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The role of a sound designer
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http://bit.ly/ 1zPk6BR The Role Of A Sound Designer The job of a sound designer (SD) is to record and edit the sounds in a video game. At the start of development, the SD would have a discussion with the creative directors to find out which sounds are needed in the game. The next step would be to do research, finding out what some things sound like, and how to generate those sounds. The sounds could be generated in multiple ways: Studio recording (voice acting & foley artistry), field recording, real musical instruments and software instruments. Many sounds such as walking, and objects clashing would be recorded by a foley artist in a sound-proof studio. They would collect props that would simulate many sounds (horse hooves, sword clash), usually by clashing props together. Sounds that are field recorded are normally used in background noise. The sound of crowds of people, wind, or animals like birds, would be difficult to record in a studio, so they are usually recorded out in the field. Software would be used to create sound effects and music digitally, if it cannot be done using any of the other methods. As well as generating their own sounds, the SD could choose to gather existing sound assets to be used in the game. The SD doesn’t need to just work with people within the gaming industry. They can audition and hire actors for voice acting, or musicians to compose the music. The music could also be z
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Transcript of The role of a sound designer
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The Role Of A Sound Designer
The job of a sound designer (SD) is to record and edit the sounds in a video game. At the start of development, the SD would have a discussion with the creative directors to find out which sounds are needed in the game. The next step would be to do research, finding out what some things sound like, and how to generate those sounds.
The sounds could be generated in multiple ways: Studio recording (voice acting & foley artistry), field recording, real musical instruments and software instruments.
Many sounds such as walking, and objects clashing would be recorded by a foley artist in a sound-proof studio. They would collect props that would simulate many sounds (horse hooves, sword clash), usually by clashing props together.
Sounds that are field recorded are normally used in background noise. The sound of crowds of people, wind, or animals like birds, would be difficult to record in a studio, so they are usually recorded out in the field.
Software would be used to create sound effects and music digitally, if it cannot be done using any of the other methods. As well as generating their own sounds, the SD could choose to gather existing sound assets to be used in the game.
The SD doesn’t need to just work with people within the gaming industry. They can audition and hire actors for voice acting, or musicians to
compose the music. The music could also be written and composed by the SD, but it is not always the case. Once the sounds have been recorded, they are edited or ‘sequenced’ to make the audio clearer or change the sounds slightly to suit the game they are for.
When new technologies are released, it’s important for the designer to stay up-to-date with the latest hardware and software. These upgrades can make recording sounds easier to do, or be a better quality.
The last thing the SD does is the Final Mix down. This is when all of the sounds are checked and edited to make sure that none of them are too loud or too quiet compared to all of the other sounds.
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