Sound Story Network

The Sound of It Takes Two

Sam Hughes — Sat, 31 Jul 2021 15:46:06 +0200

The Sound Architect - All Audio, All For You

(TSAP S04E12) Anne-Sophie Mongeau and Philip Eriksson join Sam, to chat about their amazing work on the acclaimed co-op title It Takes Two from Hazelight. They discuss the challenges of mixing and design for a split-screen game, handling the huge scope of the different levels with various forms of gameplay, the sound designer’s playground, aiming for...

The post The Sound of It Takes Two appeared first on The Sound Architect.

Introduction to the FMOD API

Javier Zumer — Sat, 31 Jul 2021 11:16:21 +0200

These are some notes and pointers about using the FMOD API, particularly if you (like me) don’t have a lot of previous programming experence. I won’t tell you anything that is not already in the official documentation but take this a condensed reference to use when coding or just to get familiar with the API.

Getting started

You can find the official documentation on the FMOD website. In case you don’t know, API stands for Application Programming Interface and is pretty much a bridge between two different computer environments like two different pieces of software. In this case, the FMOD API serves as the bridge between a game engine like Unity which scripts are written in C# and the FMOD engine itself.

The FMOD API can speak C, C#, C++ & JavaScript although not all functions are available in all languages. I will give C# and Unity examples here but these can be easily translated into other languages and engines.

Do you even need to use the API?

It depends. Out of the box, FMOD can be used on Unity or Unreal without much code work. You will be able to load banks and play audio events with just the components that come with the plugin but as soon as you need to do more complex things, you will probably need to use the API, at least in a few areas.

Studio vs Core API

Before diving in, you will see that FMOD differentiates between Studio & Core API. Most likely, you will just use the Studio API since it talks to Fmod Studio making things much easier for us sound designers.

The Core API, on the other hand, is completely standalone, allowing to integrate the fmod engine in a game without even using Fmod Studio. This is aimed for more bespoke integrations and deeper functionality that in most cases is not really needed but it is good to know it is there as an option.

So for now on, I will focus on the Studio API since is the one I’ve used myself.

Studio API Structure

On a high level, the studio API uses a series of concepts and classes that we should famliarize ourselves with. The main “brain” is the class RuntimeManager which will create and initialize an Studio::System instance which, in turn, will be the class we will use to call engine wide functions like setting global parameters.

By default, you don’t need to do anything for this to work as the fmod implementation in Unity or Unreal will get his ready for you. Studio::Bank can be then used to operate on the different banks themselves while Studio::Bus and Studio::VCA will allow you to get and set data on the mixer elements.

The concept of events in FMOD Studio is mapped to an Studio::EventDescription so if you want to do anything related to individual events that is what you will use. But keep in mind that you can have many instances of an event, so the API allow us to affect each of these through Studio::EventInstance. To be able to do this, you will need to cache a reference to each instance you play if you want to have full control of them. Usually, we don’t need to cache one-shots instances since we don’t need to affect them once played.

Also, remember that snapshots, when played, are also considered event instances so you can have all the same functionality for them and I would personally recommend creating a dedicated snapshot manager to keep track of them.

With that basic structure out of the way, let’s see what the API offers.

Studio API: Types

FMOD defines a bunch of types which will be very useful to get information about the audio engine. This are just a few commonly used types but there are many more.

Function Example Description Parameter Description FMOD.Studio.PARAMETER_DESCRIPTION Contains all the information in a parameter, including name min and max values, etc.. Loading State FMOD.Studio.LOADING_STATE Useful to know the loading state of different things, like banks and make sure we only use them when thay are loaded. Playback State FMOD.Studio.PLAYBACK_STATE; This one is SUPER useful so you can check if an event is playing, stopped, sustaining, etc... 3D Atrributes FMOD.ATTRIBUTES_3D The 3D position of an event or listener. This is a struct of simple vectors so you may need to convert it to something more usable like a Vector3.

Studio API: System

These calls allow you to talk to fmod in a general way, that would affect the whole fmod audio engine. Here are some of the most useful functions with some examples:

Function	Example	Description
Load Bank	FMODUnity.RuntimeManager.LoadBank(bank, bool);	Where "bank" is simply a string with the bank name. Make the bool true if you want to pre-load the sample data. I'm not sure why this can be done with just the RuntimeManager without using StudioSystem.
Unload Bank	FMODUnity.RuntimeManager.UnloadBank(bank);
Get Bank	FMODUnity.RuntimeManager.StudioSystem.getBank(path, out bank);	Use this to grab a reference to a specific bank. "path" is the bank name (a string) and you will get a "Bank" struct type.
Get Bank Count	FMODUnity.RuntimeManager.StudioSystem.getBankCount(out int count);	Get the number of banks already loaded.
Get Bank List	FMODUnity.RuntimeManager.StudioSystem.getBankList(out Bank[] array);	Get an array of the type "Bank". Use with the one above if you need to get a reference to all loaded banks.
Get Listener Attributes	FMODUnity.RuntimeManager.StudioSystem.getListenerAttributes(int listener, out FMOD.ATTRIBUTES_3D attributes, out FMOD.VECTOR attenuationposition);	Use this to get a reference to the listener position which can be useful to calculate distances to emitters. The default listener is in index 0. There is also a set version of this function..
Get a Bus Reference	FMODUnity.RuntimeManager.StudioSystem.getBus(path, out Bus bus);	Get a bus reference so you can then use it. "path" is the bus string name. "bus:/" will always be the name of the master bus. You can also find a similar function for VCAs.
Get an event description	FMODUnity.RuntimeManager.StudioSystem.getEvent(path, out EventDescription _event);	This is very handy if you want to do something with an specific event. As usual, "path" is the string name.
Set a global parameter	FMODUnity.RuntimeManager.StudioSystem.setParameterByName(name, value, ignoreseekspeed);	Sets a value to a global parameter where "name" is a tring with the name of the parameter, "value" is a float and "ignoreseekspeed" is a bool.

Studio API: Bank

We won’t be able to do much until we have our banks loaded. Keep in mind that the master bank always needs to be loaded as this contains mixer information like buses, vcas or snapshots. Other than that, all other banks can be loaded one by one as needed. I talked about how to get a reference to a particular bank above, let’s now see what you can do with that reference:

Function	Example	Description
Get loading state	Studio.Bank.getLoadingState(out LOADING_STATE state);	We can check if a bank has finished loading before doing anything with it.
Load Sample data	Studio.Bank.loadSampleData();	This will load all the audio files themselves into memory before any audio is played. Use this if the events are very time sensitive or you want to trade CPU for memory. There is also an unload method.
Unload bank	Studio.Bank.unload();	Use this if you are sure you don't need the events contained on this bank anymore so we can save some memory.
Get the event count	Studio.Bank.getEventCount(out int count);	Check how many events the bank has.
Get event list	Studio.Bank.getEventList(out EventDescription[] array);	Use with the above method to get an arrray of event descriptions in case you then want to do something with them.

Studio API: EventDescription

You can find here all functions related to each specific event set in FMOD Studio. Before you use this, remember that you need to grab a reference to the event description using the method described in the section above so you can only do this once the bank containing the event is fully loaded. Once you have it, you can get some very usefu information from it. Here are some examples:

Function	Example	Description
Create Instance	FMOD.Studio.EventDescription.createInstance(out EventInstance instance);	Use this to create an instance which you must do before you play the event. It can be a good idea to cache the instance for use later.
Load Sample Data	FMOD.Studio.EventDescription.loadSampleData();	This is very handy if you want to load the sample data for an event before you play it. Particularly useful for time sensitive events.
Is 3D	FMOD.Studio.EventDescription.is3D(out bool is3D);	Check if the event is 3D whcih would be determined by the event having an spatializer. Nice one if you create your own emitter or player.
Is Valid	FMOD.Studio.EventDescription.isValid();	Use this one to make sure the event is not null and can be used.
Is Snapshot	FMOD.Studio.EventDescription.isSnapshot(out bool snaphot);	Check if a particular description is a snaphot.

Studio API: EventInstance

As mentioned before, we need to create an event instance in order to be able to play it or just do anything with them. Once this is done, we can have full control of the instance. Here are some useful methods:

Function	Example	Description
Play Instance	FMOD.Studio.EventInstance.start();	Just play the instance. Basically, this will start the timeline, as set in fmod studio.
Stop Instance	FMOD.Studio.EventInstance.stop(FMOD.Studio.STOP_MODE);	Stops an instance. As you can see, we need to pass a stop mode which will determine if we respect any fades set in studio.
Release Instance	FMOD.Studio.EventInstance.release();	This will tell the fmod engine that this instance can be deleted from memory. Use this after stopping an instance if you don't need it anymore. Important to prevent memory leaks.
Get playback state	FMOD.Studio.EventInstance.getPlaybackState(out FMOD.Studio.PLAYBACK_STATE state)	Use this to know the current state of the instance. Very useful if we want to check if the instance is playing before trying to stop it.
Set 3D Attributes	FMOD.Studio.EventInstance.set3DAttributes(RuntimeUtils.To3DAttributes(position));	Sets the instance to a particular 3D position. Used to play audio in some specific place.
Attach to game object	RuntimeManager.AttachInstanceToGameObject(instance, gameObject.transform, rigidBody);	Use this for 3D events if, instead of playing in an specific place, you want to attach the sound to a game object.

Studio API: Bus & VCA

We can interact with the game’s mix by getting and setting values on buses and vcas. Check the system section to see how we can get a reference of a particular bus or vca but basically, we would need to know its name (as it was names in FMOD studio) as a string value so it could be a good idea to keep a reference of these somewhere in your code.

Let’s see a few examples of things we can do with buses and vcas:

Function	Example	Description
Set Bus volume	Studio.Bus.setVolume(float volume);	Sets a particular volume for this bus. There is also a get method.
Stop all events	Studio.Bus.stopAllEvents(STOP_MODE mode);	Stops all the events within a bus. Useful if you want to make sure all audio within a particular bus stops when unloading a level, for example. Notice that we need to pass the stop mode we wish to use.
Pause all events	Studio.Bus.setPaused(bool pause);	This will pause or unpause all the events contained in a bus. Use this for pause menus, for example.
Set VCA volume	Studio.VCA.setVolume(float volume);	Set volume on a VCA. Nice for the audio level settings.

In conclusion

I think if you understand how all the above work, that would be a very good start. Check out the FMOD reference docs for many useful examples and dont’ hesitate to drop me a line if you have any questions, I know some of this can be obscure until you use it for a while.

22 great new audio jobs at PlayStation, Sky, Dolby, WB De Lane Lea, Cloud Imperium, Pixelogic, Riot Games, Avalanche SLC, Gameloft, Undead Labs, EA Create Audio, Peloton, Sonnox, Sidekick Health, MBC Group, Venus Radio Theater, KWS Los Angeles, CD Projekt

Adriane Kuzminski — Fri, 30 Jul 2021 14:51:51 +0200

We came across interesting new jobs at Cloud Imperium, Pixelogic Media, Avalanche Salt Lake City, and Gameloft Montréal – and they’re looking for a Junior Dialogue Designer (England), Audio Project Manager (CA, US), Senior Audio Software Engineer (UT, US), and Audio Producer (QC, Canada).

We also found openings for a Contract Sound Designer at Undead Labs (WA, US), Sound Supervisor at Sky (UK), Audio Producer at PlayStation CSA (England), Audio Artist III at EA Create Audio (FL, US), Senior Audio Artist I at EA Create Audio (FL, US), Senior Counsel, Music & Business Relations at Peloton (NY, US), Senior Audio Software Developer at Sonnox (England), Lead Sound Designer at Sidekick Health (MA, US), Post Production Sound Designer at MBC Group (Dubai, UAE), Audio QA Analyst at CD Projekt RED (Poland), Audio Engineer at Zenimax Online Studios (MD, US), Audio Engineer at Survios (CA, US), and Voice Over Designer at Gameloft Montréal (QC, Canada).

Bonus: The Audio Jobs group also has opportunities for a Sound Designer at Venus Radio Theater (NY, US), Audio Coordinator at Riot Games LA (CA, US), Mix Technician at WB De Lane Lea (England), Intern at Dolby Institute (CA, US), Audio Producer/Project Manager at KWS Los Angeles (CA, US). Happy job hunting!

Highlight – sound stories this week:

• Behind the Fun, Futuristic-retro Sound of Loki on Disney+ – with David Acord, Bonnie Wild, & Danielle Dupre.

• Crafting Sweet Tooth’s unique soundscapes.

• Go behind F9’s sound with Peter Brown, Charlie Campagna & Paul Aulicino.

Junior Dialogue Designer
Company: Cloud Imperium
Location: Manchester, UK

Job description

Home to the record-breaking crowd funded space simulator MMO Star Citizen and the action-packed cinematic story campaign Squadron 42 with its star-studded cast, the dialogue design team have the opportunity to record amazingly talented AAA actors, manage huge amounts of assets, design innovative voice effects, and implement dialogue for both projects in a cooperative and cross-disciplinary environment!

Our tech-savvy team maintains high quality and consistency dialogue assets, while supporting our amazing game designers and producers in creating cinematic narrative wonders for our players.

Founded in 2012, Cloud Imperium Games creates cutting-edge videogames that defy expectations. We’re currently developing Star Citizen, a record breaking multiplayer online space sim, and Squadron 42, cinematic single-player adventure set in the same universe. Join us as we break boundaries and make videogame history.

For more information about life at Cloud Imperium Games, check this out - https://youtu.be/cXjp7SRBpIA

What does a Dialogue Designer at CIG do?

Manage dialogue requests and maintain all script related documents and their interdepartmental dependencies.
Record, edit, name, and master all types of dialogue assets and metadata to a high standard while ensuring consistency is maintained over numerous sessions.
Collaborate and manage all forms of dialogue implementation, runtime effects design, and dynamic in-game mixing, ensuring an engaging and immersive dialogue experience.
Maintain and drive improvements in all dialogue related pipelines and workflows from pre-production to implementation and QA processes.
Report to Dialogue Lead and Production regularly and update all relevant parties with issues or blockers, as well as info-share in your successes and experiences gained.

What do we expect from our Dialogue Designers?

Proficiency in production sound, especially with performance capture or film where timecode is required for sync.
Solid working experience with spectral dialogue editorial, such as iZotope RX Advanced or other industry equivalents.
Working experience and high-level operation of DAWs, such as Pro Tools, Reaper, or other industry standards.
Capability with audio middleware such as Wwise, or game engines such as Lumberyard is encouraged.
Skilled with Excel for file and script management and has an eye for attention to detail.
Passion for dialogue in video games or other forms of entertainment.

Covid-19 Hiring Update: We’ve transitioned to a work-from-home model and we’re continuing to interview and hire during this time. This role is expected to begin as a remote position. We understand each person’s circumstances may be unique and will work with you to explore possible interim options.

CIG Diversity Statement

CIG is a global company, staunchly committed to cultivating a culture and workplace that celebrates all backgrounds, lifestyles, and perspectives. Together, we are creating a space where authentic recognition, appreciation, and understanding of the importance of diversity is fostered by everyone. As an Equal Opportunity Employer, we strive to build a team that represents all walks of life, and we want every employee to bring all the things that make them unique to the work environment. The universe is as vast and varied as the people in it, and it’s our differences that make it special.

We are aware of people receiving job offers that fraudulently allege to be from CIG. These types of fraud can be carried out through false websites, fake email addresses claiming to be from our company, or social media. We do not ask for your personal info like bank account numbers, identification numbers, etc through social media or chat-based apps, nor do we request or send money for the purchase of business equipment.

If you suspect fraud, please report it to your local authorities, as well as reaching out to us at info@cloudimperiumgames.com with any information you may have.

More about this job

Source: Cloud Imperium Jobs

Audio Project Manager
Company: Pixelogic Media
Location: Burbank, CA, US

Job description

Pixelogic products and services span the digital spectrum, from enhanced extras packages promoting digital purchase to physical disc authoring. Our clients include virtually all the major Hollywood studios and dozens of independent studios. To date, we’ve delivered thousands of titles to iTunes, Google, Netflix, Amazon, and others. We’ve created a large percentage of iTunes Extras titles available on the App Store, developed the specification of and delivered the first Cross-Platform Extras titles, authored more than eight-thousand DVDs, two-thousand Blu-rays, as well as award-winning tablet and mobile apps. Experience start-up momentum with us and be part of building innovative solutions to service our clients in the entertainment industry with their media distribution needs. Join us if you’re passionate about entertainment, innovation and customer service excellence!

Reasonable accommodations may be made to enable individuals with disabilities to perform essential functions summarized below.

Job Description

The audio and media operations manager will be responsible for overseeing and scheduling jobs related to audio and media post-production services. Primary responsibility includes managing the production and scheduling of a team that prepares or creates localized media content. Content may be in the form of audio, video, or timed text. This includes Pro Tools audio sessions, video reference content, media packages, and audio archive material. Candidate would have a strong understanding and depth of knowledge of Pro Tools and other multimedia tools. The Production Manager would be working with and supporting all audio types and configurations, including Atmos, 7.1 and 5.1. The job requires the candidate to have an expertise in localized multi-language dubbed audio content. A strong understanding of video types, codecs, timecode formats, frame rates, containers, and various video file types is required. An understanding of subtitles and closed captions is required. Candidate will be required to effectively communicate with clients, employees and management. Along with a perfectionist mindset, the job requires that the candidate is required to have exceptional organizational and time management skills.

We offer a competitive compensation package, flexible work schedules, and ample room for professional development.

Requirements
Bachelor degree or equivalent trade specific education
7+ years in audio post-production or media service projects for film and tv
2+ year of being in a supervisor or management position in audio
5+ years of experience working with localized audio and subtitles
Excellent Pro Tools operational skills, including the use of video in Pro Tools
Non-linear video workstation editor skills
Excel and other MS Office application software
Excellent communication skills over phone and email
Deep sense of urgency and ability to work in a fast-paced environment with self-direction
Problem solver with creative and innovative approach and ability to think out of the box
Outstanding organizational and time management skills

Preferred
Strong skills with Mac OS and Microsoft Office Suite
Familiarity with other media applications such as Adobe Suite and Final Cut Pro

Physical Requirements
Ability to continuously sit in an office chair
Ability to operate and work in front of a computer in an audio room setting

Equal Opportunity Employer

We are an equal opportunity employer. Our employment decisions are made without regard to race, religion, color, gender, gender identity, disability, age, sexual orientation, national origin, marital status, citizenship, veteran, military, or any other legally protected status.

More about this job

Source: Pixelogic Media Careers

Senior Audio Software Engineer
Company: Avalanche Salt Lake City
Location: Salt Lake City, UT, US

Job description

Avalanche, a division of WB Games Inc., is seeking a Senior Audio Software Engineer to join our growing team of talented industry veterans working on our upcoming game Hogwarts Legacy, a new open world, action RPG set in the Wizarding World.

The Senior Audio Software Engineer will work closely with the audio design and engineering team to support and develop high-quality audio features for AAA games and will own a variety of audio systems that will drive player engagement through sound. Candidates must be able to demonstrate high competency in audio technologies, a true passion for developing great audio experiences, and a strong desire to develop clear and robust software using a variety of technologies.

The Daily

Participate in all parts of the development process from concept through to live-ops
Collaborate with the audio design and engineering team to architect and develop high quality, low-latency, and highly responsive game code
Collaborate with the audio design and engineering team to architect and support robust supporting tools application software
Support and maintain existing tools and game code according to the audio design and engineering team needs
Design and develop game audio systems and features and integrate with internal and external shared services and libraries
Perform peer code reviews and champion a high standard of code excellence
Mentor junior engineers and provide design guidance and advice on new features
Self-manage programming tasks and coordinate with the production team
Work with design and product teams for feature viability, costing, design completeness, and risk assessment
Assess new market trends, features, technologies, and emerging techniques to stay competitive

The Essentials

8+ years of professional software engineering experience on cross-functional teams
Experience on at least two successfully published game titles or equivalent
Bachelor’s Degree in Computer Science (or a related field) or equivalent work experience
Computer Science fundamentals in object-oriented design, algorithms, and data structures
Proficiency in C++ (templates, exception handling, multi-threading, etc.)
Strong 3D Math (vector and matrix math, quaternions, etc.)
Experience with the Unreal Engine 4 (core systems, object model, audio, etc.)
Knowledge of audio and state-of-the-art audio technologies
Strong problem solving, debugging, and troubleshooting skills
Ability to comfortably entertain, propose and clearly argue, for and against, new ideas and methodologies
Ability to communicate in a clear, concise, and transparent way, both written and verbal
Ability to self-manage when given prioritized goals and objectives
Be a self-motivated team player with a positive attitude and strong work ethic
Seek out opportunities to improve technically and professionally
Have a passion for video games and especially game audio

Nice to have

Experience with AudioKinetic Wwise audio technology
Understanding of Unreal Engine 4 Blueprint technology
Understanding of Unreal Engine 4 module and plugin systems
Experience with scripting languages su

Behind the Fun, Futuristic-retro Sound of ‘Loki’ on Disney+ – with David Acord, Bonnie Wild, & Danielle Dupre:

Jennifer Walden — Thu, 29 Jul 2021 16:01:20 +0200

Get the in-depth story behind the sound of Loki - with David Acord, Bonnie Wild, & Danielle Dupre:

The post Behind the Fun, Futuristic-retro Sound of ‘Loki’ on Disney+ – with David Acord, Bonnie Wild, & Danielle Dupre: appeared first on A Sound Effect.

Composer, Mark Crawford (The Social Dilemma, The Love Bugs)

Sam Hughes — Thu, 29 Jul 2021 15:22:28 +0200

The Sound Architect - All Audio, All For You

(TSAP S04E11) Sam is joined by composer Mark Crawford, where they discuss his Emmy-nominated work on the acclaimed documentary, The Social Dilemma as well as his career so far, music writing process, working with Brandi Carlisle and Renée Elise Goldsberry for the cover of ‘I Put a Spell on You’ and more! Mark has also just...

The post Composer, Mark Crawford (The Social Dilemma, The Love Bugs) appeared first on The Sound Architect.

21 great new audio jobs at Team Audio, Gearbox, Ubisoft, CA Horsham, Naughty Dog, Oculus, The Daily/NYT, KWS, Eidos, Camoflaj, PixelAnt Games, Ubongo, Team ASOBI, The Initiative, The Coalition, Defacto Sound, Zoox, & King

Adriane Kuzminski — Sun, 25 Jul 2021 21:40:03 +0200

We came across interesting new jobs at Team Audio, Gearbox Entertainment, Ubisoft Québec, and Creative Assembly Horsham – and they’re looking for a Senior Sound Designer (Remote – ET-PT), Audio Producer (TX, US), Music Designer (QC, Canada), and Associate to Mid Level Audio Programmer (England).

We also found openings for a Lead Voice Designer at Ubisoft Québec (QC, Canada), Temporary Sound Designer at Naughty Dog (CA, US), Temporary Dialogue Coordinator/Editor at Naughty Dog (CA, US), Audio Systems Engineer, AR/VR Research at Oculus Redmond (WA, US), Responsible Audio at KWS France (France), Sound Designer at Eidos-Montréal (QC, Canada), Technical Sound Designer at Camoflaj (WA, US), Audio Programmer at PixelAnt Games (Poland), Sound Engineer at Ubongo (Tanzania), Audio Designer at Team ASOBI (Japan), Audio Producer at The Daily/NYT (NY, US), Audio Lead at The Initiative (CA, US), Narrative & Audio Producer at The Coalition (BC, Canada), Junior Sound Editor/Designer at Defacto Sound (Remote – US), Audio Software Engineer at Zoox (CA, US), Audio Software Engineer at King Barcelona (Spain), and Senior Technical Audio Designer at Team Audio (Remote – ET-PT).

And be sure to check out the The Audio Jobs group for more opportunities. Happy job hunting!

Highlight – sound stories this week:

• Crafting Sweet Tooth’s unique soundscapes.

• Go behind F9’s sound with Peter Brown, Charlie Campagna & Paul Aulicino.

Senior Sound Designer
Company: Team Audio
Location: Remote (ET-PT)

Job description

Join us! Team Audio is a fully-remote crew that provides audio services for AAA games. Audio for modern games requires full pipeline staffing, so design, tech, direction, and production are core talents on all of our projects. For this role, we are looking for a Senior Sound Designer to help us push what’s possible. We have full-time and part-time contracts available and are willing to be flexible for great candidates.

You’d be a great fit if you can:

Design, implement, and mix audio for games
Record source material such as SFX, ambiences, Foley, and voice over
Own audio content through execution, collaboration, and iteration
Find and suggest creative solutions to enhance game experiences
Keep track of release milestones on all projects in which you are involved
Handle communication and deliveries from any external providers
Collaborate with team members by giving and receiving thoughtful and actionable feedback

We also need someone who:

Has experience as the primary owner of audio content from concept to implementation
Can jump on board with a remote team and communicate regularly on Slack and other widely used communication tools
Can stay on top of milestones and anticipate obstacles
Can implement audio in Wwise
Is familiar with Unreal Engine and the full game development cycle for console and computer games
Has a love for sharing knowledge
Can work hours that are compatible with Pacific to Eastern time zones

It’s a bonus if you:

Have experience with Perforce, Jira, and other collaborative tools
Like to play games

More about this job

Source: Team Audio Jobs

Audio Producer
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 including Brothers in Arms and Borderlands, as well as acquired properties Duke Nukem and Homeworld. Gearbox’s ambition is to entertain the world and its key driving objectives include the pursuit of happiness for our talent, partners and customers, the prioritization of entertainment and creativity and a measured respect for profitability. For more information, visit www.Gearbox.com.

An Audio Producer on Gearbox’s Production Team is a critical role working directly in the trenches with developers on a project. This role operates alongside a department and/or “feature teams” as assigned to one of our titles. The Audio Producer is responsible for coordinating milestone/sprint planning, ensuring there is effective communication between teams, maintaining and reporting status of each area of responsibility, and working with other Producers to make it all come together. A Producer at Gearbox is committed to making the game creation process easier for their team and the broader company.

Responsibilities

Attend meetings as audio department representative voicing feedback or concerns on scope / schedule bloat, risk assessment, pipeline blockers.
Attend production meetings and act as a department ambassador.
Proactively communicate across project disciplines about the project needs and audio requirements
Coordinate with project management and audio leadership to facilitate staffing across multiple projects
Work closely with audio leadership to communicate team status
Create, maintain, and track audio tasking and scheduling for multiple projects.
Help with managing the overall schedule and workload of the audio team.
Attend reoccurring check-ins with audio team members for task tracking oversight.
Prioritize tasks based on project needs and triage bugs
Work with audio leadership to facilitate external partner material needs.
Log meeting notes and transcribe them as action items when necessary.
Understand and plan for major project milestones and deliverables
Communicate with QA department on status of audio
Facilitate onboarding of new staff

What Makes You The Right Person:

You are an enthusiastic and positive person that can motivate others
You have unique X-Factors that you can offer the team where we can learn from you as much as you can learn from us!
You desire to grow both individually and with the team
You love games and have a passion for game making and helping others be as creative as possible
You can make decisions that are best for the project, even difficult decisions that are potentially against the grain

Qualifications:

Direct experience coordinating and/or managing efforts in AAA game development in an Audio Producer or Associate Audio Producer role. (or equivalent work/life experience)
A strong understanding of schedules, pipelines, and dependencies developing games
Fluent or able to use Perforce (or other source control)
Willing to navigate Unreal Engine 4 as necessary to help get the job done.
An understanding and experience with Wwise audio middleware.
Exercise strong JIRA skills and leverage how it can be applied to help organize and track efforts
Experience creating and/or maintaining spreadsheets or schedules to forecast efforts, identify risks, and provide status updates

Bonus Points For:

Bachelors and higher education degree that is applicable to the role, familiarity or understanding of Audio production, expert or consider oneself awesome using Excel

Gearbox Entertainment believes that all team members should be able to enjoy a work environment free from all forms of discrimination and harassment. We are committed to reflecting the diversity of the world we strive to entertain. As an Equal Opportunity Employer, we provide fair and equal treatment to all team members and applicants. We do not discriminate on the basis of race, color, religion, sex, sexual orientation, gender identity or expression, national origin, disability, genetic information, pregnancy or maternity, veteran status, or any other status protected by applicable national, federal, state or local law.

More about this job

Source: Gearbox Careers

Music Designer
Company: Ubisoft Québec
Location: Québec City, QC, Canada

Job description

With a team of more than 500 talented, innovative and passionate creators, Ubisoft Quebec keeps on growing and continues its ascension. Founded in 2005, the studio has been involved in several key Ubisoft franchises over the years, developing cutting-edge expertise in major AAA game development. Involved in the Assassin's Creed franchise since 2010, the Quebec team recently assumed the leadership of Assassin's Creed Odyssey and they also has just finished working on a brand new game, Immortals Fenyx Rising.

Job Description

As a Music Design Specialist at Ubisoft Quebec, you will collaborate with the Audio Director and Music Supervisor to support projects in interactive music design. Defining the moments in the game where the music could play to reinforce the actions and choices of the player during their adventure.

You are responsible for sharing the essential information of the project with the Music Supervisor and realizing the musical vision in game.
You will work with other members of the audio team to explore how the music, sound and voice will work together.
You will interact with the production director and game designers to define and design the system and integration points and work closely with the audio team and their programmers.
You are responsible for the design and integration of the music system into the audio middleware and game editor. You are responsible, in collaboration with the Music Supervisor, for receiving and editing the music deliveries. Editing these stems will be a shared task between the Music Designer and the Music Supervisor.
Finally, through debugging, you will make sure that the game music works properly and fix bugs if there are any.

Responsibilities:

Collaborate with the Audio Director and Music Supervisor to build the music design by brainstorming, prototyping, and conducting research.
Establish the priorities and objectives of music design while considering the limits of time, budget, resources, organization, etc.
Design and integrate the in-game music system in collaboration with other team members.
Edit music.
Write or assist in the creation of documents about music (design, order, etc.)
Suggest models to test the design ideas.
Work as part of the audio team to make sure you understand the overall audio direction and how the music fits into this.
Take part in game creation by working with cross disciplinary teams to enhance the gameplay experience and player immersion from a music perspective.
Perform any other related tasks.

Training and Experience

College or university education in music, video game design, sound design, programming, or any other relevant field.
Minimum 3 years experience in video game
Must have delivered over 2 games, including at least one on a next-gen console

Skills and Knowledge

Knowledge of game middleware, DAW’s and engines, e.g., Wwise
Ability to explain musical ideas to non-musical colleagues.
Musical knowledge and the ability to edit music.
Organization and planning skills.
Ability to set priorities.
Good interpersonal skills.
Ability to work as part of a team.
Knowledge of the video game industry.

What to send our way

CV
Cover letter
Portfolio

Ubisoft’s 19,000 team members, 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 has brought to life many acclaimed franchises such as Assassin’s Creed, Far Cry, Watch Dogs, Just Dance, Rainbow Six, and many more to come. Ubisoft is an equal opportunity employer that believes diverse backgrounds and perspectives are key to creating worlds where both players and teams can thrive and express themselves. If you are excited about solving game-changing challenges, cutting edge technologies and pushing the boundaries of entertainment, we invite you to join our journey !

More about this job

Source: Ubisoft Careers

Associate to Mid Level Audio Programmer
Company: Creative Assembly Horsham
Location: Horsham, UK

Job description

Creative Assembly’s award-winning team behind Alien: Isolation are exploring new frontiers with a brand-new and exciting First-Person Shooter IP.

This an excellent opportunity for an Audio Programmer to join our console development team at our game’s studio based in Horsham, West Sussex. As an Audio Programmer working on CA’s exciting new FPS IP, you will collaborate with our dedicated team of sound designers to support and help develop cutting edge audio features. You will be an integral part of delivering the immersive audio experience our fans have come to expect from our games. In the role of Audio Programmer, you will have the opportunity to touch on many areas of the game from hardware, tools and pipelines up to gameplay and the many systems that support it.

On a day-to-day basis you will:

Work alongside sound designers to iterate on and implement new audio gameplay features using Wwise and Unreal
Extend and improve our in-house toolset
Contribute to next-gen 3D and spatial audio technology
Write clean, coherent code and participate in code reviews and knowledge sharing
Ensure our audio systems perform across multiple platforms

Essential

Fluent in C++
Passion for game audio
Approachable and able to communicate clearly
Ability to work closely with sound designers and other disciplines
Good problem-solving skills with attention to detail

Desirable

Experience using Wwise by Audiokinetic
Experience with Unreal Engine 4
Experience with console development
Writing performant code and managing limited memory
Knowledge of high-level languages such as Python and C#

Creative Assembly is about the right people making the best games. We are united through our values; Quality, Focus, Teamwork, Respect and Trust.

We house many talented people, from trainees to industry veterans who constantly challenge us and make sure we are striving for the best within our games and our studio life.

Winner of multiple Best Place to Work Awards, we have studio sites in Horsham UK and Sofia Bulgaria, including a number of bespoke state-of-the-art audio suites and a dedicated motion capture site.

Currently we are working fully remotely, and we continue to assess the COVID-19 situati

Video Tools Course 1.5 update

Admin — Sun, 25 Jul 2021 20:46:14 +0200

The Video Tools course has been updated again with 2 new videos and 12 new presets for the Video Processor.

The post Video Tools Course 1.5 update first appeared on The REAPER BLOG.

Super8 Looping In REAPER

Admin — Fri, 23 Jul 2021 21:32:01 +0200

Jon goes deeper into learning Super8 and shares what he's learned over the past week

The post Super8 Looping In REAPER first appeared on The REAPER BLOG.

Public Spaces France – SFX Library Release

Ben Gale — Fri, 23 Jul 2021 21:07:06 +0200

I’m very pleased to present my new sound effect library – Public Spaces France. The library is a collection of urban ambiences that I captured whilst living in France, 2016 to 2018.

The release is particularly special to me, as it holds testament to my development as a sound recordist, as I explored my new home through my microphones.

In choosing recordings for this library, I turned to an early work, 60 Minute Cities: Paris. I was amazed to hear the difference from my recordings today.

At the time, I had been practicing the recording equivalent of street-photography. My goal was to tell a story with a single recording. My preferred technique was on-ear binaural stealth recording, so not to disrupt environments.

Whilst this style lead to some cherished recordings, most are unreleasable. Changing perspectives, discernible music and conversation rendered the recordings unfit for a commercial library.

One salvageable recordings is from the Panthéon monument. I recorded 10 minutes of incredible resonant space before the security spotted my binaural mics and advised me that listening to music was prohibited!

AMBRlgn_Panthéon Temple, Reverberant Tourist Walla and Footsteps_Spacewalk Audio (Snippet)

I left the UK in 2016, weeks after the Brexit referendum had taken place. I was privileged to exercise my freedom of movement and right to work within the EU, whilst it was still available to me. My time in France was life affirming and learning a new language developed me in ways I hadn’t previously known.

After a few months in Paris, I took a road trip across the country. One highlight was the alpine town of Annecy. Bustling markets, mountain forests and traditional festivals were all captured in binaural over the course of a few days. Neither the traditional alphorn recitals, nor the market banter made it into the library. However a couple of clean recordings did still capture the vibe of this picturesque town.

AMBPubl_Old-Town Alleyway, Morning Activity_Spacewalk Audio (Snippet)

The road trip lead me to the Occitanie capital, Toulouse, where I settled for the remainder of my time in France. Toulouse is a friendly, vibrant city with a large student population. Geographically it sits halfway between the Mediterranean and the Atlantic and is a stones throw from the Pyrenees mountain range.

My recordings in Toulouse document the first time I began thinking more critically about my recording objectives. I began to separate curation for libraries from field recording art projects, such as the Gilets Jaunes protest recordings.

AMBRest_Restraunt Busy Terrace, Light Walla_Spacewalk Audio (Snippet)

In the summer of 2018 I embarked on a project to capture day to day life in the city. I used a pair of DPA 4060s to record town squares, cobbled streets, food markets, cafes, parks and rooftops.

I focused on the usefulness of the sound from an editor’s perspective. I captured locations from multiple positions at different times of day. The same town square could be a market at 8am, a péntanque pitch at 5pm, and a bar terrace at 10pm

AMBPubl_Nightlife, Public Square (Small), Bar Terrace Walla, Petanque_Spacewalk Audio (Snippet)

In editing this library, my biggest challenge was cutting discernible dialog to create crowd recordings that are true “walla.” Finding the line between vocal noise and distinct voices has been a challenging exercise that I have learnt a lot from. Self discipline is required to remove sounds that aren’t up to standard, even when you subjectively value them.

The end result is a high-quality offering that I am truly happy with. It reflects my progression as a recordist and my appreciation for French culture!

AMBPubl_Rooftop City Activity, Bells and Sirens_Spacewalk Audio (Snippet)

The library is available to purchase from ASoundEffect, initially at a discounted price of $36, along with my other library, “Tunisia“

The post Public Spaces France – SFX Library Release appeared first on Spacewalk Audio.

Sweet Tooth: Playing with Sonic Perspectives for Netflix’s Post-Pandemic Series

Jennifer Walden — Wed, 21 Jul 2021 15:30:05 +0200

Crafting Sweet Tooth's unique soundscapes, playing with perspective, weaving music and sound design, and much more:

The post Sweet Tooth: Playing with Sonic Perspectives for Netflix’s Post-Pandemic Series appeared first on A Sound Effect.

Sound Devices Releases Industry-Leading Wireless Transmitter, the A20-Mini

S&P Staff — Tue, 20 Jul 2021 23:06:18 +0200

Reedsburg, WI – Sound Devices is proud to announce the A20-Mini digital wireless microphone transmitter and its companion app, A20-Remote. The A20-Mini is Sound Devices’ first miniature transmitter and incorporates state-of-the-art features such as full remote control via the A20-Remote app, GainForward Architecture, internal 32-bit float recording, a worldwide tuning range of 470 MHz – 694 [...]

The post Sound Devices Releases Industry-Leading Wireless Transmitter, the A20-Mini appeared first on Sound & Picture.

Behind the Music of Sackboy: A Big Adventure

Sam Hughes — Tue, 20 Jul 2021 15:24:49 +0200

The Sound Architect - All Audio, All For You

(TSAP S04E10) Sam is joined by Jay Waters (Audio Director and Composer, SUMO Digital) along with James E. Marshall (Music Supervisor), and Joe Thwaites (Principal Composer and Audio Lead) from Sony Creative Services Group to give insights into the highly impressive music choices and implementation for Sackboy: A Big Adventure. They dive into the licensing...

The post Behind the Music of Sackboy: A Big Adventure appeared first on The Sound Architect.

20 great new audio jobs at Spotify, Sony Santa Monica, Formosa Interactive, Audacy, Freejam, Relic Entertainment, Sumo, Toys For Bob, Dolby, Riot Games, Warner Music Group, Hazelight, Keywords & Double Eleven

Adriane Kuzminski — Sun, 18 Jul 2021 18:41:07 +0200

We came across interesting new jobs at Sony Santa Monica, Formosa Interactive Seattle, Freejam, and Relic Entertainment – and they’re looking for a Senior Audio Programmer (CA, US / Remote), Technical Sound Designer (WA, US), Junior Game Audio Designer (England), and Audio Designer (BC, Canada).

We also found openings for an Audio Programmer at Sumo Newcastle (England), Sound Designer at Toys For Bob (CA, US), Audio Field Applications Engineer at Dolby Seoul (South Korea), Music Producer at Riot Games Shanghai (SH, China), Audio Producer at Spotify LA (CA, US), Audio Description Writer at Keywords (Remote / Canada), Director of Podcast Production at Warner Music Group (CA, US), Hip Hop Music Specialist at Cognizant (Various US Locations), Audio Designer at Double Eleven (England), Asia Audio Localization Manager at Keywords Shanghai (SH, China), Sound Designer / Post-Production Engineer at Formosa Interactive Seattle (WA, US), Dialogue Editor at Formosa Interactive Burbank (CA, US), Associate Voice Over Producer at Formosa Interactive Burbank (CA, US), Sound Designer / Audio Implementor at Formosa Interactive Seattle (WA, US), and Audio Producer (Part-Time) at Audacy (PA, US).

Bonus: The Audio Jobs group also has opportunities for a Sound Designer at Hazelight (Sweden). Happy job hunting!

Highlight – sound stories this week:

• Capturing Incredible Car Sounds for ‘F9’ – with Peter Brown, Charlie Campagna & Paul Aulicino

• Learn about the sound for Blind Drive with Sound & Game Designer Giori Politi.

• Get key insights from Kip Smedley and his 16 years in sound for advertising.

• Excellent new sound effects

Senior Audio Programmer
Company: Sony Santa Monica
Location: Santa Monica, CA, US

Job description

PlayStation HQ in San Mateo, CA (Note this position can be fully remote for anyone in the USA or Canada)

PlayStation is seeking a software engineer to join our Audio Technology team. This team is responsible for providing the entire audio pipeline from authoring tools to game-runtime to low level synthesizer. Our team works closely with AAA developers like Naughty Dog, Guerrilla Games, etc. to drive the future of PlayStation audio. This is a unique opportunity to be part of all aspects of AAA game audio development and help define the next-generation of game audio. If this is you please apply!

Responsibilities:

Design and implement runtime systems and tools for our customer’s needs (such as propagation, streaming, performance, and so on)
Support sound designers in their use of these systems and tools
Write clear, maintainable, portable, and highly functional code
Profile and performance tune code to remove bottlenecks
Support and extend audio workflows and pipelines
Test and document code produced

Qualifications:

Min. 5 years professional programming experience with expertise in C/C++ and any C# is a plus
Must have prior experience working with Unreal engine; Frostbite, Unity or any AAA propriety game engines a plus.
Exposure to game audio systems, game audio content creation or music production, etc.
Generalist with proven code architecture skill
Excellent spoken and written communication
Able and motivated to work with other team members
Dedication to code quality, documentation, and sound testing procedures
Passionate and takes initiative
Bachelor’s degree in electrical engineering and equivalent experience

Bonus Skill (level-up your application!):

Proficiency in linear algebra

More about this job

Source: PlayStation Careers

Technical Sound Designer
Company: Formosa Interactive Seattle
Location: Seattle, WA, US

Job description

Formosa Interactive Seattle is looking for an experienced Technical Sound Designer to join the growing team and studio in Seattle! Join a culture of creative cooperation with some of the industry’s leading sound designers for games, all dedicated to creating cutting-edge, award-winning game audio.

The Technical Sound Designer – VO Integrator is responsible for audio integration into game engines.

Responsibilities:

Organize audio integration efforts for a major game title
Specialty in VO systems and integration applied across several titles
Onboard onto client projects remotely
Organize and import assets into Wwise, and proprietary audio engines
Integrating audio content into game engines
Animation tagging
Placing emitters and volumes in game engines
Duplicating, modifying, and/or creating scripts
Testing, troubleshooting, and audio QA
Other duties as assigned

Required Skills:

Minimum 3+ years of experience with AAA shipped titles using Wwise
Experience with large-scale animation-driven Foley systems
Demonstrable proficiency with at least one major game engine
Ability to navigate and troubleshoot remote game development environments
Very detail oriented, organized, and able to work with thousands of assets

Preferred Skills:

Working experience with Unity, Unreal, and/or proprietary game engines
Working experience with other 3rd party and/or proprietary audio engines
Intermediate to advanced experience with Blueprints and/or Unity scripting
Fundamental proficiency with professional audio production tools and processes

Qualifications:
Education:

High School education or equivalent required.
BA/BS in applicable field preferred.

More about this job

Source: Jack Menhorn @JackMenhorn

Junior Game Audio Designer
Company: Freejam
Location: Portsmouth, UK

Job description

Freejam (https://freejamgames.com/), developers of the hit online multiplayer game Robocraft (http://robocraftgame.com), is now looking for an Audio Designer to join our growing team in order to build our new ambitious online free-to-play title Techblox (http://techblox.com).

The successful candidate will be involved in the creation and integration of audio effects to provide user feedback for everything that is happening on-screen within the game.

Responsibilities

Collaborate with the game director, programmers and artists to develop sound effects to accompany new gameplay features and content that are in development.
Author new sound effects from sample libraries and audio authoring tools.
Setup and modulate sound effects to play in-game using FMOD Studio.
Test, iterate and polish sound effects for best results in-game.
Optimise and manage audio content in-game for CPU performance, memory, and for best audio quality.
Balance and mix audio across the project.
Document audio systems.

Requirements

Graduate with a degree in audio development or similar.
Or, some industry experience demonstrating skill and competency in these areas.
A strong portfolio showing skill in audio development.
Unity or Unreal experience (preferably Unity as we are a Unity studio).
Strong knowledge of audio authoring software.
Strong knowledge of game audio engines and associated tools such as FMOD or WWise.
Music composition is a bonus, but not essential.
Meticulous and well organised.
Respect for deadlines and be a team player.
Proactive and able to prioritize tasks and manage your time effectively.
You must be friendly, no ego, open to other opinions, but also confident in your own ability and skills. How you integrate as a person within the team will be critical to your success within the role.

Benefits

Freejam is based in Portsmouth, UK. Due to Covid, you will likely onboard with the company remotely, but as soon as it is safe to do so you will be expected to join us in the studio.

Freejam is a fully indie team, we shape our destiny. We decide game features, what platforms we release on, what dates we release on, how we promote and market our games, what business models we choose to follow, our prices, everything. It is fun and very rewarding to be the master of your own game development destiny. This is the freedom that being properly independent brings and this is what Freejam is all about.

Even if we are a small company, we’re able to offer good benefits including flexible working hours, an ambitious, ego-free and relaxing environment. Further perks include days out/pub meet up when possible and, of course, our legendary Christmas parties.

Freejam is currently in the amazing position of building a brand new project and we’re looking for like-minded people who can help shape it.

Diversity
Freejam is aware that sometimes minorities are under-represented in the game development industry. We welcome applications from people from all under-represented groups.

About Portsmouth

Portsmouth is a historic naval city, now recognized for its university, on the south coast of England with good transport links to London. Freejam’s studio is located on the harbour surrounded by popular venues, restaurants, and bars. Portsmouth gives you all the benefits of a proper city, without the chaos and the costs associated with living in London.

More about this job

Source: Freejam Jobs

Audio Designer
Company: Relic Entertainment
Location: Vancouver, BC, Canada

Job description

Relic Entertainment is a wholly owned studio of SEGA. We are an award-winning developer of genre-defining games like Homeworld, Dawn of War, Company of Heroes, and Age of Empires. We have delivered rich, thoughtful strategy games throughout our history and our vision is to continue making games that people love to play.

Relic Entertainment is a wholly owned studio of SEGA. We are an award-winning developer of genre-defining games like Homeworld, Dawn of War, Company of Heroes, and Age of Empires. We have delivered rich, thoughtful strategy games throughout our history and our vision is to continue making games that people love to play. We’re looking for an Audio Designer to join our studio in beautiful Vancouver.

As an integral part of the Audio team, you will create and implement innovative, immersive, and interactive dialog designs. You will also utilize your skill in VO production, ADR/VO sessions, and general VO implementation. This role provides you with an opportunity to experience all areas of game design and development.

As our Audio Designer you will…

Own the Dialog process end to end for a single game
Collaborate with our team to create state-of-the-art interactive dialog playback systems
Design and deliver dialog assets that fit the franchise’s style and aesthetic tone
Integrate dialog assets into the sound engine using Wwise (Wave Works Interactive Sound Engine) and proprietary tools
Create and communicate innovative concepts based on franchise and audio goals
Drive the VO recording process from writing to casting to VO sessions

You are a great fit if you have…

A keen awareness of scripted branching audio and/or programmable logic-controlled Dialog systems
Experience with Wwise interactive systems (or similar proprietary tools) and how they contribute to the gaming experience
Audio experience in games, including:
A proven ability to create and design dialog systems
A solid base of technical audio theory for sound design, VO mastering, and VO acquisition for games
Editing and mastering dialog for games
Conceptualizing and executing audio features and playback systems
Identifying and solving technical and aesthetic problems
The ability to work under tight schedules and reliably hit milestones and communicate progress and risks along the way
A desire to learn, share and grow with us

It’s a bonus if you have…

Experience working with FMOD/UE4 or similar
Some experience and comfort directing VO talent
Scripting experience (Lua, Python and likewise)
Familiarity with RTS and/or Relic games
An interest in the tech or gaming industry

Are you game? We’d like to hear from you!

Please apply through our careers page (www.relic.com) and we will be in touch shortly to let you know about next steps.

This is Relic

We have a culture of kindness, transparency, and play. There is a lot of heart an

Tycho Teaches Live Looping with Super8

Admin — Fri, 16 Jul 2021 17:15:45 +0200

Jon talks with Scott Hansen AKA Tycho about using REAPER's Super 8 Looper for songwriting and live performances.

The post Tycho Teaches Live Looping with Super8 first appeared on The REAPER BLOG.

Capturing Incredible Car Sounds for ‘F9’ – with Peter Brown, Charlie Campagna & Paul Aulicino

Jennifer Walden — Thu, 15 Jul 2021 22:46:06 +0200

Sound Supervisor Peter Brown, & sound recordists Charlie Campagna & Paul Aulicino take you behind F9's sound:

The post Capturing Incredible Car Sounds for ‘F9’ – with Peter Brown, Charlie Campagna & Paul Aulicino appeared first on A Sound Effect.

Behind Blind Drive’s Essential Game Audio:

Jennifer Walden — Tue, 13 Jul 2021 21:14:33 +0200

Sound Designer/Game Designer Giori Politi takes you behind the sound for Blind Drive:

The post Behind Blind Drive’s Essential Game Audio: appeared first on A Sound Effect.

169 – Building a Backyard Studio Roundtable

Timothy Muirhead — Tue, 13 Jul 2021 17:58:29 +0200

Al Sirkett and Lucy Mitchell tell us about their experiences building new stand alone studio spaces in their backyards. They tell us everything they learned,…

The FASTEST way to render assets in REAPER – LKC Render Blocks

Admin — Fri, 09 Jul 2021 16:28:56 +0200

Render Blocks is a set of scripts allowing packing of sound assets into blocks, with labels, for easy manipulation, or instant exporting.
In this video Jon talks to Render Blocks creator Nikola Lukic.

The post The FASTEST way to render assets in REAPER – LKC Render Blocks first appeared on The REAPER BLOG.

20 great new audio jobs at Media Molecule, Climax Studios, Quantic Dream, Odyssey Interactive, PlayStation Europe, VFS, Quantic Dream, Supermassive, Ubisoft Bordeaux, Schell, Harman, BBC Scotland, Lionshead, Sound Lab, Lucid Games, YouTube Singapore, Warn

Adriane Kuzminski — Fri, 09 Jul 2021 10:20:06 +0200

We came across interesting new jobs at Media Molecule, Climax Studios, Quantic Dream, and Odyssey Interactive – and they’re looking for a Senior Sound Designer (England), Technical Audio Designer (England), Lead Audio (France), and Senior+ Sound Designer (ON, Canada).

We also found openings for an Audio Producer at PlayStation Europe (England), Sound Design Career Advisor at Vancouver Film School (BC, Canada), Lead Audio at Quantic Dream (France), Dialogue Designer at Supermassive Games (England), Voice Designer at Ubisoft Bordeaux (France), Senior Audio Developer at Schell Games (PA, US), Principal Acoustic Systems Engineer at Harman (CA, US), Dubbing Mixer at BBC Scotland (Scotland), Experienced Sound Designer at Lucid Games (England), Dialogue Designer at Supermassive Games (England), Head of Music Solutions at YouTube Singapore (Singapore), Director of Podcast Production at Warner Music Group (CA, US), and Senior Audio Designer at 31st Union San Mateo (CA, US).

Bonus: The Audio Jobs group also has opportunities for a Senior Technical Sound Designer at Lionshead Entertainment (BC, Canada), and Senior Sound Designer and Sound Designer at Sound Lab (CA, US / Remote). Happy job hunting!

Highlight – sound stories this week:

• Supervising sound editor Brad North takes you behind the sound for HBO’s excellent Mare of Easttown

• Insights and tips from Kip Smedley – from 16 years of doing audio for advertising

• Your chances to win Rob Bridgett's Leading With Sound

• The very latest in sound effects

Senior Sound Designer
Company: Media Molecule
Location: Guildford, UK

Job description

It’s a great time to be part of the Media Molecule team as the studio undergoes an exciting period of growth and evolution. We are now looking for a talented senior sound designer to join our Audio team and help with our award winning, user-created content project, Dreams. This is without doubt, one of the best Audio roles around. There’s huge scope for impact in this role, with ownership of both musical and audio design. The senior sound designer will take ownership of a product area, assessing its needs, creating the necessary sounds, and guiding any additional work that needs to be taken on (e.g. handling a session musician or VO recording session etc.)

What are we looking for?

Ability to produce sounds that inspire and impress us. They should understand what is required to make a game sound good and be able to demonstrate that knowledge with examples of work.
An intimate knowledge of sound recording, mixing, editing etc. They should have experience recording different material, and an understanding of all the practicalities involved.
Demonstrable experience and knowledge of using at least one game sound implementation system. E.g. Wwise, FMOD, Unity, Unreal etc.
a working knowledge of an in-game implementation system or have used some form of scripting language. Experience with logic is an important part of this role.
Demonstrable knowledge using systems like UE4 Blueprints, Max MSP or other visual logic systems is highly desirable.
The candidate should show some musical knowledge and composition skills. The ability to compose and engineer music is an important feature of this post.
Previous experience in the games industry
A proactive, creative and collaborative approach

We are accepting applications from people with varied levels of experience.

To apply for this position please submit your CV & show-reel showing footage featuring your work

If you can, please make sure your showreel is short and to the point – no more than 1:30 in length. Show us your best work, and your ability to make some editorial choices too!

This is a permanent position.

Before you apply

People of all backgrounds, experiences, abilities and perspectives are encouraged to apply. Media Molecule is committed to creating an inclusive and safe work environment that reflects the diversity of the world around us. We are an equal opportunity employer. Qualified applicants will receive consideration for employment without regard to their race, ethnicity, religion, gender, sexual orientation, age or disability status.

Tips for getting hired!
• Words are not enough! We need to see what you make: a portfolio, showreel, demo…send us a curated selection of your work that shows just the pieces you’re most proud of. Don’t be afraid to show us your personal work alongside your professional projects… just make sure we have your best creations to look at. We’re certainly excited to see portfolios made in Dreams as well.
• Be yourself. We are a studio that encourages our team think creatively, to play with new technology and jam on individual ideas. We love seeing the personality of everyone at Media Molecule reflected in Dreams and so it’s YOU and YOUR STYLE that we are interested in learning about.
• Embrace collaboration. Dreams is a very collaborative project and Media Molecule loves a game jam, so we need team members that can work well together – sometimes across departments that don’t traditionally overlap. Maybe you already work on a team, or manage a guild or play in a band – we’d love to hear how you get on collaborating with others.
• Go for it. Media Molecule is filled with people with all sorts of previous experiences – straight from university, from jobs outside the industry, from AAA studios and indie ones, etc. We are after people who fit the roles we are hiring for not a specific number of years in the industry. Some roles benefit from certain experience, of course, but otherwise we are very open. We make creative games, and creativity is something we all enjoy. If you are interested then please apply – and don’t forget that portfolio!

What you get

On top of all the things we already mentioned, you’ll also get to be part of a talented, diverse team of people, get a tip top benefits package, including private health and life insurance, income protection and all that jazz, a competitive salary, a winning bonus scheme, a personal development fund, being a name and not a number, free lunches, organic fruit, and really comfy chairs. Our main studio is based in Guildford, and we now also have a small office in Brighton.

If the all of those job requirements seem to be describing you, and you like the sound of working at Media Molecule, then you should apply at once!

More about this job

Source: Media Molecule Jobs

Technical Audio Designer
Company: Climax Studios
Location: Portsmouth, UK

Job description

Climax Studios was established nearly 30 years ago, we have an extensive history in developing all kinds of digital experiences across all formats, and we have won multiple awards along the way.

We have a state of the art studio located in the heart of the beautiful Gunwharf Quays in Portsmouth overlooking the Harbour.

You take your creativity seriously and games should be what get you fired up and passionate. At Climax we embrace those who see things in a different way and aren’t afraid to try-out new things and push themselves out of their comfort zones.

We are looking for a talented and highly enthusiastic Technical Audio Designer to join our award winning development team.

Responsibilities

Collaborate with designers and programmers to develop and / or port audio systems and tools
Manage audio date budget, Wwise session organization, SoundBank structure and loading, and run-time audio optimisations
Documenting audio systems
Producing high-quality assets with great attention to detail and fit for a variety of game genres

Requirements

Three years commercial experience, with at least one shipped title on console / multi-platform
Excellent and demonstrable knowledge of Wwise
Proficient knowledge of industry standard game engines, such as Unreal Engine 4 and Unity
Effective communication skills
Demonstrable experience of game audio design from concept through to final implementation in-game (via show-reel)
Knowledge and experience with building and maintaining modern audio systems in AAA titles
Experience mixing in 5.1 and 7.1 surround sound for games
Experience with DAWs (Reaper is a plus)

Bonus points:

Music composition in a variety of genres
Proficiency with scripting using Unreal Blueprints
Coding or Scripting experience (especially in C# or C++)
Basic understanding of DSP and audio programming skills

More about this job

Source: Climax Studios Careers

Lead Audio
Company: Quantic Dream
Location: Paris, France

Contract type

Long term position

Job description

As part of its development program, and for its ambitious forthcoming productions, QUANTIC DREAM is recruiting a Lead Audio.

Managing a team of 3-4 people, you will contribute and develop the vision and implementation of all the audio/sound design aspects of projects under development.

In close collaboration with the Creative Director, your role will be as follows:

Supervising the creation of a unique audio identity, in particular for a very ambitious AAA project, in close collaboration with the Creative Director and the Artistic Directors;
Supervising and managing the team of Sound Designers;
Supervising and managing the workflow of all audio productions;
Managing Performance Capture on the Motion Capture stage;
Creating and ensuring the creation of all audio assets, such as Foley and SFX recordings;
Responsibility for audio integration in the build;
Responsibility for mixing all the audio tracks in the build;
Supervising recordings with Air, Abbey Road and other studios.
Creating the guidelines and prerequisites and following up/collaborating in the creation of audio pipeline integration tools for projects developed by the company;
Collaborating and communicating with all the studio’s other departments and services;
Managing the schedules and budgets for Sound Design/audio in close collaboration with the Production Director;
Ensuring the development and maintenance of the audio equipment for the sound studio and for Performance Capture;
Being proactive in the development/creation of audio features and finding solutions to technical challenges;
Supporting and improving the development process;
Managing, supervising, mentoring and training the existing team of 3 Sound Designers;
Leading/reviewing the quality of audio deliverables throughout the production cycle.
Providing technological monitoring.

Required skills

You have a track record of around ten years’ experience in video game development in a similar position for AAA productions.
You are passionate about the video games and film industry, and have solid training in audio and music.
Significant experience in multichannel mixing (5.1/ Atmos) (mixing experience in the film or TV industry would be an advantage)
Thorough knowledge and mastery of the industry’s Loudness and mixing standards
Good knowledge of the Wwise audio engine (Fmod or equivalent proprietary engine)
Expert in linear audio (ProTools, Nuendo, Waves, Flux)
Expert in Sound Design
Good knowledge of studio audio equipment and recording techniques (Voice, Sound Effects, Motion Capture)
A well-honed vision of the game experience and a very good eye for detail
Ability to work in highly iterative processes
You are a good listener, are quick to understand and are able to interpret needs
You are a meticulous and methodical self-starter with curiosity and team spirit – these are essential qualities to be a good fit in our friendly organization.
Skills in time-management, and the ability to apply these principles effectively via schedules and deadlines.
A proactive attitude, seeking to improve your skills and knowledge, and to share them with other team members.
You have a positive professional attitude and can communicate effectively with other teams; you have the interpersonal qualities needed to develop constructive relationships with your contact persons.
Excellent managerial and team leadership skills.
You take the initiative and are proactive.
Your creativity and practical approach help you find and apply the best solutions to move forward.
You want to be involved in innovative, high added-value projects.
Business English

We offer you the opportunity to work with experienced and passionate people, in a creative and innovative environment.

Sound for commercials: Kip Smedley shares tips and pointers – from 16 years of doing audio for advertising:

Doug Siebum — Thu, 08 Jul 2021 13:38:53 +0200

Sound effects editor Kip Smedley shares key insights from 16 years in sound for the advertising industry:

The post Sound for commercials: Kip Smedley shares tips and pointers – from 16 years of doing audio for advertising: appeared first on A Sound Effect.

Making Mare of Easttown’s Supportive, Subtle Sound

Jennifer Walden — Tue, 06 Jul 2021 16:47:59 +0200

Supervising sound editor Brad North takes you behind the sound for HBO's excellent Mare of Easttown:

The post Making Mare of Easttown’s Supportive, Subtle Sound appeared first on A Sound Effect.

New Features in REAPER 6.30 – Render Normalizing and more!

Admin — Tue, 06 Jul 2021 16:32:11 +0200

Normalizing loudness when rendering, dry run render, calculate loudness, LUFS track metering and more

The post New Features in REAPER 6.30 – Render Normalizing and more! first appeared on The REAPER BLOG.

Strange unidentified sounds

George Vlad — Sat, 03 Jul 2021 14:45:14 +0200

Unexplained or unidentified calls in my sound recordings - weird birds calling, strange mammals in the undergrowth, unexplained species - are a beautiful and fascinating side product of my approach to field recording. Listening to overnight recordings is like opening up presents, I never know what I'll find!

Sometimes I can identify these sounds with a bit of digging and/or a friend's help. Listening to sound recordings with an analytical mindset is great for scientific or technical purposes. It's one way I've learned and improved my technique over the years. It's also a bit limiting, since focusing on the technical aspects can be detrimental to the artistic and aesthetic perception of a soundscape recording.

One of the friends I made while out recording at night

Learning to compartmentalise and to separate these mindsets has been a complex process, but now I can switch from one to the other without much effort. I could easily look up the bird and deer calls in this recording, in fact I have a rough idea of what they may be. There are two instances where I can hear more peculiar and weird calls which I can't explain. Let me know if you find them, they're pretty intriguing!

I choose to listen to this entire sound recording as a whole experience and not to split it into its components though. The acoustics of the forest are beautiful even if there aren't many layers to hear. The constant soft rain creates a subtle polyrhythm when mixed with the bird calls. It feels slightly unnerving but also enticing and mysterious. I can almost feel the cold raindrops on my skin and the smell of damp vegetation around me. This might fall into synaesthesia territory but it's been proven that sound influences our other senses in ways we're only now starting to understand.

This soundscape was recorded in a dark forest, with sound recording equipment (don't ask more, just listen to the soundscape and enjoy it without questioning or analysing it).

Another nighttime friend

Fresh Start REAPER 6 Settings – Part 3

Admin — Fri, 02 Jul 2021 17:02:41 +0200

In part 3 Jon works on configuring keyboard shortcuts for navigation, Mixer menus, and track shortcuts.

The post Fresh Start REAPER 6 Settings – Part 3 first appeared on The REAPER BLOG.

20 great new audio jobs at AudioValley, Deck Nine, tinyBuild Games, Lionshead, Gameloft Montréal, Playground, Ubisoft Stockholm, Roblox, Outplay, AudioValley, Deck Nine, Peloton, Wordwall, Studio Productions, and Play’n GO

Adriane Kuzminski — Thu, 01 Jul 2021 22:08:02 +0200

We came across interesting new jobs at AudioValley, Deck Nine, tinyBuild Games, and Lionshead Entertainment – and they’re looking for a Junior Music Manager (France), Audio Lead (CO, US), Sound Designer (MOS, Russia / Remote), and Technical Sound Designer (BC, Canada).

We also found openings for a Sound Designer at Gameloft Montréal (QC, Canada), Sound Designer for Marketing at Gameloft Montréal (QC, Canada), Audio Director at Gameloft Montréal (QC, Canada), Senior Audio Designer at Playground Games (England), Senior Programmer at Ubisoft Stockholm (Sweden), Technical Sound Designer at Ubisoft Stockholm (Sweden), Software Engineer, Audio ML at Roblox (CA, US), Audio Designer at Outplay (Scotland / Remote), Junior Music Manager at AudioValley (France), Producer at Deck Nine (CO, US), Producer at TinyBuild Games (MOS, Russia / Remote), Workstream Lead QA – Voice at Peloton (NY, US), Senior Sound Designer at Wordwall (England), Senior Sound Designer at Lionshead Entertainment (BC, Canada), Audio Head at Studio Productions LLC (NY, US), and Audio Producer at Play’n GO (England).

And be sure to check out the The Audio Jobs group for more opportunities. Happy job hunting!

Highlight – sound stories this week:

→ Learn more about Leading With Sound – and get the chance to win a copy here, too.

→ Returnal: How its glorious, dark electronic sound was made – with Loic Couthier, Simon Gumbleton, Ash Read, Peter Hanson, Lewis Everest, and Harvey Scott

→ Creating the sound for ‘The Mandalorian’ – with Foley Mixer Blake Collins CAS

→ Excellent new sound effects from the independent sound community

Junior Music Manager
Company: AudioValley
Location: Paris, France

Job description

Introducing a prime opportunity for a passionate music aficionado to join one of the most established and innovative digital music services on the market. Your unparalleled ear for music will help you unveil the best songs and playlists for both the community and our licensing clients, whose requests are more than challenging.

Be part of a team that shapes Jamendo as the leading online platform for music lovers, indie artists and professionals searching for the perfect tracks.

We receive on a daily basis hundreds of tracks uploaded by our community. In order to offer the best possible experience to our users, those tracks have to be moderated, tagged and rated. You will be assisted by an automatic tool based on AI (Musiio). Your work will be at the very heart of all our company activities.

Your tasks:

Listen to our new content and moderate it for Jamendo Music (www.jamendo.com) and Jamendo Licensing (licensing.jamendo.com) : rate the music, qualify it by genres/subgenres.
Editorial : Programming of the musical content (playlists, artists, albums, singles) served to our community of users.
Music supervision for an eclectic range of sync projects (online videos, ads, films etc.), commissioned by our licensing clients.
Liaising on a day-to-day basis with our network of artists on various music-related projects and offer them support.
Take part in the implementation of new partnerships and services dedicated to the artists.

Profile & skills:

Enthusiasm for music (good knowledge of music genres and subgenres is highly recommended) and music industry. Most ideally, you are involved in music related activities at your level (artist, musician, blogger, association etc.).
Ability to critically listen to large quantities of music in order to assess its quality.
Basic knowledge of music theory, music production.
Fluent in English. Any additional language is an asset.
You are well organized.
You are very curious and eager to learn.
You can work in autonomy and you are not afraid of taking initiatives.

What we offer:

Full-time, permanent contract. Possibility of internship (min. 6 months) or work-study contract.
International and passionate team
Great location in Paris

About Jamendo:
Jamendo is the world’s largest royalty-free music community for independent artists. We reach millions of music enthusiasts globally every month through our website and apps. Our goal is to help people discover free music uploaded by talented and emerging artists.

We provide exposure and a unique way to make money for independent artists thanks to our sync and in-store licensing products. (licensing.jamendo.com)

Jamendo is proud to help emergent artists make a living since 2004.

You want a boost in your career, work in a fun environment while shaping the future of music?

Look no further! Join our team of talented professionals!

More about this job

Source: Devbrada

Audio Lead
Company: Deck Nine
Location: Boulder, CO, US

Job description

Deck Nine Games is looking for a creative and technical Audio Lead with the capability to design and implement assets, lead the audio efforts for our project, and specialize in key audio systems.

Our narrative-driven projects require a wide array of knowledge and high collaboration with other gifted creatives, to deliver an engaging video game experience. The Audio Director will directly manage a team of Audio Designers to design engaging sound effects, record and implement quality V.O., and oversee integration of a captivating score and music.

Responsibilities:

Encourage a culture of respect, support, collaboration, comradery, and creativity throughout the audio team and beyond.
Manage a team of audio designers, providing guidance and feedback on audio quality, consistency, and implementation.
Collaborate with creative directors, game directors, and other key stakeholders to define game audio quality bar and vision.
Work with team leads and production to ensure audio staff are represented in all strike teams throughout development, and that they are fully scheduled and tasked.
Manage music direction for the project, owning licensed music selection, coordinating with artists/composers producing score, and integrating all music for an alluring gaming experience.
Oversee, develop, and document project pipelines and onboard new audio team members.

Benefits

Competitive starting salary
Generous PTO including paid parental leave
Health, dental, and vision insurance for you and your family

If you are a talented and passionate game developer and you are looking to challenge yourself, please apply today! Full-time position available, remote to start but with ability to relocate and applicants must already be authorized to work in the U.S.

About Deck Nine

Deck Nine Games is an independent game developer dedicated to crafting interactive story games that inspire, transform, and entertain players. Our passion is storytelling games.

Our first narrative game, Life is Strange: Before the Storm is loved by fans and has won multiple awards, including Game of Year and was nominated for both a VGA and a BAFTA. The studio is 100+ people and is in sunny Westminster, Colorado at the base of the Rocky Mountains. We hope to share more information about our next title with Square Enix as soon as we can.

We’re looking for talented and self-motivated people to join us as we aim to rise to the top of the storytelling game studios. If this sounds appealing to you, please apply!

As the crafters of stories that encompass the full breadth of life’s experiences, Deck Nine is committed to building a diverse, inclusive, and multicultural team in which people from all walks of life feel inspired to do their best work. We are proud to be an equal opportunity employer and believe deeply in the creativity and strength built from diversity of race, religion, disability, gender, gender identity and expression, sexual orientation, nationality, and the many other qualities that make us different.

Qualifications

At least 5+ years of experience in a leadership role for game audio, involved with full development cycles of multiple shipped titles preferred.
Comprehensive understanding and practical experience in every facet of game audio production, including experience with Wwise across multiple full development cycles.
Expert understanding of Foley, recording, mixing, sound design, implementation, scripting voice over, and localization techniques and best practices.
Proven experience working and coordinating with game developers from different disciplines.
Familiarity with the different kinds of production and implementation of music in a game engine, from looping tracks to linear pieces and stingers.
Sound design portfolio or reel.
Organized leadership skills in an environment of competing priorities and time management.
Full-time position must be willing to eventually relocate to the Denver, Colorado region.

Bonus Qualifications

A Bachelor's degree or higher in an audio-related field.
Experience working on narrative-driven games with emergent audio features and systems, including branching conditionalized sequences (e.g. dialogue branches).
Experience using Unreal Engine and Blueprints on at least one full development cycle.
Music composition experience for a visual medium (portfolio/samples preferred).
Relevant television/film experience.

More about this job

Source: Deck Nine Careers

Sound Designer
Company: tinyBuild Games
Location: Moscow, Russia / Remote

Job description

Hello Engineer is a physics-based multiplayer construction set set in the Hello Neighbor universe. Build with friends or alone whatever you want: from racing cars and planes to mechanical catapults and self-propelled robots. Exchange hidden blueprints, compete with other players in PVP arenas and beware of the Neighbor.

With tinyBuild, you have great opportunities for professional growth and development. We build the process of work in the company as transparent and understandable as possible, with a minimum of bureaucracy and maximum attention to the ideas of employees.

You will be working with AA projects for PC and consoles, which is not only very exciting, but also quite difficult. We face many challenges every day and try to make our projects high quality and sticky for the players.

What tasks (responsibilities)?

creation of SFX assets for games and trailers
mix of sounds integration of sound assets into the game
finalization of ready-made sounds and music
interaction with project teams – developers, designers, producers
the ability to record Foley is a plus
the ability to record in the field is a big plus

What kind of professional are we looking for?

experience with Unity
experience with Wwise
experience with version control systems, understanding the game development process
experience working as a sound designer, creating and integrating sounds on game project
ability to "feel" and get into the style of the project

More about this job

Source: tinyBuild Jobs

Technical Sound Designer
Company: Lionshead Entertainment
Location: Vancouver, BC, Canada

Job description

Lionshead Entertainment is an audio outsourcing company based in Vancouver, Canada. We are a growing team of talented audio professionals with a passion for creating immersive audio experiences for video games. We work on some of the industry’s greatest AAA games for clients such as Microsoft, Disney, Blackbird Interactive and Unity.

We are looking for a talented Technical Sound Designer who is self starting, motivated, team focussed and passionate about creating AAA quality audio experiences. They will be versatile in their design abilities, detail oriented and have a good understanding of the technical side of game audio.

The successful candidate will join our team to help with two exciting upcoming projects. This a contract position starting at 8 months with the option to renew. The position is remote and a home studio setup is required.

Responsibilities

Collaborate closely with the Audio Director, sound designers and development team to create, improve and integrate audio features and content in the game using middleware and scripting solutions directly in-engine.
Coordinate and act as a bridge between the audio department and other team members to ensure that audio features are successfully integrated in animation, missions, world systems, level and mission designs, etc.
Identify technical audio needs for the project, communicate and collaborate with stakeholders, engineering and sound designers to implement and tune those needs
Maintain the audio project structure ensuring that the audio workflow, system resources, filename conventions and audio quality are consistent.
Create, design and document audio systems such as the music system, dialogue & chatter systems, locomotion, weapons, vehicles, etc.
Design and improve audio tools and pipelines and see them to fruition in collaboration with the audio and programming teams.

Required Qualifications

Fluent in industry standard middleware such as Wwise, FMod and Fabric
Strong scripting skills and experience in Unreal and Unity
Strong communication and organizational skills.
Adapts well to change & ability to work on multiple features and tasks.
Excellent troubleshooting and problem-solving skills.
Experience in shipping 1+ games as a technical sound designer.
Ability to collaborate and iterate with cross-disciplinary teammates.
Structure, attention to detail, thoroughness and efficiency
Knowledge in technical design and implementation of key audio systems (Wwise, FMOD, Fabric, Unreal Blueprints).
Fluent in common audio tools and software (ProTools , Reaper, Cubase, Nuendo, etc).
Experience designing/creating tools and a grasp of programming fundamentals as they apply to scripting dynamic audio
Self starting and open-minded to critical feedback.
3+ years of experience.

Fresh Start REAPER 6 Settings – Part 2

Admin — Thu, 01 Jul 2021 17:02:09 +0200

Configuring VST Plugin folders, FX Browser options and organization, the main toolbar and more.

The post Fresh Start REAPER 6 Settings – Part 2 first appeared on The REAPER BLOG.

Returnal: How its glorious, dark electronic sound was made (and making the most of PS5’s new 3D audio engine)

Jennifer Walden — Wed, 30 Jun 2021 19:38:26 +0200

Get a powerful game audio deep-dive with Loic Couthier, Simon Gumbleton, Ash Read, Peter Hanson, Lewis Everest, and Harvey Scott:

The post Returnal: How its glorious, dark electronic sound was made (and making the most of PS5’s new 3D audio engine) appeared first on A Sound Effect.

Creating the sound for ‘The Mandalorian’ – with Foley Mixer Blake Collins CAS

Asbjoern Andersen — Wed, 30 Jun 2021 14:26:14 +0200

Blake Collins CAS shares interesting insights into the process of creating the Foley for 'The Mandalorian':

The post Creating the sound for ‘The Mandalorian’ – with Foley Mixer Blake Collins CAS appeared first on A Sound Effect.

Exploring Sound Design Tools: Wormhole

Javier Zumer — Tue, 29 Jun 2021 20:29:00 +0200

Today I’m having a look at Zynaptiq’s Wormhole, a quite versatile warping, pitch bending plugin to use on sound effects, voice over and even musical elements.

Interface & Features

Wormhole has a few sections that operate more or less independently. It features the usual BIG wheel/knob thingy that other Zynaptiq’s pugins usually use, which in this case shifts the main warping effect up or down.

So if we look at the plugin’s signal flow, we see that it mainly consists of a warping section and shifting section. Both the dry and wet signals can be then delayed and finally reverb can be added at the very end or just after the main sections.

If we have a nother look at the UI, we can see where each of these sections live:

Warping

So let’s have a look at the Warp section which is the main feature of this plugin. Zynaptiq describes it as “proprietary time-domain local spectrum inversion“. Somewhat similar to a ring modulator but capable of producing unique sounds. Let’s see its settings:

Warp Depth: This adjust the frequency spectrum affected, low values will only affect high frequencies, while higher values will affect the whole spectrum but would give a milder result. To me, changing this value kind of feels like pitch shifting in a way. You can hear some examples here:

Poles: Increasing this value tightens up the frequencies and harmonics generated around an specific pitch while lower values create a more smeared sound. So use higher values if you want a thinned out type of sound. All the examples below where recorded while depth was at 50%.

Tilt: This shifts the whole warped spectrum up or down. So it kind of works like frequency shifting but with formant distorting qualities. This is what we control with the big circular knob.

Filter: This is just a simple low-pass filter than can be used after the warp and poles parameters (Pre) or afterthe tilt process (Post). The pre setting is generally better to create broken sounds, while post will result in cleaner results. Personally, I generally don’t notice much of a difference between pre and post.

Shifting

The shifting section is the other main feature Wormhole offers We find both frequency and pitch shifting. The difference between these two is that with frequency shifting, we are just moving all frequencies the same amount up or down which will results in more dramatic changes for low frequencies, musically speaking but far smaller changes for higher ones. In this sense, we could perfectly shift the fundamental note but the harmonics won’t be in the correct place since they are higher frequency. Pitch shifting, on the other hand, takes this into consideration and moves higher frequencies exponentially further away so the result sounds musical.

Let’s have a look at the settings that it offers so we can understand how it works:

Frequency Shift: It goes from -4000 Hz to +4000 Hz. Yeah, Hz, not semitones since this is frequency shift, not pitch shift. There are two modes here, linear and map. I see that map is the default option as it offers more granular change around 0 while the extremes change pitch in a more dramatic way.

Decay Time: Frequencies that play for longer than the desired time, will be discarded. So at the maximum value, nothing will change but as the value is lower the sound tends to dry out, reverb and noise can be reduced.

Pitch Shift: This is the proper pitch shift section and it uses 4 different modes:

Smooth: +/- 48 Semitones, optmized for low transient sounds.
Thight: +/- 48 Semitones, optimized for transient heavy sounds
Detune A: +/- 48 cents where L and R channels are shifted to produce a widening effect. Tight algorithm.
Detune B: +/- 48 cents where L and R channels are shifted to produce a widening effect. Smooth algorithm.

Other Features

We can also find a simple reverb with size and damp controls plus wet/dry controls for each individual section (Warp, Shift and Reverb). These three sections can change in routing order too.

Additionally, there is a blend section that offers something a bit more powerful than a simple master wet/dry mix control. When processing audio, you usually can hear the dry and wet at the same time, instead of a new, unique sound. Wormhole offers you a different way of blending dry and wet as the sound is gradually processed so you can have much smoother transitions and interesting intermediate states. Let’s see the modes it offers:

X-Fade: Normal dy/wet mix.
Morph A: Uses the properties of the wet signal to create the intermediate states.
Morph B: Uses the dry signal as the base, resulting in more subtle blending.

Finally, Wormhole has a delay value so you can blend dry and wet with a timing difference.

Processing Examples

Leading With Sound: A primer on Rob Bridgett’s excellent new game audio book (+ your chance to win it!)

Asbjoern Andersen — Tue, 29 Jun 2021 15:09:12 +0200

Learn more about Leading With Sound - and get the chance to win a copy here too:

The post Leading With Sound: A primer on Rob Bridgett’s excellent new game audio book (+ your chance to win it!) appeared first on A Sound Effect.

Exporting MIDI from REAPER

Admin — Mon, 28 Jun 2021 17:06:44 +0200

Exporting MIDI from a REAPER Project, as individual files or the entire project. What works and what doesn't.

The post Exporting MIDI from REAPER first appeared on The REAPER BLOG.

Returnal – Supervising Sound Designer, Loic Couthier (Sony PlayStation Europe)

Sam Hughes — Sat, 26 Jun 2021 17:03:40 +0200

The Sound Architect - All Audio, All For You

(TSAP S04E09) *Our first ever podcast featuring 3D audio in the intro and outro!* In this episode, Sam is joined by Loic Couthier to chat about the game audio for Returnal from Finnish studio Housemarque. They deep dive into the complex systems under the hood, the challenges of mixing (with potentially 700 projectiles fired at...

The post Returnal – Supervising Sound Designer, Loic Couthier (Sony PlayStation Europe) appeared first on The Sound Architect.

Toggle Fast Edit Mode

Admin — Sat, 26 Jun 2021 01:03:05 +0200

How to turn two custom actions into a toggle in REAPER.

The post Toggle Fast Edit Mode first appeared on The REAPER BLOG.

18 great new audio jobs at Fatshark, Brass Lion, Ubisoft Montreuil, Riot LA, Cyberwire, Jabra, Rec Room, Wave, Deep Silver Dambuster, Black March Studios, Creasaur, WB, Red Bee Media, Mood Media, The Futuro Media Group, Behold Studios, and Splash Damage

Adriane Kuzminski — Thu, 24 Jun 2021 22:04:46 +0200

We came across interesting new jobs at Fatshark, Brass Lion Entertainment, Ubisoft Montreuil, and Riot LA – and they’re looking for an Audio Director (Sweden), Senior Sound Designer (NY, US / QC, Canada / Remote), and Sound Designer (France).

We also found openings for a Sound Designer at Riot LA (CA, US), Audio Editor at Cyberwire (MD, US), Audio Engineer at Jabra (Denmark), Senior Software Engineer, Audio at Rec Room (WA, US), Music Licensing Administrator at Wave (CA, US), Dialogue Designer at Deep Silver Dambuster (England), Sound Designer at Black March Studios (India), Sound Designer at Creasaur Entertainment (ANK, Turkey), Audio Designer at Warner Bros Entertainment (QC, Canada), Audio Engineer at Red Bee Media (Netherlands), Sound Designer at Mood Media (TX, US), Audio Engineer at The Futuro Media Group (NY, US), Sound Designer at Behold Studios (ON, Canada), and Assistant Audio Designer at Splash Damage (England).

And be sure to check out The Audio Jobs group for more opportunities. Happy job hunting!

Highlight – sound stories this week:

• The Sound Design Power List is live: Be sure to check it out here!

• “One of the best sound designs in the history of television” was how one critic described the sound of The Underground Railroad – here’s how it was made.

• Excellent new sound effects added – here they are

Audio Director
Company: Fatshark
Location: Stockholm, Sweden

Job description

We are a critically acclaimed Swedish game development studio with about 150 experienced and skilled employees out of Stockholm. We are most well-known for developing the Warhammer: Vermintide franchise, but have also helped develop a number of AAA titles and will soon be launching the highly anticipated game Warhammer 40,000: Darktide.

We have grown quite a bit over the last few years but we still embrace the same values that we started with and still think of ourselves like one big family with fun at the center. We are known for our crazy internally designed socks, hackweeks, use Friday afternoons for studio-wide “social play” time and our CEO is not beneath fixing the coffee machine himself. It all adds up to an approachable, fun, passion-driven yet communal environment for us to work in.

The role

Fatshark is looking for a passionate and creative Audio Director to join our Audio team for a full time employment. You will work on our up-coming game Warhammer 40,000: Darktide as well as future projects. As an Audio director, you will make sure that our game(s) sound amazing whilst being aligned with the game’s vision. You will pave the way for our audio direction with concepts and established core pillars. Representing the audio team, you will work closely with the game- and narrative director to make sure that your team has all the necessary tools, and information, they need to realise the game’s audio vision.

What we offer
Here at Fatshark, we do what we love most: design high-profile games for PCs and consoles. We offer you:

A playful, friendly and inclusive work place
Hands-on production environment with an emphasis on cooperative/multiplayer games
Opportunities for personal growth with varied projects, experienced co-workers and recurring hack weeks
Developing games with our own engine – Stingray
Regulated flex time and paid overtime
Occupational pension
Yearly health benefits (for gym membership & more)
Health checkups once every 2nd year
Yearly bonus program
Office located in central Stockholm

What you'll do

Set the audio vision together with your team and game director
Communicate and continuously align the audio vision with the team
Coordinate and manage the work of our Sound Design team – both from an artistic and technical standpoint
Identify technical audio needs and potential bottlenecks
Layout long-term plans for the audio team

Required qualifications

Minimum of 5 year working experience as sound designer in the game industry
Ability to communicate a vision in a production friendly way
Used to giving constructive feedback
Great understanding of sound implementation and design and the stages involved in taking your design all the way into the game
Fluent in common audio tools and softwares (Reaper, Cubase, ProTools, Soundforge, etc)
Strong organizational skills
Highly motivated and good at communicating and working with cross-disciplinary teams

Bonus qualifications

Good grasp of Audiokinetic Wwise
Have working experience on a co-op or multiplayer game
Field recording experience
Understanding of new loudness standards
Solid grasp of microphone basics

Application details

Most of us are currently working temporarily from home, but our office is not completely closed and parts of the onboarding can be done there. This position will eventually require you to work from our office.

We look forward to review applications and will be interviewing candidates continuously until the position has been filled.

Location: Stockholm, Sweden
Start: ASAP
Form of Employment: Permanent, Fulltime

More about this job

Source: Fatshark Jobs

Senior Sound Designer
Company: Brass Lion Entertainment
Location: New York City, NY, US / Montréal, QC, Canada / Remote

Job description

We are seeking a Senior Sound Designer to join our talented team, with team members based in New York City, Montréal (and some fully remote), working on our new action-RPG title.

At Brass Lion, Audio is at the core of our games’ aesthetics and critical part of the gameplay. We encourage our sound designers to lean into the second word in their title, collaborating with the team to craft the player experience, rather than simply making it sound great.

‍If you’re looking to push the boundaries of who games are for, and to grow as a sound designer and game developer, then please consider joining us.

Responsibilities

Work alongside the Audio Director to create and realize the game’s core sound design voice and vision.
Create and implement sound effects for all areas of the game using Unreal Engine Blueprint and Wwise.
Source original recordings through a combination of field recording, foley, and synthesis.
Help to grow and develop the skills and collaborative culture of the Brass Lion audio team.
Work with all disciplines to surface and scope audio requirements.
Participate in defining our use of audio as a core game feature‍.
Help to build a studio culture focused on open feedback and cross-disciplinary inclusion.

Qualifications

A passionate interest in game development and sound design.
Professional game audio experience with multiple shipped products.
Established track record of exceptional sound design.
Experience with technical audio implementation design.
Excellent collaborator who is comfortable giving and receiving feedback across multiple disciplines

Benefits

Competitive salary
Among Industry leaders in PTO and work life balance
Flexible Work-From-Home options
Comprehensive family health coverage

More about this job

Source: Brass Lion Careers

Sound Designer
Company: Ubisoft Montreuil
Location: Montreuil, France

Job description

Les équipes d’Ubisoft sont animées par leur volonté d’enrichir la vie des joueurs avec des expériences de divertissement originales et mémorables. Elles donnent vie à des mondes, de véritables terrains de jeux où l’imagination peut s’exprimer librement, donnant naissance à des moments de surprise, de fun et d’aventure qui permettent aussi au joueur d’apprendre et se découvrir.

Chez Ubisoft, vous avez l’opportunité de collaborer et d’évoluer avec des équipes passionnées et pionnières dans leur domaine, partout dans le monde. Vous progresserez dans un environnement bienveillant et inspirant dans lequel vous repousserez les limites de l’imaginaire et de la technologie pour créer les mondes qui passionneront nos joueurs.

Dans le cadre de son développement, Ubisoft recherche pour son Studio de Production de Paris, où ont dernièrement été développés les titres «Ghost Recon : Breakpoint», «Mario+Rabbids Kingdom Battle», « Just Dance 2021 » ou encore «Watch_Dogs : Legion» :

Votre Quête Journalière
Au sein d'une équipe audio de 5 personnes et auprès du Directeur Audio, vous êtes responsable de la qualité des bruitages, des ambiances et de l’intégration des musiques, en particulier des cinématiques du jeu. Dans ce contexte, vos missions principales sont :

Concevoir, créer et modifier les contenus originaux audio conformément à la vision créative du projet,
Identifier des solutions pour résoudre les problématiques techniques en cas de bug ou de problème en collaboration avec les équipes impliquées,
Déployer tous les assets audio en utilisant les outils et systèmes appropriés et veiller à l’optimisation de ces systèmes.

Vous participerez également au prototypage et au développement des solutions techniques pour améliorer la qualité des contenus audio.

Qualifications

Vous disposez d'un parcours professionnel dans les métiers du son et / ou de l'audiogaming, prioritairement sur du son à l'image (séries animées ou films d'animation par exemple),
Vous maîtrisez les outils/logiciels de production Audio (en particulier Nuendo ou Reaper ) et vous êtes également au fait des nouvelles techniques et tendances,
Vous maîtrisez WWise
Vous possédez une forte sensibilité artistique qui vous permettra de définir les exigences et les spécifications techniques en étroite collaboration avec les programmeurs audio,
Vous avez une sensibilité technique qui vous permet d’être force de proposition concernant les outils et systèmes existants et une bonne capacité d’adaptation aux outils inhouse. Si vous ne disposez pas de ces compétences, une appétence pour la technique sera demandée
Vous possédez une bonne culture vidéo ludique,
Votre niveau d’anglais vous permet d’évoluer dans un contexte international.

Merci de nous faire suivre un portfolio ou une demo reel avec votre candidature.

Votre Quête Journalière

Au sein d'une équipe audio de 5 personnes et auprès du Directeur Audio, vous êtes responsable de la qualité des bruitages, des ambiances et de l’intégration des musiques, en particulier des cinématiques du jeu.

Dans ce contexte, vos missions principales sont :

Concevoir, créer et modifier les contenus originaux audio conformément à la vision créative du projet,
Identifier des solutions pour résoudre les problématiques techniques en cas de bug ou de problème en collaboration avec les équipes impliquées,
Déployer tous les assets audio en utilisant les outils et systèmes appropriés et veiller à l’optimisation de ces systèmes.

Vous participerez également au prototypage et au développement des solutions techniques pour améliorer la qualité des contenus audio.

Qualifications

Vous disposez d'un parcours professionnel dans les métiers du son et / ou de l'audiogaming, prioritairement sur du son à l'image (séries animées ou films d'animation par exemple),
Vous maîtrisez les outils/logiciels de production Audio (en particulier Nuendo ou Reaper ) et vous êtes également au fait des nouvelles techniques et tendances,
Vous maîtrisez WWise
Vous possédez une forte sensibilité artistique qui vous permettra de définir les exigences et les spécifications techniques en étroite collaboration avec les programmeurs audio,
Vous avez une sensibilité technique qui vous permet d’être force de proposition concernant les outils et systèmes existants et une bonne capacité d’adaptation aux outils inhouse. Si vous ne disposez pas de ces compétences, une appétence pour la technique sera demandée
Vous possédez une bonne culture vidéo ludique,
Votre niveau d’anglais vous permet d’évoluer dans un contexte international.

Merci de nous faire suivre un portfolio ou une demo reel avec votre candidature.

Informations complémentaires

Ubisoft veille à développer un environnement de travail inclusif qui reflète la diversité de sa communauté de joueurs et de joueuses dans ses équipes.

En tant qu’employeur, Ubisoft offre à tous les mêmes opportunités d’accès à l’emploi sans distinction de genre, ethnicité, religion, orientation sexuelle, statut social, handicap et d’âge.

Informations complémentaires

Ubisoft veille à développer un environnement de travail inclusif qui reflète la diversité de sa communauté de joueurs et de joueuses dans ses équipes.

More about this job

Source: Ubisoft Careers

Want to showcase your audio skills â€“ and be discovered by those who need them? Join 100s of other audio professionals and get a free profile on Soundlister â€“ right here!

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168- WandaVision

Timothy Muirhead — Mon, 21 Jun 2021 15:31:37 +0200

In this episode we are joined by the sound team from the hit Disney Plus series WandaVision. Gwendolyn Yates Whittle and Kim Foscato (Co-Supervising Sound…

Recording A Power Station Demolition

Ben Gale — Sun, 20 Jun 2021 16:02:24 +0200

I recently ticked one off my field recording bucket list and recorded an explosive-fuelled demolition. Four enormous cooling towers that have dominated the skyline of Rugeley, UK since the 1950s were demolished in just ten seconds. I stood at a healthy distance and captured the event with a small array of microphones.

In this post I’m going to talk about organising this kind of session, what I learnt, and most importantly, share the recordings! (Click here to jump straight to the recordings)

Idea

I’ve wanted to record a demolition since listening to the Tonebenders Podcast Implosion episode. Rene recommended setting keyword Google alerts for news articles containing words like “demolish” to find the events.

I actually never managed this, but instead discovered the Rugeley demolition by chance. I was travelling through the midlands when the four towers suddenly imposed on my train window view. Having watched HBO’s Chernobyl recently, (learn about the incredible sound design here) I googled it out of curiosity. I learnt that the decommissioned coal plant was set to be demolished in June. Discovering this felt like fate, and I knew I needed to plan a field recording trip.

Preparation

Good planning for a recording session is vital, especially when the sound you want to record is a non-recurring event.

The most important decision (before microphone choice) is location for me. How much unwanted noise are you likely to encounter? Is the location near a major road or rail lines? Is there housing or industrial activity? Are you under a flight path? How close are you to the source? Is the location safe / legal? Is there a giant music festival planned that weekend? These are all serious questions that need answering if you don’t want to be disappointed on the day.

For this trip, the signs were looking good. Because of the scale of the demolition, the nearby A-road was closed off. I predicted that the rail traffic would also be halted, and possibly even flights diverted. It was also planned for 11.15am on a Sunday morning, so less traffic and construction works.

The four towers can be seen in the centre here

On one side of the power station is the town, the other is fields and woodland, with a public footpath running parallel to the towers. I booked a bed and breakfast at a nearby farm, giving me time to scout a location the day before the demolition.

Equipment

For the microphones, I wanted to make a selection that would be varied but also incorporate some redundancy. I opted for the following mics:

Make and Model	Polar Pattern	Reason for choice
Sennheiser MKH 8060	Shotgun	For recording the detail and punch in mono with off-axis rejection
DPA 4060	Stereo Pair in spaced A/B	Chosen for their exceptional bass response and to capture the atmospheric tail and reflections of the explosion
Rode NT4	Cardioid XY Stereo	A catch-all mic; capturing detail and some ambience, but offering some rear rejection too.
Sony D100	Cardioid XY Stereo	The Handheld backup recorder. Contains reliable, high quality onboard mics, similar to the NT4
Lom Geofön	Geophone	Made for capturing seismic activity and adapted for field recording.

I recorded the microphones using my Sound Devices Mixpre 6 Mark 1 and also a Mark 2 that I borrowed from IFATREEFALLS. The Mk2 is capable of 32bit float recording. In practice, this means almost infinite headroom for the mics. I could set the levels anywhere with confidence and know that there would be no digital distortion. This feature couldn’t be more suited to ultra-dynamic events like an explosion!

I recorded at a sample rate of 192kHz. Whilst this may be overkill, it allows for processing and time stretching the recordings as far as they will go without aliasing or introducing artefacts.

Scouting

Arriving the day before the demolition gave me time to walk the fields that I thought would be my best recording spot. The location turned out to be as good as hoped. Open, accessible countryside that banked down to an uninterrupted view of the power station, with no roads or houses in the vicinity.

My biggest concern was access to the footpath on the morning. Police had issued a warning that they would be evacuating some houses, blocking roads and actively discouraging viewing due to COVID-19 gathering concerns.

I decided to leave the D100 handheld recording at the farm as a backup, despite the surrounding farmyard and residential noises. I wanted a fail-safe recording for if I was turned away from the site.

The final step was to perform a full kit-check; confirming that all batteries are powered and memory cards inserted the night before the recording.

Final recording positions: Left shows the Sony D100 recording location on the farm. Right shows my position with the rest of the mics in the fields

Setup

On the morning of the demolition, I set off in a cloud of unforecasted rain. I took a long route round, which I hoped would avoid any police roadblocks or questions. After a damp 90-minute trek through the fields, I arrived on the track.

As I reached my scouted spot, I heard voices and a dog barked at my approach. Concerned about meeting security, I diverted down a concealed path.

The rain was an issue, because I couldn’t set up in the field as planned without some shelter from the rain. I settled for a small plantation of trees further back, where I could hang a makeshift tarp. Under this, I set about connecting microphones and performing level checks.

Attaching microphones under an upside-down picnic matt

From 10am the area grew busier. By 10.30 there were families arriving in the vicinity, photographers with long lenses trudged past and even the odd dirt bike rocked up. It became clear that I had overestimated the police warnings!

Thankfully nobody chose the same spot as me. I had set up somewhere with no clear view – a tip I learnt from The Tonebenders podcast. As the minutes counted down, the rain finally began to let up. This was great news, as damage from wet electronics aside, raindrops hitting the microphones and environment would affect the recording.

Detonation

With 15 minutes to go, I brought my microphones into the open and directed them towards the power station. I had my NT4 and MKH 8060 on tripods, and my spaced DPAs attached to a coat hanger, which I hung from the 8060’s blimp. (read about the technique here). I attached the geophone to a metal spike and planted it in the ground.

5 minutes to go and some air raid-style warning sirens sounded. A hushed expectation silenced the distant chatter of onlookers. This was pierced by the whine of 3 drones being launched into the air behind me. For a moment they hovered directly above my microphones, before mercifully flying off towards the towers.

11.15am came and went. I held my breath, transfixed on the towers. Suddenly the geophone channel on my recorder rocketed up. Sound travels faster through denser mediums.

I watched the first tower begin keeling and slipping towards the ground. There was just enough time to register this before the explosion ripped through the air, ringing out as the sound of crunching cement filtered through. The four towers collapsed downwards, sending smoke rings of dust skywards like steam train chimneys.

As the dust settled I shut off the recorders, packed up my gear and trudged off to collect my backup recorder before the train back to London.

My video of the demolition (phone audio)

Comparing The Recordings

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We came across interesting new jobs at Splash Damage, Mojang, Blizzard Irvine, and Harebrained Schemes – and they’re looking for an Assistant Audio Designer (England), Audio Programmer (Sweden), Sound Designer – Overwatch 2 (CA, US), and Audio Programming Engineer (WA, US).

We also found openings for a Re-Recording Mixer at Molinare (UK), Principal Sound Designer at Riot LA (CA, US), Audio Engineer at EPOS (Denmark), Voice Designer at Ubisoft Red Storm (NC, US), Audio Software Engineer at Maxis (CA, US), Senior Audio Designer at BioWare (AL, Canada / TX, US), Technical Audio Designer at Criterion Games (England), Audio Engineer at Australian Radio Network (VIC, Australia), Sound Designer at StoryMe (Belgium), Audio Engineer at Nashville Symphony (TN, US), Audio Artist 3 at EA Shanghai (SH, China), Sound Designer at PlayStation Europe (England), Senior Sound Designer at Zwift (US), Lead Sound Designer at PlayStation Europe (England), Senior Technical Sound Designer at Tencent America (CA, US), and Dialogue Audio Engineer at Creative Assembly (England).

Bonus: The Audio Jobs group also has opportunities for a Commercial Music & Audio Production at Western Carolina University (NC, US), Senior Sound Designer at Infinity Ward (CA, US), and Experienced Audio Designer at Obsidian Entertainment (Remote Contract). Happy job hunting!

Highlight – sound stories this week:

• How the WB Sound team shaped The Conjuring 3’s sound to feel scary yet real

• Award-winning composer Gareth Coker shares insights on how to get started and succeed in composing for the game industry

• Foley Artist Adrian Medhurst and Sound Designer Robert Mackenzie take you behind the sonic gore in the Mortal Kombat movie

• Lots of excellent new independent sound effects libraries added

Assistant Audio Designer
Company: Splash Damage
Location: London, UK

Job description

At Splash Damage, we’re dedicated to crafting team-based multiplayer games that ignite friendships as much as they do healthy competition and teamwork.

Our teams celebrated the launch of Gears Tactics earlier this year, and we’re currently developing Outcasters for Stadia along with several unannounced titles.

As an UnrealEngine focused studio, we're excited to be transitioning our teams to the latest in UE5 technology and we're looking for skilled and passionate developers to help us drive this.

We're advocates for work-life balance and offer a comprehensive benefits package focused on the well-being of our staff and their families.

We believe that teams create the best work when they have a range of perspectives and experiences to draw from. Therefore we're committed to increasing diversity across our studio, fostering an inclusive environment to ensure everyone's voices are heard.

Due to the on-going COVID-19 outbreak, we're all currently working from home. We’re still looking to welcome new team members, who'll join us remotely until we return to the studio

The role

Assistant Audio Designers at Splash Damage are embedded within our audio team and help us craft the audio experiences for our upcoming titles.

Guided by our team of experienced audio designers, and having a direct mentor, Assistant Audio Designers will experience most aspects of our audio design pipeline and workflows. They will contribute to creating sound for various features, both interactive and linear.

This is a fantastic opportunity for joining a professional Audio team and gaining hands-on experience in major areas of the game audio production process!

You have:

A real passion for audio, video games and a clear enthusiasm for playing games
A keen interest in designing sound and implementing into a game environment
A portfolio of work to demonstrate your skills with audio
Awareness of current game audio concepts and techniques
A can-do attitude and robust interpersonal skills; you love working with others and are comfortable taking on direction and feedback
Solid time management skills
Good verbal and written communication skills

Bonus points for:

Prior experience working in a team
Prior audio design experience
Familiar with a DAW, preferably Reaper
Experience with game audio middleware
Experience with Unreal Engine

Splash Damage is an equal opportunity employer. We believe our teams create better work when they have a range of perspectives to draw from, and we are committed to creating an inclusive working environment that celebrates diversity.

More about this job

Source: Splash Damage Careers

Audio Programmer
Company: Mojang
Location: Stockholm, Sweden

Job description

Mojang Studios is best known as the creators of Minecraft, but we’re also on a mission – to build a better world through the power of play.

Why play? Well, play is at the heart of everything we do. It’s the blocky backbone of our games, the core of our development philosophy, and even the origin of our name. From the relentless experimentation of our endlessly inspiring community to the classrooms where Minecraft has become an essential teaching tool, play is the bedrock of our existence.

The Mojang Audio team is expanding to help realize our dream of a better Minecraft experience. As a member of this team you will develop, extend and support audio tools and systems. You will do this in collaboration with the Audio Designer and / or Audio Lead, but also with other disciplines and under the supervision of the Audio Director. The audio programmer will be a source of knowledge and expertise among the audio team members, supporting Audio Designers in finding technical solutions, and will write clear and concise documentation on audio systems and tools developed.

Your main programming language will be C++, working with the Unreal Engine and middleware on our integrated editor/game development tools. You will innovate, advise, review and adapt our audio technology for use in multiple projects. You’ll join a cross-functional team and work closely with other programmers, designers, artists and testers all working together on a game enjoyed by over 100,000,000 players worldwide. We have big dreams for the future of Minecraft and need you to help make them happen!

By joining the team, you will find an environment that enables you to leverage your knowledge and values to maintain and evolve a healthy and collaborative culture as we grow.

Some of your tasks will be

Design, implement, and iterate on new and existing audio systems and audio tools
Collaborate with Audio Designers and the localization team to develop systems for audio implementation
Support multiple teams within Mojang Studios with knowledge and practical help
Contribute to maintenance of systems and pipeline
Develop future technology beyond state of the art

Requirements:

Experience in programming audio systems and features
Knowledge of audio engineering, signal processing and principles of sound
3+ years of professional C/C++ programming experience.
Familiarity or willingness to learn other languages typically used for tools (e.g. C#, python)
Familiar with the creative side of sound effects and music.

Desired skills:

Experience with audio middleware (for example FMOD or Wwise)
Experience with console development
Tools, workflow and system development insight from a modern game engine
Ability to accurately predict task duration and understand dependencies between different development groups or disciplines

Mojang Studios

Mojang Studios is a Microsoft-owned game developer. The company was founded in Stockholm, Sweden and has offices around the world, including Stockholm, Redmond, Tokyo, London, and Shanghai. We’re always working on new and exciting ways to expand the Minecraft universe.

Our community is global and incredibly diverse. We keep this in mind when developing anything, as we want people to feel included in Minecraft. And in recruiting, our goal is to make Mojang Studios as diverse as our community.

We got started as a tiny indie developer, and part of our culture still reflects that heritage. But we’re also proud to belong to Xbox Game Studios, which creates unique opportunities to grow and develop.

To help us achieve amazing things, we have built an equally amazing studio space. Situated right on the water by Söder Mälarstrand, it’s filled to the brim with all the tools, toys and caffeine required to create world-class entertainment.

But in the end, it’s the people of Mojang Studios that make this place truly special. When you join, you’ll find yourself in the company of incredibly bright, warm, and creative individuals – all united and working toward a single goal. Come help us reach it!

More about this job

Source: Mojang Careers

Sound Designer (Overwatch 2)
Company: Blizzard Irvine
Location: Irvine, CA, US

Job description

Blizzard Entertainment’s Overwatch team is looking for a talented Sound Designer to help craft the epic new heroes, missions, and maps being created for Overwatch 2. We seek a Sound Designer capable of creating iconic sound and gameplay cues while bringing innovative ideas and techniques to the franchise. We want someone who loves games, game audio, plays Overwatch, and is truly passionate about their craft and advancing their skills.

The ideal candidate should have previous game team experience, a demonstrable artistic “voice”, and fluently understand the vital role of sound in gameplay. Candidate should have skill creating and implementing weapons, abilities, Foley, and environmental audio that exude character. The candidate must be proficient with a variety of software and hardware audio tools and be able to work well individually, and as part of a collaborative team.

The Sound Designer will work closely with their Sound Supervisor as well as all game team disciplines to deliver immersive and informative sound that aligns with the creative vision of Overwatch 2. The candidate should be an excellent communicator both in-person and online, be able to respond to direction, and make audio experiences that meld story and personality seamlessly with the gameplay.

COVID-19 Hiring Update: We’ve transitioned to a work-from-home model and we’re continuing to interview and hire during this time. This role is expected to begin as a remote position. We understand each person’s circumstances may be unique and will work with you to explore possible interim options.

Requirements

Committed to excellence
Passionate about games and game audio
Two or more years of game team sound design and implementation experience
Proven track record of creating excellent original content
Technically competent with tools, processes, and sound theory
Capable of troubleshooting problems within audio and game tools
Highly motivated and able to work successfully with minimal direction when needed
Able to quickly improve or learn new skills
Excellent communication and organizational skills
Ability to take direction and work cooperatively with other disciplines
Experience editing and mixing sound-to-picture
Experience authoring sound for surround formats
Experience field recording and audio source creation
Experience working with both commercial and proprietary audio, and implementation tools on multiple platforms

Pluses

Development experience with first-person shooters
Experience using Wwise and Reaper
Computer-readable or level-design style scripting or light programming knowledge
Console game implementation
Fluent in Blizzard games and lore
Background in music production (though music composition is not within the scope of this job)

Required Application Materials

Resume
Cover Letter
Online demo of relevant experience

Blizzard Entertainment is a global company committed to growing our employees along with the business. We offer generous benefits and perks with an eye on providing a true work/life balance. We’ve worked hard to foster an intensely collaborative and creative environment, a diverse and inclusive employee culture, and training and opportunity for professional growth. Our people are everything. Our core values are real, and our mission has never changed. We are dedicated to creating the most epic entertainment experiences…ever. Join us!

Job Status: Full-Time
Primary Location: United States-CA-Irvine

Blizzard Entertainment is an Equal Opportunity Employer. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, gender expression, national origin, protec

20 great new audio jobs at Kojima, Apple, ustwo, Criterion, Tencent, Systems Era, Snowprint, Team6, WayForward, Surprise, Messages on Hold, 344 Audio, Rev Rooms, Imprint Music, Tonal, 9 Story Media, Epidemic, and Firelight

Adriane Kuzminski — Thu, 10 Jun 2021 22:15:28 +0200

We came across interesting new jobs at Criterion Games, Systems Era, Snowprint Stockholm, and ustwo games – and they’re looking for a Technical Audio Designer (England), Audio Lead (WA, US), Senior Sound Designer (Sweden), and Sound Designer (England).

We also found openings for a Sound Design Intern at Team6 (Netherlands), Sound Designer at Kojima Productions (Japan), Audio Engineer at Apple (TX, US), Sound Designer at WayForward Technologies (KS, US), Senior Sound Designer at Tencent (SH, China), Sound Designer at Surprise.com (NY, US), Audio Programmer at Rev Rooms (England), Audio Engineer at Messages on Hold (WA, Australia), Audio Engineer at Tonal (CA, US), Audio Production Assistant at 9 Story Media Group (NY, US), Audio Designer at Criterion Games (England), Music Editor at Epidemic Sound (Sweden), and Senior Sound Designer / Product Manager at Firelight Technologies (Australia).

Bonus: The Audio Jobs group also has opportunities for a Field Recording Assistant at 344 Audio (England), Senior Wwise Audio Designer at Rev Rooms (England), and Junior Audio Engineer at Imprint Music (ON, Canada). Happy job hunting!

Highlight – sound stories this week:
→ Get the in-depth story behind the sound for Cyberpunk 2077 in this huge interview with the CD Projekt RED sound team
→ Don’t miss this feature on the sound for Indiana Jones and the Raiders of The Lost Ark – with film sound giants sound designer Ben Burtt, Foley artist John Roesch & composer John Williams
→ Hear about the creative work that goes into shaping the sound of Path of Exile

Technical Audio Designer
Company: Criterion Games
Location: Guildford, UK

Job description
Location: Guildford, England, United Kingdom
Remote Work Option: No
Requisition Number: 166203
Date Opened: 2021-06-09

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.

We are Criterion. We love games.
Over the last twenty years we’ve entertained millions of players around the world with our award-winning and massively entertaining games. We are a team of talented people who craft games with joy, passion, and commitment to quality.

At Criterion, we place enormous value on creative collaboration, fresh ideas, and unique perspective. Our studio is a healthy mix of industry veterans and newcomers working together to inspire, support, and educate one another.

The Challenge Ahead:

We want to find a world-class Technical Audio Designer whose creative voice will help us to develop our best sounding work yet.

We are strongly committed to building a vibrant, diverse team where each person can bring their authentic self to make us stronger and bolder together.

What an Audio Designer does at Criterion:

Criterion considers audio to be fundamental to a great game and invests in it accordingly. Members of our team take an active role in developing exciting and immersive experiences. Working closely with other audio designers and the development team, a Technical Audio Designer is responsible for managing the implementation of audio into the game throughout the course of development for an audio experience that is cutting edge in design, rich in aesthetic, and tightly focused on gameplay.

Our next Technical Audio Designer needs:

Demonstrable experience of game audio design from concept through to final implementation
Familiarity with modern audio processing, standards, and tools
A portfolio that highlights individual contribution, especially in implementation
To be a generous, empathetic communicator

Bonus Attributes:

Familiarity with modern game engine Visual Scripting tools
Love of mixing and awareness of best practices
Coding or Scripting Experience (especially in C#, Python, or C++)

Please note: While music is important to us, this position will not involve any composition work.

What’s in it for you? Glad you asked!
We realize it takes world-class people to make world-class games, so we offer competitive compensation packages and a culture that thrives on creative freedom and autonomy.

We thought you might also want to know:
More about our studio: https://criteriongames.com/careers/
More about our location: http://careers.ea.com/our-locations/guildford

More about this job

Source: EA Careers

Audio Lead
Company: Systems Era
Location: Seattle, WA, US

Job description

System Era is looking for a full-time Audio Lead to bring Astroneer to life by creating a soundscape that can engage players, drive storytelling, and create emotion. The ideal candidate has a robust background in audio that can lead and grow System Era’s audio department.

Reporting to the Creative Director, you will work to establish a strong audio vision and direction that supports the Astroneer franchise and any future titles. As part of our team, you’ll contribute and support the studio’s artistic vision by creating sonically rich content that supports in-game and linear media. In this role, you’ll push the industry quality bar, while also able to balance the creative and technical requirements of a project. Dialogue, Foley, and field recording experience are a plus.

This is a full-time role based in Seattle, WA. Compensation includes salary, benefits including full medical and dental coverage, 401k, and may include relocation assistance. We look for candidates who value joining a team with a diverse set of backgrounds, experiences, interests, and viewpoints.

Qualifications

7+ years of professional sound design experience.
Shipped 2+ games in a senior audio role.
Expert working knowledge of game audio middleware.
Outstanding collaboration and communication skills.

Duties

Create and manage a high-quality soundscape for a project.
Successfully manage dialogue recording pipeline.
Ensure the game is optimized and working within platform limitations.
Foster and grow creative sound design talent.
Scoping and planning audio needs for a project.

Nice To Have

Familiarity with development using Unreal Engine.
Expertise with Wwise.
Experience managing external talent and outsourcing.
Musical composition experience.
VO recording, editing, and mastering experience.

More about this job

Source: System Era @SES_dev

Senior Sound Designer
Company: Snowprint Stockholm
Location: Stockholm, Sweden

Job description

Snowprint Studios is looking for a creative and passionate Senior Sound Designer to work across multiple game projects aimed at a global market. You'll be working with the internal audio engine and tools in Unity to deliver immersive experiences for our players. Targeting mobile platforms will require you to find memory and performance-efficient solutions to deliver a high-quality end product. You'll have ownership over the overall sound direction and work closely with multiple game teams simultaneously.

Responsibilities:

Have ownership over the sound direction.
Design, implement and mix audio for all the games.
Handle communication and deliveries from any external providers.
Record source material such as voice-over and any additional SFX/Ambience.
Optimize the sounds for mobile platforms.
Find and suggest creative solutions to enhance the game experiences.
Be a member of multiple game development teams and keep track of release milestones.

Requirements:

5+ years of professional Sound Design experience for games.
Sound Design experience for mobile games.
Deep knowledge of audio middleware, e.g. WWISE, FMOD or Unreal.
Unity experience.
A passion for gaming.

Nice-to-have:

Music composition skills.
Console game development experience.

More about this job

Source: School.VideoGameAudio.com @SchoolGameAudio

Sound Designer
Company: ustwo games
Location: London, UK

Job description

Working with the leads of the project you’ll be responsible for the overall audio direction of the project and implementing your work in-engine with the support of a programmer.

We’re ideally looking for somebody with a broad range of musical knowledge from outside of the games industry and a keen interest in working closely with the development team to convey tone and style.

We accommodate remote working, but would ideally like you to be able to come into the studio in Oval and work closely with the team on occasion.

We’d like you to have:

Proven professional experience producing high quality dynamic audio direction for games.
Experience in sound recording, editing and mixing.
Knowledge and experience of using game specific implementation systems such as Wwise, FMOD, Unity etc.
Source control experience preferable.
Access to professional-level studio facilities and field recording equipment.

The work will consist of an initial twelve month period, with further opportunities after that time.

More about this job

Source: Kirsty Keatch @kirstykeatch

Want to showcase your audio skills â€“ and be discovered by those who need them? Join 100s of other audio professionals and get a free profile on Soundlister â€“ right here!

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The post 20 great new audio jobs at Kojima, Apple, ustwo, Criterion, Tencent, Systems Era, Snowprint, Team6, WayForward, Surprise, Messages on Hold, 344 Audio, Rev Rooms, Imprint Music, Tonal, 9 Story Media, Epidemic, and Firelight appeared first on Soundlister.com.

167 – Putting Tropes To Rest

ReneC — Tue, 08 Jun 2021 03:24:39 +0200

Tonebenders Podcast · 167 – Putting Tropes To Rest Way back in January, the great Mark Mangini penned a little blog post outlining some audio…

Fresh Start: REAPER 6 Settings

Admin — Thu, 03 Jun 2021 19:19:49 +0200

In this video we're going through what I would change from REAPER's default settings if I was starting fresh with REAPER. These are most of what I would change from the default settings and would be suitable for any new user to easy the operation and learning process.

The post Fresh Start: REAPER 6 Settings first appeared on The REAPER BLOG.

21 great new audio jobs at Oculus, Dolby, Blind Squirrel, Zwift, Cloud Imperium, CyberWire, EA Vancouver, Gameloft Montréal, Unbroken Studios, Peleton, Blackbird Interactive, Noise Floor, OECD, SIDE Audio, Archiact, and GungHo Online

Adriane Kuzminski — Thu, 03 Jun 2021 15:35:54 +0200

We came across interesting new jobs at Oculus Burlingame, Dolby, Blind Squirrel Entertainment, and Zwift – and they’re looking for a Sound Designer (CA, US), Audio and Acoustics Researcher (Remote, US), Audio Director (CA, US), and Senior Audio Designer (Remote / CA, US).

We also found openings for a Sound Designer at Cloud Imperium (England), Development Director (Audio) at EA Vancouver (BC, Canada), Sound Designer Marketing at Gameloft Montréal (QC, Canada), QA Lead – Audio at Gameloft Montréal (QC, Canada), Temporary Mid/Senior Audio Designer at Unbroken Studios (CA, US), Audio Engineer at Oculus Shanghai (SH, China), Audio Engineer at Peleton (NY, US), Sound Designer at Blackbird Interactive (BC, Canada), Audio Engineer at Archiact (BC, Canada), Audio and Acoustics Researcher at Dolby (Remote), Staff Games Audio Software Engineer at Dolby San Francisco (CA, US), Sound Creator at GungHo Online Japan (Japan), Audio Editor at CyberWire (Fulton, MD, US) , and Producer at GungHo Online America (CA, US).

Bonus: The Audio Jobs group also has opportunities for a Location Mixer/Assistant Sound Editor at Noise Floor (IL, US), AV Ops Manager at Organisation for Economic Co-operation and Development (France), and Audio Editor at SIDE Audio (England). Happy job hunting!

Highlight – sound stories this week:
→ Introducing the Game Audio Power List – here it is
→ Zack Snyder shares his thoughts and insights on music and sound design for film.
→ The results are in: the mystery sound – and sound quiz winners – revealed!
→ Award-winning composers Pinar Toprak, Nainita Desai, and Jonathan Snipes share insights on how to succeed as a film composer.

Sound Designer
Company: Oculus Burlingame
Location: Burlingame, CA, US

Job description

Facebook Sound Design is looking for a technically-oriented Sound Designer to join our award-winning team. Help build the next generation of Social VR in Facebook’s Horizon. The role reports into the Sound Design team, but involves working closely with the Engineering, Art, and Product Design teams to specify sound functionality, realize advanced implementations, optimize performance, refine tooling, and solve difficult bugs. It’s a critical-thinking and problem-solving role with a long runway for creativity and innovation.

Responsibilities

Design innovative solutions to unique opportunities in immersive audio
Partner closely with Engineering on audio functionality, performance, optimization, and diagnosing bugs
Learn, support, and refine a complex cross-functional development environment and pipeline
Support other Sound Designers with advanced implementation and functionality
Understand and help define the long-view compromises between quality and performance, innovation and accessibility, etc.
Help rapidly on-board new designers
Participate in quality reviews, giving and receiving constructive feedback
Advocate for audio and champion quality throughout the product

Minimum Qualifications

4+ years of professional sound design and implementation experience focused on high-quality games or other interactive experiences
Experience with advanced scripting (visual scripting, C#, JavaScript, etc.)
Experience working with spatialized audio in an interactive environment
Experience working directly in game engines (Unity, Unreal, etc.), and with audio middleware (Wwise, FMOD, etc.)
Experience with version control systems on large teams (Perforce, Git, etc.)
Proven cross-functional communication skills
Experience thriving in a fast-paced and quickly evolving environment

Preferred Qualifications

Experience in AR/VR
Basic coding proficiency

More about this job

Source: Oculus Careers

Audio and Acoustics Researcher
Company: Dolby
Location: Remote, US

Job description

Join the leader in entertainment innovation and help us design the future. At Dolby, science meets art, and high tech means more than computer code. As a member of the Dolby team, you’ll see and hear the results of your work everywhere, from movie theaters to smartphones. We continue to revolutionize how people create, deliver, and enjoy entertainment worldwide. To do that, we need the absolute best talent. We’re big enough to give you all the resources you need, and small enough so you can make a real difference and earn recognition for your work. We offer a collegial culture, challenging projects, and excellent compensation and benefits.

The world is changing, with audio devices being connected to the internet and delivering a continuous blend of entertainment, communications and information services. The industry is predicting that within the next few years most households will have multiple voice-interface capable devices and that these devices will be able to cooperate to deliver new use cases and enhanced experiences. Delivering such solutions requires a blend of creative and diverse thinking and the ability to venture from the conventional. At Dolby, we think differently about technology innovation, and the successful applicant will be joining a well-resourced team at the peak of creativity, creating core technology and IP to power the next “connected-life” experiences.

Your role at Dolby is leading development, prototyping, and refining of new algorithms that enable an amazing variety of experiences in communications, speech recognition, and spectacular audio playback by intelligently understanding the audio world around us. This exciting role will have significant growth opportunity, pushing you to break with conventional thinking on topics such as spatial audio rendering, source localization, echo cancellation, and system robustness.

To take on this role, you will need a strong theoretical background in audio signal processing along with practical hands-on experience working with real audio equipment. You are proficient in at least one software language and ready to take, learn and integrate ideas and code from others. You have experience

leading practical research projects and the diligence to transfer knowledge and learnings forward.

Essential Job Functions

Algorithm Development
- Develop algorithms from conception to testing in real environments
- Integrate algorithms into a larger complex interconnected system
Software Engineering
- Implement real-time audio algorithms
- Collaborate on large codebases
- Work with networked audio infrastructure and processing at scale
Technical Documentation
- Write and maintain detailed technical documentation
- Read and write technical research papers
- Protect intellectual property with a strong patent portfolio

Requirements

M.S or Ph.D. with a focus on audio and acoustic signal processing
Exposure to audio algorithm development in an industry setting
Solid background in the theory and application of digital audio signal processing, linear algebra, and probability
Demonstrated ability to innovate, prototype, and collaborate in the area of audio signal processing through projects, papers, products, and/or patents
Experience leading practical research projects
Experience with real-time implementation of audio algorithms
Practical experience with audio playback and recording equipment
Software engineering training or demonstrable proficiency in MATLAB, C/C++, Python, Julia, or R
English written and verbal communication

Highly Desired

Technical understanding of and experience with several of the following:
- Spatial audio perception and reproduction
- Standard audio algorithms such as filtering, dynamics processing, noise reduction, etc.
- Frequency domain processing
- Psychoacoustic models
- Room and transducer acoustics
- Acoustic measurement techniques
- Numerical optimization
- Adaptive and statistical signal processing
- Source localization and separation
- Multichannel signal processing for microphones and loudspeakers
- Deep learning
- Critical listening skills
- Background in music

Dolby will consider qualified applicants with criminal histories in a manner consistent with the requirements of San Francisco Police Code, Article 49, and Administrative Code, Article 12

Equal Employment Opportunity
Dolby is proud to be an equal opportunity employer. Our success depends on the combined skills and talents of all our employees. We are committed to making employment decisions without regard to race, religious creed, color, age, sex, sexual orientation, gender identity, national origin, religion, marital status, family status, medical condition, disability, military service, pregnancy, childbirth and related medical conditions or any other classification protected by federal, state, and local laws and ordinances.

More about this job

Source: LinkedIn Jobs

Audio Director
Company: Blind Squirrel Entertainment
Location: Santa Ana, CA, US

Job description

The Audio Director is responsible for setting and executing on our audio goals of delivering rich, immersive and memorable soundscapes for our games. We're looking for an audio leader who will inspire others with their expertise, knowledge and drive for audio excellence. They will be the driving factor of building great relationships within development, publishing, and external contracting teams.

Requirement:

Hire, organize and manage all audio requirements at Blind Squirrel Games
Edit music and dialogue as well as process and mix both sound and music
Set the Audio Direction for projects, defining guidelines, tone, musical style, implementation and execution
Optimizes sound assets to meet memory budget and performance requirements.
Identify technical audio requirements for projects and work closely with programming team
Direct vo and music recording sessions
Determine the audio resources and budget required for projects
Work with Creative Director to manage the final mix of the game.

Minimum Requirements:

Technical curiosity, creativity
Experience implementing audio using proprietary tools or commercial middleware
Required familiarity of some scripting/coding language, experience with C, C++ a plus
Minimum of 8 years of experience in audio production for video games
Delivery of two or more AAA games in an Audio/Sound role
Bachelor's degree in music or audio or professional training in audio, CS degree a plus
Strong knowledge of audio post process plugins
Strong collaboration and communication skills across teams
Extensive knowledge of Pro Tools
Solid knowledge of studio audio equipment

More about this job

Source: School.VideoGameAudio.com @SchoolGameAudio

Senior Audio Designer
Company: Zwift
Location: Remote / Long Beach, CA, US

Job description Seniority Level: Mid-Senior
Location: Long Beach, CA or US Remote (in select states)

About the role and about You:
We are looking for a fearless & talented Senior Audio Designer to bring AAA sound experiences to Zwift, the world’s most immersive virtual cycling and running platform. The ideal candidate will have deep technical and creative experience designing & implementing audio for video games or other interactive entertainment. This role requires exceptional partnership skills and ability to execute with a high level of autonomy.

What you’ll do:

Design & implement audio across all of Zwift’s game features, worlds and experiences
Lead audio outsourcing partnerships for creation of SFX, VO and music
Advise and partner with the game’s Creative Directors
Create clear, actionable audio design docs & presentations in support of features & content
Partner with Engineers and Tech Leadership on audio implementation and build-out of associated tools & pipeline
Partner with Producers to ensure accurate scoping, scheduling and on-time deliveries, including outsourced audio
Serve as the Creative Team’s point of contact for audio outsourcing partners

What we’re looking for:

7+ years experience in audio design, direction & implementation (preferably for video games), with multiple shipped products
Depth and breadth of technical and creative audio skills; ability to create, implement and direct
Strong documentation, presentation & organization skills
A diplomatic & inclusive temperament with a cross-discipline approach to problem-solving
Comfortable with ambiguity, a lightning-fast pace, and a high degree of ownership
Finalists will be required to provide work samples

Bonus Points:

Experience shipping cross-platform games, especially: iOS, tvOS, Android, Mac, and PC.
A passion for fitness and health, especially related to cycling & running

How to stand out among the rest:
Your resume/CV is enough to show off your skills, accomplishments, and experience. However, if you choose to include a cover letter introducing us to your awesome personality, we will read that too.

Values:
Of course, we are nothing without our values. Our values ground us. They ensure we run and build a company where people love to work, feel like they are welcomed, included, and belong. Only then can they thrive and do their best work. The values we strive to live every day are:

Make It Fun
Elevate Teammates
Cultivate Our Community
Always Level Up
One Zwift for All

AVA EMINENCE Kontakt sound library Review

Admin — Thu, 03 Jun 2021 00:23:03 +0200

Jon demos the new Eminence library from AVA Music Group. An aggressive and powerful sound pack for film composing. For Native Instruments Kontakt 5/6 and WAV samples.

The post AVA EMINENCE Kontakt sound library Review first appeared on The REAPER BLOG.

Updates and thoughts on people vs nature

melissa pons — Wed, 02 Jun 2021 18:40:58 +0200

Hello friends and visitors from another world! This is a very spontaneous writing that I wanted to share instead of keeping it to a personal journal. You can regard it as an update to what I have been up to and some thoughts on life, perhaps… Please excuse the randomness. Before that, there is something […]

Composer, David Housden (Lost Words: Beyond the Page, Battletoads)

Sam Hughes — Wed, 02 Jun 2021 10:03:59 +0200

The Sound Architect - All Audio, All For You

(TSAP S04E08) David Housden joins us once again! This time we dive into his score for Lost Words: Beyond the Page, as well as his philosphies and growth as a composer since Thomas Was Alone. David candidly talks about his projects, career and advice, so don’t miss this great conversation! Big thanks to Toivo...

The post Composer, David Housden (Lost Words: Beyond the Page, Battletoads) appeared first on The Sound Architect.

Brief Source Control guide for Audio Peeps

Javier Zumer — Mon, 31 May 2021 16:51:52 +0200

Here is a summary of ideas and concepts about Source Control or Version Control that I wished I knew when I starting out in game audio since they can get a bif confusing.

What is Source Control?

Basically, It is a system used within software development to share and keep track of code and other assets. Since many people will have access to the same files, you can see how this can create conflicts if two people try to change the same thing at the same time. Source Control has features and workflows to allow people to safely work without conflicting with each other.

It also allows you to work with different versions of the same application which share some parts of the code. At the same time, in functions as an advanced backup because all the work is both locally on every developer computer and on a server somewhere. Because of this, is easy to go back to a previous version if needed, like if something breaks, for example.

So imagine something like Google Drive or Dropbox but far more advanced so multiple users can seamlessly work at the same time and with different partial collections of files from a common pool in the cloud.

In summary, Source Control is a fancy way of sharing files between people in a way that allows for multiple versions and conflicts can be minimized and/or resolved when they arrive.

Git

This is one of the most popular pieces of software to do Source Control and you will probably see it all around. Since it was developed by Linus Torvalds (yeah the guy who is the reason Linux is called that way), it is a free and open source so anyone can use it.

As far as I can see, Git was 87.2% of Source Control software in 2018 so it is clearly the King.

What can be confusing at first, is that Git, more than an application itself, is a system or protocol. Git can be used on the terminal but more usually people use a Client, which is a dedicated App with a GUI (Graphical User Interface) so it is easier to use.

Fundamentally, you can use Git purely locally but usually it is hosted online so many people can access the same repository. So you need some server somewhere to do this.

In conclusion, Git seems to be the most used Source Control software and it is really a protocol that can be used by different clients and using different online services for hosting. Let’s see these:

Git Hosting & Clients

GitHub: This is a company owned by Microsoft which offers free online hosting for Git repositories. Many important open soruce projects are on Github, like Bitcoin. For commercial and more complex projects, Github also have paid options.

GitHub Desktop: This is a client, a software with a GUI that uses the Git protocol and can be used with Github hosting or really any other Git hosting (Even local).

GitLab: This is another popular online hosting service for Git projects.

Bitbucket: This is yet another online hosting service for Git owned by Atlassian, who also owns Jira (a task management) and Confluence (wikis) which are also popular in the game development industry.

Sourcetree: This is a popular client with a GUI to work with Git repositories and it is also owned by Atlassian.

Fork: Yet another client to use Git with.

TortoiseGit: One more Git client which integrates with the Windows File Explorer.

There are many, many more hosting services and clients but those above are some of the most popular.

Apache Subversion (SVN)

This is a completely different ecosystem and procol for source control. It uses similar concepts as Git but on other aspects is quite different. I’ve seen SVN used for larger files like art and audio within game development.

TortoiseSVN is a popular SVN client which integrates with the Windows File Explorer.

Perforce or P4

This another Source Control protocol software, quite popular in software and game development.

Terminology & Workflows

Now that we know a bit about the ecosystem, let’s see some of the concepts that Source Conctrol uses. This can be applied to any system but is mostly oriented towards Git.

A repository is like a project that you create withing the Git system. So an app or a game will generally be one repository that is then shared by all the users.

When you want to get the repository in your local computer this is called Clonning. When doing this, you choose a folder in your drive and the Git client will download all the content. Once you do this, you have access to all the files, or to be precise to a version of all these files from the moment you did the clonning.

Although you are at first clonning the whole repository, while you work you are always dealing with branches. These are different versions of the software or game that are used by the team. Usually, there is a stable main branch called master or develop which functions as the principal branch where all other branches usually eventually point to.

After you clone the repo, if someone else updated it later, you will get “behind”. Source Control doesn’t usually work like Drive or Dropbox, where things are automatically updated. In contrast, you have update it manually. This may seem like a weakness but it is actually a strength. You need to have full control of when you are behind, ahead or just in sync with the server’s repository, depending on the situation.

Generally, if you are not working on anything at the moment, you want to be up to date with the master branch. For this, you switch to that branch (you check out the branch) and use the Pull action, which just pretty much checks if there is new stuff on the server and downloads it. In the case of SVN, this is action is called Update, which makes sense.

Keep in mind that when getting the latest version, you don’t get the whole thing again, just whatever is new or was changed, which makes things much faster. But what happens of you are the one who makes the changes? In this case, the simplest thing to do is to just send your changes to the server. In order to do this, git has two different steps which can be confusing. Before we go into those, we need to find whatever files we have changed and select them to make sure those are the changes that we want to upload. This part is important because usually there will be other local changes that we don’t really want to get into the server.

So after making sure that we have chosen the correct changes, we need to do these two step which are usually done at once but is important that you know the difference between them. The first is a Commit. This is just saying to the repo, hey I want to change these files and here is a brief description of what this change does. Once you do a commit, you have updated your local version of the branch where you are working on, but the server (or your co-workers) still have no idea that this change has occurred. The next step is a Push and that’s just the action of uploading your changes to the server for everyone to see.

As you can see, in the heart of this Commit and Push workflow is the isea of a Change, that is, the files that you have modified in respect to the server version that sits in the repo. Sometimes, you will make unintended changes which will break things. Since you are working with Source Control, you can always revert these changes, which will change the file back to its original state, which should be the same that exists in the server so no harm done.

Something else that it is important to know: You don’t usually work directly on the master or develop branch. This branch is usually reserved for an estable version of the game or software so people shouldn’t directly push things to it. That’s why we use branches. You would usually do your work in a branch you create, check that all works as intended and then push your changes to a server version of your own branch. Once that is done, you will create a Pull Request, from your branch to the estable one and usually someone with more seniority will check that all looks good and then accept the pull request. Once done, the result is sometimes called a Merge, since your branch is merging into the master branch.

And that’s all I have, it was quite a lot at once if you are new to this but I hope this works as an introduction from which you can expand as you get more and more into game development.

20 great new audio jobs at Fisker Inc, Frontier, BOOM Library, Magic Leap, Respawn, Double Eleven, Serenity Forge, Massive, Ascendant, Obsidian, Playground, Redhill, Ubisoft Shanghai, DONTNOD Paris, Radical Forge, People Can Fly, and Pixelogic

Adriane Kuzminski — Thu, 27 May 2021 21:43:57 +0200

We came across interesting new jobs at Fisker Inc, Frontier Developments, BOOM Library, and Magic Leap – and they’re looking for a Junior Sound Designer (CA, US), Senior Dialogue Designer (England), Contract Sound Librarian (Remote), and Interactive Audio Designer (Remote – US).

We also found openings for a Sound Designer at Fisker Inc (CA, US), Audio Software Engineer at Respawn (CA, US), Audio Designer at Double Eleven (England), Junior Audio Designer at Double Eleven (England), Senior Audio Designer at Double Eleven (England), Audio Engineer at Serenity Forge (CO, US), Audio Development Tester at Massive Entertainment (Sweden), Audio Director at Ascendant Studios (CA, US), Lead Audio Designer at Playground Games (England), Lead Audio Designer at Redhill Games (Finland), Audio Designer at Ubisoft Shanghai (SH, China), Senior Audio Designer at DONTNOD Paris (France), Audio Programmer at Radical Forge (England), Audio DevQA at People Can Fly (Poland), and Supervising Sound Editor/Re-recording Mixer at Pixelogic Media (CA, US).

Bonus: The Audio Jobs group also has opportunities for an Audio Designer at Obsidian Entertainment (Remote – US). Happy job hunting!

Highlight – sound stories this week:

→ New Composer’s Success Series interviews, on composing for film with Pinar Toprak, Nainita Desai, and Jonathan Snipes

→ Anne-Sophie Mongeau, Philip Eriksson, Gustaf Grefberg and Kristofer Eng about the sound for It Takes Two

→ Working in Sound – with creative powerhouse Jacob Collier

→ Jane Tattersall, David McCallum, and Brennan Mercer about the sonic details of Season 4 of The Handmaid’s Tale

Junior Sound Designer
Company: Fisker Inc
Location: Manhattan Beach, CA, US

Job description

About Fisker Inc.
California-based Fisker Inc. is revolutionizing the automotive industry by developing the most emotionally desirable and eco-friendly electric vehicles on Earth. Passionately driven by a vision of a clean future for all, the company is on a mission to become the No. 1 e-mobility service provider with the world’s most sustainable vehicles. To learn more, visit www.Fisker.com – and enjoy exclusive content across Fisker’s social media channels: Facebook, Instagram, Twitter, and LinkedIn. Download the revolutionary new Fisker mobile app from the or App Sore or Google Play store.

Role Overview We are looking for a Junior Sound Designer to join our growing team of auditory experts. You will have the opportunity to grow your sound design and editing skills as we address various audio needs across the company. Our ideal candidate has a passion for “all things audio” and is eager to dive into the future of automotive audio design. Collaborating with the Audio Team, you will be asked to create new sounds for our experiences, edit field recording sessions, address production sound needs, edit podcasts, and fill in other audio gaps across the team as the company grows.

Responsibilities

Assist Sound Designer and Audio Lead in recording, editing, tagging, and maintaining audio assets across Fisker products.
Collaborate with Audio Team on establishing sonic vision for future Fisker products.
Curate linear audio content alongside marketing, brand, and video editing teams.

Requirements

Eager to develop various audio skills including sound design, audio editing, audio recording, and audio engineering.
Ability to showcase completed sound design work from past 12-18 months.
Strong understanding of signal flow, microphones, speakers, and studio troubleshooting.
Proficiency in Reaper, Ableton, or other DAWs of choice.
Enthusiasm for the automotive industry and electric vehicles.
Strong interpersonal communication skills, professional and a positive attitude.

Nice to Have

Tools Experience (Izotope RX, Unity, Unreal)
Wwise or FMOD Skills
Proficiency in Microsoft Excel
Audio Scripting Skills (C#, Python, C++)
Recent Graduate of Music Technology, Audio Engineering, or other related Bachelor program.

Required Application Material

Resume
Sound Design Portfolio

More about this job

Source: Fisker Jobs

Senior Dialogue Designer
Company: Frontier Developments
Location: Cambridge, UK

Job description

Frontier is an established, market leading independent developer and publisher of videogames for PC and consoles. Founded in 1994, we are based in the world-leading technology cluster and historic city of Cambridge, England.

With a growing team of over 600 talented people, we are passionate about creating innovative genre-leading games and authentic worlds for our communities of players.

We have achieved serial successes across a wide variety of titles including Elite Dangerous, Planet Coaster, Jurassic World Evolution and Planet Zoo.

We are continuing to grow our team to support our existing portfolio and an exciting and ambitious future roadmap, which includes the development of both own-IP titles and licensed-IP titles. Our IP-license partners include Universal (Jurassic World), Formula 1 and Games Workshop (Warhammer).

We are also growing our team to continue the growth of Frontier Foundry, our games label for publishing games developed by carefully selected partner studios.

As a Senior Dialogue Designer you will report to the Senior Audio Producer day to day for projects and work closely will all project narrative stakeholders. You will have close collaboration and involvement with project audio, game design, writing and production teams. This is an exciting opportunity for a dialogue specialist to join an award winning AAA studio and raise the bar for creating sonically rich, high-quality game dialogue.

Responsibilities:

Maintain quality control and stylistic consistency for spoken dialogue throughout each title
Have editorial authority over the writing of spoken game dialogue, as per agreement with project narrative stakeholders
Work alongside narrative stakeholders to forge working relationships with external writers and build bridges between them and project stakeholders
Work alongside narrative stakeholders in casting voice actors for voiced character roles as per project demands
Prepare schedules and budgets for multiple projects
Work alongside narrative stakeholders in organising character briefs and sample scrips for casting
Work in partnership with other departments (Design, Localisation, AI, Animation etc) as well as external content providers to create and facilitate a pipeline, documents and foundation for dialogue
Liaise with the Localisation team to support the successful and efficient localisation of dialogue content, including ensuring the appropriate casting, mastering and engineering of localised files to match final original dialogue production as required on a per-project basis
Collaborate with internal Tools teams and coders to develop the necessary tools and optimisations for the dialogue/localisation pipeline

About you:

Have experience recording and directing voice actors as well as working with voice directors and recording engineers for voice content
Experienced with all phases of dialogue production and post-production, including studio recording, on site recording, editing and mastering
Professional proficiency using audio tools like Reaper, Wwise, Izotope RX, etc.
Knowledge of signal processing tools such as compressors, limiters, equalisers, etc.
Proven experience implementing interactive dialogue in game engines (Cobra in our case) and Wwise
Some experience in voice direction and working with actors and voice directors is preferable

What we can offer you We offer the chance to work with talented and passionate people, developing and publishing sophisticated and enduring games in a creative and collaborative environment. We love what we do, and we work hard to provide outstanding experiences for our player communities. Frontier rewards this passion and determination by sharing in the company’s success and by supporting our teams to keep doing what they love.

Well-being is a big focus at Frontier and we are continually evolving how we can support our staff. We encourage a healthy work/life balance and host a range of well-being activities, initiatives and sessions to support both mental and physical health.

We offer a competitive salary and benefits package, which includes a success-based annual bonus, share option schemes, pension, life assurance, private family healthcare, flexitime working hours, enhanced maternity/paternity package, in-house subsidised catering, support with relocation, a Cycle to Work scheme and free bike servicing, and social events.

We welcome and encourage applications from qualified candidates regardless of sex, race, disability, age, sexual orientation, gender identity, marriage or civil partnership, pregnancy or maternity, religion or belief.

More about this job

Source: Frontier Careers

Contract Sound Librarian
Company: BOOM Library
Location: Remote

Job description

The BOOM Library was founded in 2010 by award-winning audio guys from Dynamedion, the biggest European game audio studio based in Mainz, Germany. We pride ourselves on providing high-end, ultimate sound libraries for all media and audio professionals. Our products have a specific edge you will not find anywhere else: Every collection comes with a huge 96 kHz high-definition source library of our original recordings, plus a great variety of pre-designed SFX, ready to use.

For more than a decade, our sound libraries have travelled the multi-coloured world of films, series, and gaming and left bright traces in projects such as Star Wars Jedi: Fallen Order and Fortnite, as well as trailers for The Mandalorian, Battlefield V, Black Panther, La La Land, Rogue One just to name a few.

We are currently looking for a Sound Librarian (m/f/x) to work with us bringing a lot of sound files into a given metadata structure (UCS convention). Working remote is not an issue and is even preferred.

The job is project-based and full-time for approximately 6 months, starting June 2021.

As a Sound Librarian, you will:

Bring thousands of sound files into a given metadata structure (UCS convention)
Rewrite and add descriptions
Touch, listen to, and document sound files
Control sonic and technical quality of sound effects

Who you are:

Native English speaker and perfect in written text
Highly-organized with strong sense for structures
Experienced in working with sound effects libraries
Experienced with metadata for audio
Experienced using Google Docs/Sheets
Access to fast internet connection is a plus

We are looking forward to your application and your help!

More about this job

Source: BOOM Jobs

Interactive Audio Designer
Company: Magic Leap
Location: Remote (US)

Job description

As an Interactive Audio Designer at Magic Leap, you will be an integral part of a small audio design team dedicated to delivering world-class audio user experiences for the Magic Leap platform and first-party applications. You will work in a highly collaborative, multidisciplinary team that defines, designs, and integrates audio experiences and content, ranging from conceptual designs to shipping products.

Responsibilities:

Collaborate with various design and engineering teams to create and implement audio assets into projects with a quick turnaround
Rapid prototyping of spatial audio experiences and concept proofs using internal tools
Work with all aspects of the interactive audio pipeline: asset creation, implementation, mixing, tools development, and collaboration with multiple other disciplines
Review OS and app-level audio implementation and submit bug reports as needed

Qualifications:

Strong Unity and C# programming skills
Demonstrated ability to implement and mix audio assets into complex interactive systems (games, installations, or otherwise)
Proficient in professional DAW software (Pro Tools, Logic, Reaper, etc)
Extensive knowledge of AR/VR spatial audio tools
Experience working with a cross-disciplinary team
Well organized with excellent communication skills
Attention to detail and a great ear

Nice to have:

Pure Data or MaxMSP
Prior UX design work for AR/VR experiences
C++, Python, or other similar programming languages
Android development experience
Audio Middleware Implementation (Wwise, FMOD)
Git and Perforce
Jira, Favro, or other project management tools
Background in audio QA

Education:

3+ years interactive audio experience with at least one shipped project
B.S. in Audio Technology or Computer Science or equivalent experience

Additional Information:

All your information will be kept confidential according to Equal Employment Opportunities guidelines.

More about this job

Source: Magic Leap Careers

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