Sacramento): º $95,450 – $141,800 • New York (depending on location e.g. Manhattan vs. Buffalo): º $89,200 – $141,800 • Jersey City, NJ: º $105,250 – $141,800 • Colorado (depending on location e.g. Denver vs. Colorado Springs): º $89,200 – $118,550 • Washington (depending on location e.g. Seattle vs. Spokane): º $89,200 – $130,750 Base salary is just one part of the overall compensation at EA. We also offer a package of benefits including paid time off (3 weeks per year to start), 80 hours per year of sick time, 16 paid company holidays per year, 10 weeks paid time off to bond with baby (following 1 year of service), medical/dental/vision insurance, life insurance, disability insurance, and 401(k) to regular full-time employees. Certain roles may also be eligible for bonus and equity.

More about this job

Source: GameJobs.co

UX Designer for Search & Voice
Company: Sony PlayStation
Location: San Francisco, CA, US

Job description

PlayStation isn’t just the Best Place to Play — it’s also the Best Place to Work. Today, we’re recognized as a global leader in entertainment producing The PlayStation family of products and services including PlayStation®5, PlayStation®4, PlayStation®VR, PlayStation®Plus, acclaimed PlayStation software titles from PlayStation Studios, and more.

PlayStation also strives to create an inclusive environment that empowers employees and embraces diversity. We welcome and encourage everyone who has a passion and curiosity for innovation, technology, and play to explore our open positions and join our growing global team.

The PlayStation brand falls under Sony Interactive Entertainment, a wholly-owned subsidiary of Sony Corporation.

San Francisco, CA

The Search & Voice team is responsible for evolving fundamental features of PlayStation products that help gamers find content and perform tasks in a rapid and seamless way. This group focuses on text-based search, sort, and filter across gaming consoles, mobile apps, our web properties, and more. They also define the future of the PlayStation voice agent, a useful assistant for all sorts of gaming tasks.

You are an expert UX designer with a portfolio of products shipped to consumers. You solve design problems by understanding their larger context and developing a consistent system that solves an entire class of issues at once. You're a diplomat among cross-functional partners, comfortable balancing product requirements, design solutions, and technical constraints.

You will join our UX Design team in San Francisco and will become a part of the global SONY design community. A group that celebrates the value of design, design thinking and design process. You will have the opportunity to collaborate with a global team of designers focused on elevating the standard of design across the organization while exploring innovative concepts and technology.

Responsibilities

Gain a deep understanding of the PlayStation brand and services.
Quickly produce multiple and distinct UX/UI concepts.
Ideate innovative solutions with inputs from key partners.
Build flows, wireframes, prototypes, and corresponding documentation.
Craft and apply design patterns, processes, and best practices.
Rapidly iterate on design solutions based on engineering or other constraints.
Communicate design ideas in a compelling way, encouraging partners to accept new solutions and concepts.

Qualifications

4+ years of experience building user-centered interactive designs.
A portfolio that showcases thoughtful, simple, deliberate intuitive design, with extraordinary interaction, motion, and visuals
Strong communication skills to clearly articulate your concepts and rationale
Experience crafting web and mobile products
Experience collaborating with Product Management and Engineering counterparts
Experience working with research and insights
Experience designing to Product KPI’s
Ability to work unsupervised in an agile environment
Very high level of proficiency with Figma, including components, auto-layout, prototyping, tokens, animation, plugins, etc
Experience working with decentralized or global teams is a plus
Experience working with A/B testing is a plus
Experience crafting for a global audience in multiple languages is a plus
Experience with consumer gaming or media products is a plus
Conversation design experience is a plus

#LI-AC1

At SIE, we consider several factors when setting each role’s base pay range, including the competitive benchmarking data for the market and geographic location.
Please note that the base pay range may vary in line with our hybrid working policy and individual base pay will be determined based on job-related factors which may include knowledge, skills, experience, and location. In addition, this role is eligible for SIE’s top-tier benefits package that includes medical, dental, vision, matching 401(k), paid time off, wellness program and coveted employee discounts for Sony products. This role also may be eligible for a bonus package. Click here to learn more.

The estimated base pay range for this role is listed below.

$118,600—$177,800 USD

Equal Opportunity Statement:

Sony is an Equal Opportunity Employer. All persons will receive consideration for employment without regard to gender (including gender identity, gender expression and gender reassignment), race (including colour, nationality, ethnic or national origin), religion or belief, marital or civil partnership status, disability, age, sexual orientation, pregnancy or maternity, trade union membership or membership in any other legally protected category.

We strive to create an inclusive environment, empower employees and embrace diversity. We encourage everyone to respond.

PlayStation is a Fair Chance employer and qualified applicants with arrest and conviction records will be considered for employment.

Peak Eater is a free waveshaper/clipper worth trying first appeared on The REAPER BLOG.

Trying Granular synthesis inside Phase Plant

Admin — Wed, 10 May 2023 01:30:18 +0200

Kilohearts added a Granular synth engine to Phase Plant so we had to try it out!

The post Trying Granular synthesis inside Phase Plant first appeared on The REAPER BLOG.

Wind Chimes Sound Effects Library

rick@evocativesound.com — Tue, 09 May 2023 01:28:15 +0200

Wind Chimes is a collection of meticulously recorded wind chimes purposely recorded with a pair of high-end Barcus Berry contact microphones. By using this type of mic instead of traditional ones, the attack, sustain and decay of each tube struck by its clapper are experienced in ways unheard by the naked ear. Every tinkle and plink, every clang and rattle sound a bit more removed from its environment than normal. Harmonics can easily be heard alongside fundamental frequencies. Every recording is unique to its moment in time, each note as random as the wind that played it. These wind chimes are anything but showroom new. Some are weathered. Some are outwardly neglected. A few sound pretty, others not so much.… Read More

Trying crazy free plugins from KVR Dev challenge 2021

Admin — Sun, 07 May 2023 19:58:59 +0200

These free synth and fx plugins are a ton of fun and worth checking out

The post Trying crazy free plugins from KVR Dev challenge 2021 first appeared on The REAPER BLOG.

April 2023 Live Stream Recap

Admin — Sat, 06 May 2023 19:47:01 +0200

Catch up on the past month of our live streams all in one place

The post April 2023 Live Stream Recap first appeared on The REAPER BLOG.

Irrigation

rick@evocativesound.com — Fri, 05 May 2023 23:35:18 +0200

Irrigation is a collection of water flow ambiances captured in and around the Treasure Valley of southwestern Idaho, where the Payette, Boise, Weiser, Malheur, Owyhee and Burnt rivers drain into the Snake River. Follow the flow of crystal clear water as it travels from mountain-fed streams and rivers down into large reservoirs. Listen as water courses through the pipes and along the canals that carry it to sprinklers large and small. Finally, the water fans out onto verdant golf courses, people’s front yards and farmland.… Read More

20 great new audio jobs at PitStop, Tesla, Meta, SIDE UK, Source Sound, TaleWorlds, Digital Extremes, Darewise, EA Montréal, Naughty Dog, Bedrock Learning, TikTok, Playground, Space Ape, Edinburgh Napier University, Possibility Space, River, Antares, Vood

Adriane Kuzminski — Fri, 05 May 2023 14:55:48 +0200

We came across interesting new jobs at PitStop Productions, Edinburgh Napier University, TaleWorlds Entertainment, and Digital Extremes – and they’re looking for a Sound Designer (England), PhD Student for City Sound Map (Scotland), Audio Software Engineer (Turkey), and Sound Designer (ON, Canada).

We also found openings for a Sound Designer at Darewise Entertainment (France), Research Scientist – Computer Vision for Audio at Meta (WA, US), Mobile Technical Sound Artist at EA Montréal (QC or BC, Canada), Temporary Sound Designer at Naughty Dog (CA, US), Audio Producer at Bedrock Learning (MD, US), Video Producer at Tesla (CA, US), Music Production Intern at TikTok (CA, US), Contract Audio Designer at Playground Games (England), Music Motion Designer at Voodoo (France), Project Audio Lead at Firaxis (MD, US), and Audio Engineer at SIDE UK (England).

Bonus: The Audio Jobs Facebook and LinkedIn groups also have opportunities for an Audio Designer at Space Ape Games (England), Sound Designer at Possibility Space (Remote), Sound Engineer at River (KA, India), Mobile Product Manager at Antares Audio Technologies (CA, US / Remote), and Lead Sound Designer at Source Sound (CA, US).

Having trouble viewing the LinkedIn jobs? Be sure to join the LinkedIn Audio Jobs group here first. Happy job hunting!

Highlight – sound stories this week:

The winner of the Mattia Cellotto giveaway is revealed here (+ a 1 day flash sale for everyone!)

Behind the Gruesome Sound of ‘Evil Dead Rise’ – with Peter Albrechtsen, Garret Farrell, and Gabriel Gutiérrez

24 great new sound effects libraries: Creepy bells, lots of gore, wings, circus production, and so much more

Celebrating the iconic sounds of Star Wars:

How To Create Ice Magic Sound Effects – an excellent video guide by Tyler Gillis:

Sound Designer
Company: PitStop Productions
Location: Barnsley, UK

Job description

PitStop Productions are looking for highly-motivated Sound Designers to join their Sound Design team of 20+ in our studios in Barnsley, South Yorkshire.

The successful candidate will work within smaller teams on a variety of AAA to indie projects, and be given responsibility for their own project to become a noteworthy contributor.

They will also have the opportunity to creatively contribute to the many other titles we have in production. All while being supported by 50+ audio professionals in all departments at PitStop such as Sound Design, Music, Voice and Performance Capture.

Recently completed titles include: Horizon Call of The Mountain, Returnal: Ascension, Little Nightmares II: Enhanced Edition, and the latest Minecraft Dungeons expansion packs.

This is an ideal opportunity for someone who loves working with fellow audio professionals, and is looking to further hone their craft of Sound Design to influence and create AAA audio in video games.

We are an independent audio production team running multiple projects worldwide
Over the past 25 years, we have grown our reputation and team, making us renowned for delivering reliably high-quality work
We have a friendly and supportive team, who have built up a culture of really looking out for each other
We encourage collaborative working and sharing of skill sets across all levels
You will have the freedom and security to fulfil your true potential
This position gives the opportunity to widen and vary your audio skills, along with making a meaningful impact on a range of notable titles
Your path is unlimited! The possibilities to advance and further your career are a certainty if you are passionate about game audio and love being part of a creative team
Our location is ideal for either a city or country lifestyle
Create and implement a wide range of high quality sound effects, conceptualising and deciding on sound direction, both aesthetic and technical requirements
Understand the needs of the project to plan and execute high quality sound design throughout development
Be a driving force on the project, utilising your experience to guide and inspire other members of the team
Expertly describe technical behaviour and problems when communicating with external code/design/animation teams
Problem solve and devise creative solutions to the complex challenges which can arise within interactive audio
Mix and balance all types of media (linear / individual assets / in game) to a high standard
Profiling and performance optimisation
Bug fixing

Essential

Strong creative sound design skills
A good understanding of any of the following game engines and audio middleware; Unreal/Unity/FMOD/Wwise.
Proven experience to implement a diverse range of sound effects to a high standard, while maintaining optimisation principles
Confident communication and interpersonal skills with a positive team attitude
Expert knowledge of using industry standard DAWs, audio editing tools, and audio plugins. Specifically REAPER as our DAW of choice but otherwise; Logic Pro, Pro Tools, Ableton etc…
Demonstrate a proven reliability with time management and an understanding of the importance of meeting self-set and externally set targets
Efficient organisational skills when planning and tracking projects
Broad knowledge of studio and field recording techniques

Desirable

Full cycle development experience working on a AAA title in the games industry
Experience with designing and implementing bespoke interactive sound systems
Visual scripting experience, such as creating and using blueprints
BA/BSc degree in audio production/sound design or equivalent experience
Good proficiency in using Microsoft Excel and Google Docs
Experience in using version control software and VPNs
Good experience with creating linear audio, such as trailers, short movies, etc…
Relocation package
Bonus schemes
Referral fee commission scheme
Generous holiday allowance
Enhanced sick pay
Enhanced maternity and paternity leave
Flexible working policy including some time WFH
Personalised career development
Company funded social events / nights out / meals with the team
Regular games nights / tournaments
Access to acoustically treated recording studios / creative spaces outside of studio hours
Free entry to many industry events

The successful candidate will receive a competitive salary depending on their skills and experience.

This position will be held at our South Yorkshire studios in Dodworth, Barnsley or our new creative space in Barnsley town centre, this can be discussed at the interview stage.

Please ensure you are willing to commute or relocate in order to attend the office.

We’re an equal opportunities employer. All applicants will be considered for employment without attention to gender, age, disability, religion, belief, sexual orientation, marital status, or race.

How to apply

Please email your CV and a short covering letter to: jobs@pitstopproductions.co.uk

Ensuring the email subject is ‘Sound Designer‘.

Your CV + covering letter should include any education, work experience and skills that are relevant to the advertised role. As a well as a link to the following:

1) Creative showreel

This should be a video around 2 minutes in length that showcases your skills and style as a creative. Please use a mix of in-game and linear audio examples, ensuring the sound suitably fits the visuals and overall shows good mixing skills.

2) Technical showreel

This should show your skills and knowledge in middleware/game engines. Ideally this should also include narration explaining any technical elements, giving a breakdown of techniques or features used. Ensuring enthusiasm for interesting implementation ideas, with contextual descriptions of what you did for each example.

More about this job

Source: Games Industry Jobs Board

PhD Student for City Sound Map
Company: Edinburgh Napier University
Location: Edinburgh, Scotland

Job description

This project aims to create a sound map (sonification) indicating areas and times when women feel harassed or intimidated as well as where and when they feel happy and safe. Harassment and intimidation are an everyday experience for women in public places and are believed to be vastly under reported. A 2021 UN Women UK survey found that 71% of women have experienced sexual harassment in a public space [APPG, 2021]. It also showed that 95% of women who experienced sexual harassment did not report these incidents. The data related to harassment and intimidation of women in public spaces is intrinsically linked to location, time of day, day of the week as well as season of the year.

Sonification can be defined as auditory presention of data in a meaningful manner [Kramer, et. al., 2010]. In order to allow others to empathise, drive social change and improve shared spaces for all citizens soundscapes shall be developed [Fiebig, et.al., 2020]. The use of mixed reality (MR) and similar media can be effective in communicating the emotional aspects of harassment and intimidation for women [Dirin, et. al., 2018]. Proposed technologies may include GPS, Apple / Google Maps and web enabled applications, which can be used in situ., to plan ahead, or educate the wider public.

Acquiring anonymous data will be required, building on experiences and feedback from those affected by harassment and intimidation. Developing and strengthening collaborative relationships with partners within government, business and third sector will ensure that relevant data is gathered in a sensitive and timely manner. Studies will be undertaken to identify compelling sonification mappings for the data set.

The use of procedural audio sound models would allow users to interact with the data, changing parameters (for example, time of day) in real-time to produce immediate changes in the sonification. Suitable user interfaces will be developed to identify the most appropriate method users can interact with the sonification, gain maximum understanding of the data and communicate its impact upon those affected.

Applications are invited from individuals who are motivated in supporting women’s safety and helping to create safer public spaces for all citizens.

Academic qualifications

A first-class honours degree, or a distinction at master level, or equivalent achievements ideally in Sound Design or a closely related discipline with a good fundamental knowledge of computer science and data management.

English language requirement

IELTS score must be at least 6.5 (with not less than 6.0 in each of the four components). Other, equivalent qualifications will be accepted. Full details of the University’s policy are available online.

Application process

Prospective applicants are encouraged to contact the supervisor Dr Rod Selfridge at R.Selfridge@napier.ac.uk to discuss the content of the project and the fit with their qualifications and skills before preparing an application.

The application must include:

Research project outline of 2 pages (list of references excluded) with the details about:

Background and motivation of the project. The motivation must be supported by relevant literature. You can discuss also the applications you expect for the project results.
Research questions or objectives.
Methodology: types of data to be used, approach to data collection, and data analysis methods
List of references

Statement no longer than 1 page describing your motivations and fit with the project.

Recent and complete curriculum vitae.

Two academic references (but if you have been out of education for more than three years, you may submit one academic and one professional reference), the form can be downloaded here.

Documents proving your qualifications and your skills.

Applications can be submitted “Place It” free speaker and room convolution tool by Soundly first appeared on The REAPER BLOG.

Checking out new Baby Audio Synth BA-1

Admin — Tue, 02 May 2023 18:05:36 +0200

BA-1 is the first synthesizer plugin from Baby Audio. Based on the Yamaha CS-01 portable synth from the 80s, BA-1 has the great sounds of the original plus FX and modern extras.

The post Checking out new Baby Audio Synth BA-1 first appeared on The REAPER BLOG.

The Making of “A Vast Unwelcome”

Nathan — Mon, 01 May 2023 02:33:10 +0200

When I released the EP A Vast Unwelcome on March 31, 2023, I said it was my first metal album, a comment that was both cheeky and 100% accurate.

It wasn’t metal in genre, but rather in timbre: Every sound on the album was made from metallic objects, metallic instruments, or a handful of virtual instruments that physically modeled complex metallic instruments. Since the timbres and process were so particular, I thought I’d discuss the album’s origin, recording process, and post-production, as this project represents my happy place of the intersection of sound design and music.

It also is a great example of how projects can start as one thing, and then morph into something quite different, and that the creative process is usually anything but linear and predictable.

From Magic to Metal

This album started as a series of recording sessions for a crowdsourced magic sound effects sound library. I ordered a number of bells, chimes, shakers, and more, and specifically set about recording them at 192 kHz with ultrasonic-capable microphones to preserve their high-frequency content when subjected to extreme pitch shifting. I also used unusual recording techniques, like striking chimes and then dipping them into water, recording the result with a hydrophone (similar to this technique I posted about many years ago).

The objects recorded included a waterphone, a custom Tim-Kaiser-designed instrument known as the Icarus, elephant bells, sleigh bell shakers, ankle bells, tree chimes, and more.

Some of the instruments recorded in the sound design sessions that would later become a musical project.

My musical inspiration came during “stress-testing” these recordings by doing extreme pitch and time manipulation. Since ostensibly these objects were instruments, there were tones and intervals I was hearing that led me to start assembling musique concréte sketches, not unlike my process for my previous all-wind-in-wires album, The Quivering Sky. I also started to integrate some field recordings I made aboard the SS Red Oak Victory, a restored WWII ammunition freighter. (More about those recording sessions in future blog posts.)

The main boilers of the SS Red Oak Victory, in the lowest level of its four-storey-tall engine room.

The first track of the album, “Phase Change,” is an example of where all of the songs started.

A Vast Unwelcome by Nathan Moody

The Borders of Sound and Music

But I kept hearing harmonies in these recordings, and they started to turn out to be more musical than expected. In 2022, I got to know the software (and people) of Physical Audio, and it struck me that their virtual instruments would compliment these metallic tones perfectly…I mean, any company that makes a prepared-piano emulator is OK in my book! Derailer and Preparation could be traditionally tonal and melodic, or loaded with loads of inharmonic partials and resonances. These two instruments wound up being good aesthetic fits for this project.

The track “Pruina” (the word for hoarfrost in Latin) is a good example of these virtual instruments integrating with other metallic tones.

A Vast Unwelcome by Nathan Moody

Things kept progressing from there. I used techniques lifted from my own sound library, Metallitronic, to re-amp a some synthesized tones through gongs placed on large, powerful transducers. I unboxed some of my own self-made instruments made of springs, and bowed and struck a suspended sheet of steel in my garage. Much fun was had, but that thin plate of steel in the garage, hung from a c-stand, started to give me an idea…

The “Only Real Reverb” Rule

I started to put the stereo spring reverb in my studio to heavy use during the mixing stage, and one day I thought to myself, “Wait a second…I’ve got all this rich reverb from the SS Red Oak Victory sessions…this spring reverb sounds great, non-linear, and chaotic…why am I using virtual reverbs and delays at all?” This led me to give myself the challenge to discard all virtual reverbs in my mixes (despite my undying love for ValhallaDSP for most uses), and only use electro-mechanical reverbs.

That instantly made me think of plate reverbs. I asked around to see if any local studios had any plate units that were functional, and much to my surprise, the Skywalker Sound Scoring Stage had not one, not two, but three functioning EMT 140 plate reverbs. After a few phone calls, I found myself in this world-class facility re-amping stems through six channels of luscious, real-steel reverbs.

The control room of the Skwalker Sound Scoring Stage.

While EMT 140 units ostensibly have a 3-5 second maximum decay time, I did the ol’ Walter Murch trick of bringing some stems varispeeded up by an octave, playing back twice as fast. We tracked all the EMT 140 returns at 96 kHz, so back in my own studio I varispeeded those returns back down…now I had 8-10 second reverb tails from real plate reverbs. Most of the final mixes actually have a full six channels of plate reverb on them, and there are no virtual reverbs anywhere on the album.

This felt like a logical conclusion to the album’s all-metal creative constraint.

From Music to Meaning

The recording sessions happened during an unusually brutal and long winter, and the steely tones of the works started to feel like both a paean and a dirge to winter itself. This became the compositional focus of the album, which influenced the songs, their titles, and the cover art (a glacier in Iceland, photographed by me). As friends’ neighborhoods were literally crushed under the weight of snow and local areas flooded from winter rains, the music turned out dark but with a core ray of hope, at least to my ear.

But of course sound and music only has meaning given to it by the listener. My intent is mine alone, and whether that comes across to those experiencing it is out of one’s hands. That’s the essence, terror, and joy of releasing art into the world.

New Features in REAPER 6.79

Admin — Sun, 30 Apr 2023 20:12:53 +0200

Learn about the latest changes to REAPER.

The post New Features in REAPER 6.79 first appeared on The REAPER BLOG.

Welcome back.

Nathan — Sat, 29 Apr 2023 18:58:28 +0200

It’s 2023, and I’ve not posted here in four years. Let’s talk about what’s been happening, why I’m restarting this blog, and what’s next.

Game Audio and Sound Design

On the sound design side, I’m focusing on interactive audio, primarily working through Skywalker Sound. Through SkySound, Team Audio, and my own freelance work, I’ve designed and implemented audio for The Callisto Protocol, Pentiment, SCP: Fragmented Minds, and more (and much more coming soon) in the last two years. It’s a logical next step after having created sound for interactive installations, consumer electronics prototypes, and other non-game software since 2005. And I’m having a blast.

The main portion of this website is now dedicated to my work in interactive audio. You can hear me talk about this transition in this interview with the School of Video Game Audio.

Mastering

This is my sixth year of being a professional mastering engineer at my own studio, Obsidian Sound. To balancing this work with all the game audio projects I’m doing, Obsidian Sound in increasingly focused on mastering for professional composers in games and film. I’ve mastered over 500 projects at this stage…it continues to be a blast and I learn something new on every project.

Music

My own musical practice continues to be a vital means of self-expression for me. A compulsion, at times. As of this blog post, I have released 26 EPs and full-length albums since 2015, most of which are available at nathanmoody.bandcamp.com. I continue my exploration of both organic and electronic sounds and a variety of composition methods, and there’s no sign of this slowing down. Some exciting new releases are coming up soon.

Restarting This Blog

My audio practice has changed so much that it’s time to start re-documenting my experiences, ideas, thoughts, and philosophies in a longer form than current forms of social media will allow. Blogs aren’t as popular as they once were, but screw it. I’m a creature of habit. And it’s my sandbox; no service can dictate how or when I share content here, and I vehemently feel that it should always be free of change.

What’s Next

It’s my hope to continue to post articles, ideas, and thoughts that showcase the truest breadth of my interests, and which underscore my philosophy that the borders between audio disciplines are far more porous than most are led to believe. Art, music, equipment, field recording, sound design, experiments that both succeed and fail…this will continue to be a space not to showcase myself as any sort of expert. As always, I am just documenting my journey, with its missteps and its wins.

If this post reaches anyone, I hope you’ll rejoin me on my lifelong quest to explore the realm of sound in all of its forms.

So…hello. Again.

20 great new audio jobs at Clean Cuts, Moonshot, Ubisoft, NPR, Valve, Respawn, Mountaintop Studios, Striking Distance, Epic Games, Speedway Games, Gameloft, Deck Nine Games, AutoVRse, CryptoRecruit, Firesprite, Hawksell, and Anshar Studios

Adriane Kuzminski — Fri, 28 Apr 2023 15:05:07 +0200

We came across interesting new jobs at Clean Cuts Interactive, Moonshot, Ubisoft Saguenay, and Mountaintop Studios – and they’re looking for a Game Audio Producer (Remote), Audio Designer (CA, US / Remote), Audio Designer (QC, Canada), and Audio Software Engineer (Remote).

We also found openings for an Audio Designer at CryptoRecruit (Remote), Audio Director at Striking Distance Studios (CA, US), Senior Audio Designer at Epic Games Cary (NC, US), Game Producer at Speedway Games (Remote), Audio Project Manager at Gameloft Indonesia (Indonesia), Sound Designer at Gameloft Indonesia (Indonesia), Audio Lead at Deck Nine Games (CA, US), Sound Designer at Valve (WA, US), Audio Lead at Anshar Studios (Poland), and Audio Engineer at NPR (DC, US).

Bonus: The Audio Jobs Facebook and LinkedIn groups also have opportunities for a Dialogue Designer at Respawn (CA, US), Sound Artist/Designer at AutoVRse (KA, India), Audio Director at Firesprite (England), Lead Audio Designer at Firesprite (England), Senior Audio Programmer at Firesprite (England), and Senior Technical Audio Designer at Hawksell (France).

Having trouble viewing the LinkedIn jobs? Be sure to join the LinkedIn Audio Jobs group here first. Happy job hunting!

Highlight – sound stories this week:

Superdeals: Save 50% on everything from Black Edge Sound Studios

Making ‘Hello Tomorrow!’s Remarkable Retro-Futuristic Sound – with Mary Ellen Porto & Daniel Brennan

10 great new sound libraries: worldwide ambiences, user interfaces, bone breaks, car doors, and more

Game Audio Producer
Company: Clean Cuts Interactive
Location: Remote

Job description

Clean Cuts Interactive is a group of highly motivated and passionate sound designers and composers focused on audio for interactive and games. We have been a trusted partner to the best creative teams in the industry. We pride ourselves in having a positive and supportive work culture that encourages the creative but also work/life balance. Our client focused approach has garnered success with AAA titles and independent studios alike. Some recent titles include NBA2k, Marvel Snap, Asgaurd’s Wrath, WWE2K & Starfinder for Alexa.

Summary of Position

Clean Cuts Interactive is looking for a Producer to join our audio studio. You will collaborate with the studios Creative Director to support our creative team and clients. In this role, you will coordinate multiple game projects as well as assist in pursuing new business.

What you’ll be doing:

Manage multiple projects with varying deliverables and deadlines.
Estimate projects for clients including review and follow-up.
Contribute ideas and address budget concerns through creative problem-solving.
Schedule and tracking of audio teams tasks.
Responsible for the oversight of existing projects, as well as developing strategies for new business.
Serve as the main point of contact between clients and the creative team.
Occasional travel to conferences and clients' studios may be required.

What we are looking for:

3-5 years of experience in the video game industry.
We’re looking for a leader as well as a team player; someone who is motivated, smart, highly organized and loves working with clients.
Experience with audio editing, sound design or custom music is a plus.

We Offer:

Competitive Salary
Comprehensive Medical, Dental, Vision, Life and Disability Insurance
Paid time off with an additional 10 paid holidays
Discretionary Bonus Plan
401(k) Savings Plan
Training Reimbursement

We are a tight knit group of passionate audio specialists that love to create outstanding audio in a collaborative inclusive environment.

Job Type: Full-time
Schedule: Monday to Friday
Work Location: Remote

More about this job

Source: Ryan Schwanke

Audio Designer
Company: Moonshot
Location: CA, US / Remote

Job description

Moonshot is looking for a talented and passionate Audio Designer to help us work on our brand new IP! Whether it’s creating sound for unique characters, exciting weapons, wondrous ambiences or satisfying UI, your role will run the gamut in both creating and implementing elements into our game.

A great sounding experience is fundamental to the kind of awe and wonder we want our players to feel during the game, and will help shape the stories they share long after. Collaborating with the rest of the members of the Moonshot development team will be key in achieving that goal, and you’ll interact daily with programmers, VFX artists, animators, and producers both in terms of evaluating your own work, and helping inform the work of others.

We can’t wait to hear what you’ll come up with!

Moonshot Games is a new studio based in Irvine, California. We love games and believe in their unique superpower to create personal, unforgettable stories that bring friends and the community closer together. We are building a culture of shared ownership where everyone gets a chance to weigh in and help set direction for the game. Our studio is in its early days, which means there’s tons of opportunity to have a big impact on what we are making as well as in the overall direction of the company. Most importantly, we know our games will be at their best when a variety of voices, identities and perspectives go into their creation, so come join us!

What your day to day will look like…

Use library source and your own recordings to create and implement original sounds for our characters, weapons, environments, UI, etc.
Help implement deliverables from outsourcing like dialogue, foley, etc.
Work closely with other disciplines to ensure the best ideas reach the top, whether they be audio-related or otherwise
Playtest regularly to ensure a high aesthetic bar, and to identify, prioritize, report and resolve audio bugs/issues
Be an advocate for finding new ways to optimize and improve development practices and studio culture

Some of the things you bring to the table…

A keen ear for creating the right sound for the right moment, whether that be communicating an emotional beat or a key gameplay cue
A self-motivated attitude to take on work, help others, and advance your own skills without the need for specific instruction
Strong problem solving skills to accurately assess issues and formulate creative solutions, whether design or technical
Excellent communication skills to give and request assistance with problems and issues across the development team
Extraordinary team attitude to receive and act on changes and direction
Proficiency using game engines and middleware (e.g., Unreal/Wwise) to implement audio and create interactive audio systems

Pluses…

Experience through a production cycle of a shipped video game
Expertise in the holistic game audio process (sound design, voice over, music implementation, technology, player experience, etc.)

Application materials needed

Resume and portfolio with a video showreel highlighting sound design expertise (no need to demonstrate musical proficiency)

Other Information

Remote work will be considered for this role

The base salary range for this position is $72,786 to $121,310 USD per year, which is associated with our Level 2 salary band. The range listed for this position is just one component of Dreamhaven’s total compensation package for team members and exact compensation may vary based on skills and experience. Total compensation also includes equity, comprehensive benefits and will also include profit sharing in the future.

Dreamhaven is proud to be an equal opportunity employer. We celebrate and welcome diversity and are committed to creating an inclusive environment.

More about this job

Source: GameJobs.co

Audio Designer
Company: Ubisoft Saguenay
Location: Saguenay, QC, Canada

Job description

The audio designer will oversee the artistic content, design and technical aspects (pipeline) that pertain to sound (music and/or sound effects) in the game.

What you'll do

Be aware of all aspects of the game (game design, animation, environment, 3D objects, level design, AI, scenario, etc.) to understand sound needs and have an broad idea of the game;
Set out sound mechanisms in the game based on the game style so that the sounds and music suit the creative direction;
Help define sound design in the game and artistic and technical components (pipeline) whenever possible;
Know the limits and advantages of the tools to design sound and concepts in order to propose a realistic scope and avoid developments that will removed due to technical constraints;
Communicate audio needs to programmers and follow up with them to ensure that the tools that are developed or functions that are added to the sound engine meet needs and discuss priorities with the programming team if necessary;
Communicate the sound design to the other working units that are involved;
Take part in game creation through creative cells to enhance the gameplay experience and player immersion from a sound perspective;
Determine project sound needs and ensure that the necessary/relevant resources are produced;
When outsourcing work, list the special effects, foleys, atmospheres and music to be produced and send the production order to the sound studio;
Create sound and special effects for the game;
Validate the results of the order sent to the sound studio and request adjustments whenever necessary;
Validate the foley recording sessions with the sound technician and foley artists to ensure that quality standards are met;
Integrate sounds into the game (establish the events that may or may not be triggered by the player and their corresponding data audio sounds);
Manage and supervise sound integration by other working units (code, level design, animation, etc);
Set out audio test plans with the QA team to test and debug audio components;
Help plan audio production several months in advance and follow up throughout production;
Take part in voice recording by providing input to the voice director on dialogues: whenever necessary ensure that intonations, intentions and projections are credible in light of the scenario;
Validate/supervise the music recording sessions whenever necessary;
Manage human resource needs for the audio team whenever necessary;
Play an active role in debugging and ensure that the final product meets quality standards;
Carry out all other related tasks.

What you bring

Degree in music, audio or equivalent;
1-3 years’ professional experience in audio;
Gaming experience and industry knowledge an asset;
Music, film, television production experience as a sound technician or foley artist;
Attention to detail;
Critical sense;
Open-mindedness, adaptability, flexibility;
Stress tolerance;
Ability to manage emergencies and priorities;
Work-related passion and curiosity;
Sense of esthetics;
Bilingualism;
Ability to clearly explain complex ideas;
Excellent knowledge of Pro Tools, Sound Forge and MIDI;
Extensive musical knowledge as a musician and/or composer;
Basic knowledge of audio and studio equipment and SFX libraries;
Knowledge of current audio engines an asset;
Knowledge of other production working units.

The person must be willing to relocate to Saguenay

What to send our way

Your CV highlighting your education, experience, skills and, if applicable, your delivered games;
Feel free to send us examples of your previous work (attach files or send us a link to your online portfolio).

Working at Ubisoft means

A hybrid and flexible work mode, 6 weeks of vacation in your first year, an enriched parental leave, a Ubi gym directly in our offices, a complete group insurance program, access to complete Dialogue telemedicine services, an RRSP with a contribution from Ubisoft, an advantageous bonus program, concrete measures to ensure the right to disconnect, the option of working part-time and much more. Click here for all the details.
Joining a team of 21,000 Ubisoft employees working across more than 40 locations around the world, are boundby a common mission to enrich players’ lives with original and memorable gaming experiences. Their dedication and talent have brought to life many acclaimed franchises such as Assassin's Creed, Far Cry, Watch Dogs, Just Dance, Rainbow Six, and many more to come;
Working for an equal opportunity employer, where diversity is a priority. We do not discriminate on the basis of race, ethnic origin, religion, gender, sexual orientation, age or health status.

Company Description

Ubisoft Saguenay is a multidisciplinary team that has been shaping the video game industry since 2018. At the studio, you will discover an innovative, dyn

The Guitar Amp plugin made just for REAPER users – Tukan Guitar Station

Admin — Sat, 22 Apr 2023 17:05:44 +0200

A quick demo of my presets included with Tukan's new free Guitar Station plugin

The post The Guitar Amp plugin made just for REAPER users – Tukan Guitar Station first appeared on The REAPER BLOG.

20 great new audio jobs at Netflix, Team Junkfish, Rovio, 11 bit studios, Ubisoft Toronto, Flying Wild Hog, Amazon Games Montréal, Crystal Dynamics, Twin Swans, High Moon, Lost Boys, PlayStation Global, HakJak, Improbable, AMA, Flying Wild Hog, Splice, Me

Adriane Kuzminski — Fri, 21 Apr 2023 14:41:23 +0200

We came across interesting new jobs at Team Junkfish, Rovio, 11 bit studios, and Ubisoft Toronto – and they’re looking for an Audio Lead (Remote), Audio Intern (Finland), Junior Sound Designer (France), and Technical Audio Director (ON, Canada).

We also found openings for a Sound Designer at Flying Wild Hog (Poland), Audio Developer at Amazon Games Montréal (QC, Canada), General Audio Application at Crystal Dynamics (CA, US), Lead Producer at Twin Swans (England / Remote), Senior Games Producer at Netflix (CA, US / Remote), Principal Audio Software Engineer at High Moon Studios (CA, US), Senior Sound Designer at Lost Boys Interactive (Remote), Studio Tech (Audio) at PlayStation Global (England), Senior Sound Designer at Blizzard Irvine (CA, US), and Career Development Audio Arts Advisor at Full Sail University (FL, US).

Bonus: The Audio Jobs Facebook and LinkedIn groups also have opportunities for a Music Composer at HakJak (Remote), Graduate Audio Designer at Improbable (England), Audio Producer at AMA (England), Audio Programmer at Flying Wild Hog (Poland), Post Production Runner at Splice (England), and Show Audio Designer at Meow Wolf (NM, US / Hybrid). Happy job hunting!

Highlight – sound stories this week:

Painting with sound – an insightful sound design talk with sound supervisors Dane A. Davis and Stephanie Flack:

Randy Thom & Jamey Scott: Honoring Iconic Game Audio for ‘The Super Mario Bros. Movie’

22 great new sound libraries: Robotic voiceovers for all ages, outdoor impulse responses, casino games, retro video games, and more

Designing the Sound of Gore for ‘Winnie-the-Pooh: Blood and Honey’ – with Supervising Sound Designer Ryan Hatton

Audio Lead
Company: Team Junkfish
Location: Remote

Job description

Junkfish are looking for a talented audio lead with a strong knowledge of game audio techniques and production methods to join our development team in Scotland in a full-time capacity.

You will need to be passionate about creating stunning, high quality, and realistic audio assets for games; talented and highly motivated, with a genuine interest in playing games.

As a sound designer, you must be creative and versatile. You will be creating various audio assets necessary for the monthly content pushes and milestones and will be able to maintain and manage high levels of quality while working in a rapid, rigorous, and timely manner.

We encourage candidates to apply regardless of gender, race, disability, sexual orientation, religion, age, or any other diversifying factor, as we strive to improve equal opportunities and accessibility within the industry.

Responsibilities

Together with the creative director and creative leads, define and uphold audio vision for all company projects, both on a creative and technical level, while ensuring professional audio quality is met and the vision is effectively communicated.
Oversee all aspects of audio development and implementation regarding sound assets, dialogue, music, and mix across all company projects.
Conceptualize audio features and best practices to support audio content creation and implementation across all company projects.
Define audio pipelines and infrastructures to support audio implementation systems and toolsets (voice pipelines, audio-build systems, music systems, etc.).
Research and advocate for game audio technologies that best allow the team to deliver the best possible audio experience for company projects.
Design and implement audio assets that help achieve the project's overall creative vision.
Delegate tasks to department team members and make sure they have work assigned to them on Jira.
Review work done by audio team to make sure that tasks are created to specifications outlined and is at a high standard. Run quarterly reviews to help identify areas or improvement.
Actively identify, troubleshoot, debug and prioritize audio issues across company projects.
Assist in the recruitment of internal and outsourced audio talent and potential training opportunities for existing team members.
Create and maintain audio-related documentation.
With aid from the other leads and Creative Director, help write up the Milestones, Epics and Stories to be used to guide the project's key deliveries. Identify risks within the schedule and projects and suggest changes.
Work with Production to verify that tasks, milestones, and deliverables are well-defined and achievable as it pertains to audio. Help analyse project features to make sure success criteria is agreed.

Skills & Requirements

Minimum of 3 years’ experience, including the shipping of at least one title in a lead or audio position. 
Excellent understanding of game audio pipelines, industry standard audio production tools, and audio recording techniques.
Familiarity with a variety of audio middleware applications. (Wwise, FMOD, etc)
Workable knowledge in using a games engine such as Unreal or Unity.
Collaborative attitude; receptive and adaptive to change and feedback.
Able to manage large-scale audio asset production.
Great communications skills
Able to work independently with minimal oversight.
Strong artistic and creative sense
Excellent organizational and problem-solving skills

Additional Information

Salary: GBP 35,000 – 41,000/year Location: Glasgow, UK (Remote options available)

Skills and Role: We are open to promising candidates that may not meet the requirements listed.

Next Steps

To apply for this position please send your CV and cover letter to hr@teamjunkfish.com.

More about this job

Source: School of Video Game Audio @SchoolGameAudio

Audio Intern
Company: Rovio
Location: Helsinki, Finland

Job description

Rovio's award-winning audio team defines how our games and products sound and how audio should be used at Rovio. We are extremely passionate about all things revolving around audio and we pride ourselves in creating immersive and emotionally engaging adaptive audio experiences.

As an Audio Intern you will be able to join our audio team for 3 months and learn the ins and outs of how to create world class audio for games by working closely with game audio industry veterans. This is a paid internship with 2300€ per month.

Please submit both your CV as well as a cover letter.

What your days will look like:

Assist the audio team in their day to day work by doing audio QA, sound design, audio recording, editing and processing, documenting and archiving
Learn day to day audio design workflows, techniques and solutions
Join discussions, workshops, and other audio department activities
Chance to work with other teams and improve our games

Who we think will do great in this role has:

Experience in sound design for games and other media
Knowledge and knowhow of audio editing and processing
Knowledge and knowhow of microphones and studio / location recording
Knowledge of a DAW of your choice, including standard plugins and effects, Reaper knowledge is a plus
Self-starter attitude and ability to tackle problems independently
Good communication and team collaboration skills
Curiosity in casual mobile games

We’d love it if you have some of these bonus skills:

Experience in game audio development
Experience in using the Unity game engine
Understanding of music composition
Knowledge in game design
Knowledge in programming

Please note that there is no one “perfect” candidate and we don’t expect applicants to meet 100% of the qualifications. If this position resonates with you, we hope you will apply even if you don't believe you tick all the boxes. You may be the person we’re looking for!

Recruitment process:

You will have a chat with the Head of Audio and Lead Sound Designer. We want to know who you are and what motivates and inspires you. We will also dive deeper into your qualifications and skills in audio. You will have an opportunity to learn more about Rovio and the specifics of the role and ask questions.

We are looking to fill this position quickly and may close the job advertisement as soon as we move to the interview stage of the process. If you would like to take on this adventure, apply for the job now through our job portal! (Please note that we currently don't support relocation for intern positions).

We welcome applicants to use the name they want to be addressed by in the application form, regardless of whether it is their legal name.

More about this job

Source: Audio Jobs LinkedIn Group

Junior Sound Designer
Company: 11 bit studios
Location: Marseille, France

Job description

For The Alters, we are looking for a Junior Sound Designer to help us create sounds for our project. You will be able to join people who are excited and motivated to create something cool and meaning at the same time. We can’t tell you what sounds you’ll be creating, but we can tell you what tasks are ahead of you:

Design and production of sound effects and sound materials using sound libraries and recordings
Integrating in-game audio assets using Wwise and UE5
Working closely with the Design and Art department to create an immersive audio experience for existing gameplay mechanics and narrative parts

What Makes Victory Sounds When You Apply:

Basic knowledge of Wwise
Basic knowledge of Unreal 4 or 5
Familiarity with DAW software
Proactive approach to work
Very good communication skills
Knowledge of English at min. B2

Welcome:

Experience in integrating audio for games
Experience in projects as a Sound Designer (or similar)
Experience with EU Bluprints tool or similar visual scripting tool
Voice mastering skills
Willingness to make recordings (field recording)
Basic knowledge of Reaper

We offer:

Training budget
Annual bonus
Private medical care and a multisport card
English lessons
Possibility of using private psychological help
Trips to industry events
A modern office in the vicinity of the Wileński Railway Station and the Eastern Railway Station

More about this job

Source: GameJobs.co

Technical Audio Director
Company: Ubisoft Toronto
Location: Toronto, ON, Canada

Job description

The daily life of a Technical Director (Audio) at Ubisoft Toronto:

Help with creating, improving and integrating audio features, systems, resources, and content in the game at different levels of complexity;
- Assist in maximizing audio quality and aesthetic realisation.
Use the middleware and the visual scripting tools in game engine;
Coordinate and act as a bridge between the audio department and other Technical Directors to ensure that audio features can be successfully integrated in areas within a game.
- I.e., Projects our studio works on may include areas like missions, open world systems, mini games, DLCs, etc.;
Collaborate closely with the Audio Director, Audio Programmers and Sound Designers
Identify technical audio needs for the project and communicate them to the technical architect and programming Team;
Maintain the audio project structure ensuring that the audio workflow, system resources, filename conventions and audio quality is consistent;
Create and design audio systems such as music systems, dialogue, navigation, weapons, vehicles, etc.;
Design and improve audio tools with the programming department;
Produce and maintain documentation about systems, techniques and

Bringing New Life to Old Gear: How I Use Hardware FX with Reaper

Admin — Fri, 14 Apr 2023 18:30:53 +0200

If you have some old rack gear lying around, consider integrating it into your Reaper setup. With a little effort, you can give these devices a new lease of life and add some unique character to your productions.

The post Bringing New Life to Old Gear: How I Use Hardware FX with Reaper first appeared on The REAPER BLOG.

Hydroelectric Power

rick@evocativesound.com — Thu, 13 Apr 2023 19:35:41 +0200

In Hydroelectric Power sound effects library, witness the power of water in this collection of recordings captured at and inside historic hydropower plants and massive concrete dams in the United States.… Read More

20 great new audio jobs at Tesla, Rockstar San Diego, Apple, Discord, Ubisoft Reflections, Bored Panda, Bit Reactor, Insomniac, Improbable, Blizzard Irvine, Play’n GO, Free Radical Design, University of Music Detmold, Nyan Heroes, BMG, ImagesInSound, Oska

Adriane Kuzminski — Thu, 13 Apr 2023 14:51:27 +0200

We came across interesting new jobs at Ubisoft Reflections, Bored Panda, Bit Reactor, and Insomniac Games – and they’re looking for a Lead Audio (England / Hybrid), Sound Designer (Lithuania / Remote), Audio Programmer Engineer (MD, US), and Dialogue Lead (CA, US).

We also found openings for a Graduate Audio Designer at Improbable (England), Audio Programmer at Rockstar San Diego (CA, US), Localization Audio Producer at Blizzard Irvine (CA, US), Senior Software Engineer at Discord (CA, US), Audio Producer at Play’n GO (Remote), Lead Sound Designer at Free Radical Design (England), AirPlay Audio Engineer at Apple (CA, US), SoC Audio Design Engineer at Apple (CA, US), Audio Director at Supermassive Games (England), and Audio Hardware Development Engineer at Tesla (CA, US).

Bonus: The Audio Jobs Facebook and LinkedIn groups also have opportunities for a Research Associate at University of Music Detmold (Germany), Sound Designer at Nyan Heroes (Remote), Manager of Creative Licensing at BMG (CA, US), Sound Editor at ImagesInSound (ON, Canada), Sound Engineer/Editor at Oskar Films (FL, US), and Senior Audio Programmer at Tazman-Audio (England / Remote). Happy job hunting!

Highlight – sound stories this week:

Video: The Making of ‘Metamorphosis’ – Greg Lester takes you behind the classic indie sound effects library:

Behind the Genre-Defining Sound of ‘John Wick 4’ – with Mark P. Stoeckinger and Alan Rankin

20 great new sound effects libraries: Lab equipment, imaginative doors, Vegas games, Cem river ambiences, and much more

Lead Audio
Company: Ubisoft Reflections
Location: Newcastle upon Tyne, UK / Hybrid

Job description

At Ubisoft, we aspire to be a workplace where EVERYONE is supported, empowered and invited to join the game. We believe that by prioritising equity and inclusivity, we fuel creative endeavours and craft gameplay experiences that reflect and respect our uniquely talented game-makers and outstanding players.

The Role

As our next Audio Lead, you’ll be accountable for the quality control of audio content from the design team as well as guiding them through project tasks that improve the gameplay experience of our new AAA IP. _Y_ou'll relish the opportunity to develop a team with your ability to communicate effectively, willingness to handle challenging situations, and able to delegate responsibilities with excellent organisational & time management skills. You can see the bigger picture, and understand why it's important to be the main point of contact between your team and production to efficiently delegate appropriate tasks for the benefit of the game development.

You also champion the voice of your colleagues, not afraid to innovate and bring ideas to life. You’re looking for a creatively rewarding opportunity to work on an exciting AAA gaming experience, that provides interesting challenges that have yet to be explored in the gaming industry.

At Ubisoft, we aim to be a destination of choice for the best talent. To be the market leader, we need people like you, who will be instrumental in driving our pillars of success, as together we will: build creative hits, partner & collaborate, deliver with excellence, and celebrate difference.

What you'll bring

At Ubisoft, we aim to be a destination of choice for the best talent. We want people like you, who will be instrumental in driving our studios to success.

Previous experience leading or mentoring audio designers.
Can demonstrate Technical knowledge, including Wwise.
A showreel that displays technical documentation, breakdown of content and gameplay examples.
A good understanding of the development cycle of a game.
Upto date on current trends in design for games.
An educational background in audio is desirable, but not essential.

Joining Ubisoft you will contribute to a fun and friendly team that values openness and inclusivity as one of our key pillars. You will have the opportunity to learn, grow and develop your career, as well as the careers of your peers, whilst sharing our continued success as we expand our ever-growing catalogue of games.

With us, you’ll be part of a highly talented team aiming to create a whole new world for our players as we strive to successfully release the next big Ubisoft IP. Your passion for learning and development will enable you to push boundaries and continue to grow and progress in your role, with limitless opportunities to reach your full potential. To us, it’s more than just a job at Ubisoft. It’s a journey. It’s an experience. A way to bring players and communities together. A place to celebrate our differences. A place to grow.

What we'll provide

We put our people first through nurturing their creativity and wellbeing and the reason we continue to create engaging and compelling AAA titles that are loved across the world.

Everything you need to keep your life in balance – hybrid working, flexible core hours, 25 days of annual leave, Christmas shutdown, and a plan that will enable you to work from anywhere in the EU for up to four weeks per year
Life insurance, income insurance, private healthcare, an annual well-being allowance, and more
Generous resources committed to your perpetual personal and professional development
Investment in our community – with paid volunteering days
Fun and entertainment – with free games, activities, and celebrations
Generous relocation support – should you need it

READY TO APPLY?

We aim to build the world’s most distinctive and diverse gaming studio; therefore, we strongly encourage you to apply. We’d love to hear about you and your background.

Find out more about Ubisoft Reflections and Luke Murtagh, our Talent Acquisition Partner who is managing this vacancy:

Website: https://reflections.ubisoft.com/about/ubisoft-reflections/
TA Partner: https://www.linkedin.com/in/luke-murtagh-recruitment/
Facebook: https://www.facebook.com/pg/Ubisoft.Reflections
Twitter: https://twitter.com/UbiReflections
Linkedin Reflections: https://www.linkedin.com/company/ubisoft-reflections
Linkedin Leamington: https://www.linkedin.com/company/ubisoft-leamington

JOB DESCRIPTION

Lead Audio Designer (Last Updated Apr 2023)

c.smartrecruiters.com/sr-company-attachments-prod/56be0df1e4b043c434798ee2/01215c76-e18a-4e1d-8e3a-8acccb83f0b7?r=s3

More about this job

Source: School of Video Game Audio @SchoolGameAudio

Sound Designer
Company: Bored Panda
Location: Vilnius, Lithuania / Remote

Job description

We are one of the leading tech-driven media and entertainment companies, producing uplifting content in 17 languages for people of all ages. Known for award-winning art and pop culture magazine boredpanda.com and TOP DIY channel Crafty Panda, we fight the world's boredom at an unprecedented speed: 160 million site views per month and 62 billion video views per year. Our team comprises over 600 creative individuals who work from 42 different countries and 7 offices, located in Vilnius, Lithuania.

We are excited to announce that we are currently looking for a Sound Designer to join our lively and enthusiastic team for a new YouTube channel for kids. Prepare to work in a joyful environment and produce engaging content that appeals to kids all around the world.

What You Will Do:

Compose soundtracks and melodies for vocals;
Record, edit, mix, and master sounds and songs;
Research and work with various sound effects and music databases;
Purify video sound stylistics;
Collaborate with vocals artists to develop melody;
Collaborate with the creative team to develop sound concepts and create audio that supports the overall vision.
Be responsible for fully owning songs creation: from scoping the idea to fully mastering the final product;

What We Expect:

Experience as a sound designer or music composer. (please provide a short video showreel/example of the work you've done for any commercials, film, TV, YouTube or other video platforms);
Experience working with Adobe Premiere and Cubase;
Strong understanding of audio production and post-production processes, including recording, editing, mixing, and mastering;
Being passionate about final video performance, results and successes;
Fluent in English;
Great teamwork skills;
Independence and initiative;
Desire to learn and grow;
Experience working with kid‘s songs would help you to stand out.

We offer:

Career opportunities (Bored Panda Studios is growing day by day, and with it – endless possibilities);
Young, creative, friendly team and work in a dynamic atmosphere;
Internal events and online training;
Team-building budget and events;

Salary: up to 2000 eur (taxes included)

If you meet these requirements, we are waiting for your application!

More about this job

Source: LinkedIn Jobs

Audio Programmer Engineer
Company: Bit Reactor
Location: Hunt Valley, MD, US

Job description

Bit Reactor is looking for talented developers to join our team in creating genre-defining games with solid gameplay, deep storytelling, immersive presentation, and high production values. Our team has a track record of shipping the award-winning franchises XCOM, Civilization, and Elder Scrolls Online and is excited to usher in a new era of games that blur the line between strategy and action.

Working in a highly collaborative, focused, and iterative team environment, candidates should enjoy contributing to the game development process, have a cooperative attitude, and share our passion for building exceptional games.

Responsibilities:

Under the direction of an audio engineering lead:
- Implement runtime audio systems and features as well as related workflows
- Collaborate with sound designers in their use of these features and workflows
- Iterate on and polish work produced to deliver highest possible quality

Qualiﬁcations:

Familiarity with modern audio pipelines, and game integration of audio
Ability to evaluate qualitative issues in audio
Strong experience with Unreal Engine
Strong experience developing with C++
Experience with developing for consoles
Facility with profiling / debugging tools on multiple platforms
Excellent communication skills
BS computer science or equivalent experience
Shipped titles a plus

Bit Reactor prefers to hire candidates who are willing to relocate to Hunt Valley, Maryland, but is open to remote options.

Bit Reactor, LLC is an equal opportunity employer, and all qualified applicants will receive consideration for employment without regard to race, ancestry, color, citizenship, religion, sex, sexual orientation, gender identity or expression, marital status, pregnancy, age, national origin, disability status, legally protected physical or mental disability, genetic information, protected veteran status, or any other characteristic protected by law.

More about this job

Source: GameJobs.co

Dialogue Lead
Company: Insomniac Games
Location: Burbank, CA, US

Job description Insomniac Games is looking for a Dialogue Lead to join our Audio Team! The Dialogue Lead is responsible for the dialogue quality throughout the production cycle of our projects. This individual will oversee the dialogue pipeline, including planning, recording, and technical implementation of all V.O. associated with the project/s into our engine utilizing Wwise middleware. With team well-being in mind, they will ensure on time deliveries at the highest level of quality through strategic planning, team leadership, and collaboration with Audio Directors and Managers, Creative Directors, and the entire dialogue team.

Essential Duties and Responsibilities include the following:

Coaches and mentors Dialogue team members in their craft, including technical implementation (Wwise) and creative design; provides guidance in their careers and in their working relationships with their peers.
Works with Audio Director and Leads on choosing, supervising, and negotiating development plans and schedules for a project.
Meets with Creative Director and Audio Director during production

March 2023 Live Stream Recap

Admin — Thu, 06 Apr 2023 17:45:41 +0200

A recap of the past month of our live streams with the REAPER community

The post March 2023 Live Stream Recap first appeared on The REAPER BLOG.

Sound Story Network

20 great new audio jobs at Vertigo Games, Respawn, Audiokinetic, Voice Trax West, Playable Worlds, Berklee, Bethesda, EA Madrid, Bulkhead, Native Instruments, Gala, Rooster Teeth, Epic, Symphonic Distribution, Bergpeak Studios, Blizzard Irvine, Riot Games

Get exciting new audio job opportunities delivered straight to your inbox

Early Summer Sale! Huge savings on 100s of sound libraries, land wild 1-day deals and get lots of bonus sounds with ANY order:

22 great new sound libraries: Aquatic creativity, toy vehicles, South American deserts, British trains, morgues, and more!

May 2023 Live Stream Recap

AirCon ’23 – the free online conference about sound featuring 50+ talks & interviews – is now live!

AirCon ’23 – the free online conference about sound featuring 50+ talks & interviews – is live! Learn more & Enter The Giveaway here:

How to create a tree felling sound effects library – a highlight by Stuart Ankers

With Fronds Like These…

20 great new audio jobs at Nintendo, Netflix, Formosa, String and Tins, id Software, Santa Monica Studio, Edinburgh Napier University, Ubisoft, EA Create Audio, DSP Concepts, POLITICO, Interfacio, Paradigm Electronics, Criterion Games, Asimuth Post Produc

Get exciting new audio job opportunities delivered straight to your inbox

21 great new sound libraries: Medieval and fantasy RPGs, flip flops, neoprene wetsuits, 1929 Ford Model A, windy textures, and more!

How good is Acon Digital’s Deverberate 3 ?

Boz Digital ReCoil Spring Reverb

AirCon 2023 – the free online audio conference - is happening June 5-16th at airwiggles.com/aircon !

New Audio Job at Nintendo – for an Associate Technical Sound Designer

Learn more about the audio job opportunity here

New Features in REAPER v6.80 tutorial video

20 great new audio jobs at Rockstar, Bose, Bungie, Audacity, Liquid Violet, EA Metalhead, Gearbox, Lucid Games, Behaviour Interactive, Criterion Games, Ripple Effect Studios, Arrowhead, Coatsink, CareerVillage, GSC Game World, Reel2Media, Ghost Ship Games

Get exciting new audio job opportunities delivered straight to your inbox

Creating the Signature Sound of ‘Barton Fink’ – with Oscar-winning Re-Recording Mixer & Sound Supervisor Skip Lievsay | A Sound Effect Podcast EP 24

19 great new sound libraries: Cinematic metal, sirens and alarms, celestial harps, voice bundles, and more!

Well worth the wait !! SoundToys SuperPlate vintage reverb plugin

Commercial Fireworks: Up Close and Loud

We’re very impressed by this De-noiser and De-Reverb tool – FREE – GOYO Voice Separator

What is storytelling in game audio?

Creature Vocal Design – a roundtable with Michael Kent, Beau Jimenez, Jeff Darby, and Ash Read:

Ultimate control room monitoring software for surround & immersive audio – Ground Control Sphere

20 great new audio jobs at Disney Media, Bulkhead, Tencent, Sago Mini, Panic Button, The Chinese Room, Phoenix Labs, Motorsport Games, RUN Studios, Full Sail, Lightspeed LA, Frostbite, Atomic Arcade, Voicemod, University of West London, Ubisoft Reflection

Get exciting new audio job opportunities delivered straight to your inbox

Want to showcase your audio skills â€“ and be discovered by those who need them? Join 100s of other audio profession

The Sound of All Quiet On The Western Front

The Savage Sound of ‘Sisu’ – behind the detailed sound design & Dolby Atmos Mix with Panu Riikonen

A Crash Course in XO Drum Sampler

Toys in the Attic

Protected: Album Cover Designs

21 great new audio jobs at Pinewood, Avid, Life Beyond Studios, Clean Cuts, Rev Rooms, PlayStation Global, The Gang, Team17, Criterion Games, thatgamecompany, Swann Studios, Ridgeline Games, Haven Studios, Beatport, Mighty Sound, One97, Wild Woods Picture

Get exciting new audio job opportunities delivered straight to your inbox

Trying Granular synthesis inside Phase Plant

Wind Chimes Sound Effects Library

Trying crazy free plugins from KVR Dev challenge 2021

April 2023 Live Stream Recap

Irrigation

20 great new audio jobs at PitStop, Tesla, Meta, SIDE UK, Source Sound, TaleWorlds, Digital Extremes, Darewise, EA Montréal, Naughty Dog, Bedrock Learning, TikTok, Playground, Space Ape, Edinburgh Napier University, Possibility Space, River, Antares, Vood

Get exciting new audio job opportunities delivered straight to your inbox

Checking out new Baby Audio Synth BA-1

The Making of “A Vast Unwelcome”

From Magic to Metal

The Borders of Sound and Music

The “Only Real Reverb” Rule

From Music to Meaning

New Features in REAPER 6.79

Welcome back.

Game Audio and Sound Design

Mastering

Music

Restarting This Blog

What’s Next

20 great new audio jobs at Clean Cuts, Moonshot, Ubisoft, NPR, Valve, Respawn, Mountaintop Studios, Striking Distance, Epic Games, Speedway Games, Gameloft, Deck Nine Games, AutoVRse, CryptoRecruit, Firesprite, Hawksell, and Anshar Studios

Get exciting new audio job opportunities delivered straight to your inbox

The Guitar Amp plugin made just for REAPER users – Tukan Guitar Station

20 great new audio jobs at Netflix, Team Junkfish, Rovio, 11 bit studios, Ubisoft Toronto, Flying Wild Hog, Amazon Games Montréal, Crystal Dynamics, Twin Swans, High Moon, Lost Boys, PlayStation Global, HakJak, Improbable, AMA, Flying Wild Hog, Splice, Me

Get exciting new audio job opportunities delivered straight to your inbox

Bringing New Life to Old Gear: How I Use Hardware FX with Reaper

Hydroelectric Power

20 great new audio jobs at Tesla, Rockstar San Diego, Apple, Discord, Ubisoft Reflections, Bored Panda, Bit Reactor, Insomniac, Improbable, Blizzard Irvine, Play’n GO, Free Radical Design, University of Music Detmold, Nyan Heroes, BMG, ImagesInSound, Oska

Get exciting new audio job opportunities delivered straight to your inbox

JOB DESCRIPTION

March 2023 Live Stream Recap