#GAMESOUNDCON

[andronicmusicblog]

GameSoundCon 2023: A reflection on the game audio industry

I had the pleasure of attending GameSoundCon 2023 in Burbank, California, and it was an exceptional experience. The conference was filled with talented and passionate individuals from all corners of the game audio industry, and the diversity of voices and perspectives was a true highlight of the event. We will never thank Brian Schmidt, the Executive Director, enough to organize such a remarkable event every year.

What impressed me the most about GameSoundCon was the strong sense of community. Everyone was supportive and welcoming, and there was an inspiring feeling of excitement and collaboration in the air. I was pleasantly surprised to see how industry veterans took the time to engage with newcomers, offering guidance and advice on how to navigate the field. The conference was a great opportunity to meet new people, exchange ideas, and build relationships.

One of the most exciting aspects of the conference was the opportunity to learn about the latest trends and technologies in-game audio. The sessions were informative and engaging, with industry experts sharing their insights on topics such as adaptive music, procedural audio, and the use of virtual reality in sound design. I was particularly impressed with the keynote presentation by a renowned game composer, who shared their experience working on a high-profile game title and the challenges they faced in creating a memorable and cohesive score.

Another highlight of the conference was the expo hall, where I had the chance to see and try out the latest audio tools and equipment, such as Audiokinetic (Wwise), Epic Games, FMOD, Formosa Group, Dolby Laboratories, Xbox Game Studios, SIDE, Game Audio Network Guild, Kilohearts, Materia Music, Miraisens, Motion Picture Sound Editors (MPSE), Outspoken Audio, Reactional Music, ReelCrafter, Sound Ideas, Sound Particles, Tazman Audio (Fabric), The Female Composer Safety League, The Halp Network, PlusMusic AI, Scoring the Game, World Health Organization: Make Listening Safe, IGDA/IA-SIG, Source Elements, Tom Salta Masterclass Series & AutoBounce.

The exhibitors were knowledgeable and eager to share their products, and it was a great opportunity to learn about new resources and techniques that can be used to enhance game audio.

Overall, GameSoundCon 2023 was a fantastic experience, and I came away feeling inspired and energized. I highly recommend the conference to anyone who is interested in game audio, whether you are a seasoned professional or just starting out in the field. The conference offers a unique opportunity to learn from the best in the industry, connect with like-minded individuals, and discover new tools and techniques that can help take your game audio to the next level.

I had some epic moments this year at GSC 2023; one featured my fellow teacher and mentor, Tom Salta. His stand showcased the “Tom Salta Masterclass Series” and “AutoBounce.” Auto-Bounce is a collaboration between composer Tom Salta and software developer David Molnar of Renegade Soundplay. Tom Salta realized that the bouncing process in Logic Pro was time-consuming, repetitive, and prone to errors, especially when dealing with stems, multitrack, and mixes.

Tom Salta is a renowned game composer who has worked on a variety of popular titles, including Halo, Deathloop, and Prince of Persia. He is also a passionate advocate for interactive music and has given many lectures and workshops on the topic.

Tom Salta had 2 panels. His presentations are always interesting and engaging, and he maintains a professional and content-rich attitude. “Composing Interactive Music lecture” and “Scoring Terror (The Music of Outlast Trials)” were remarkable; 

In his lecture "Composing Interactive Music,” Salta discusses the unique challenges and opportunities of composing music for video games. He emphasizes the importance of understanding the game world and characters and collaborating with the game developers to create a cohesive and immersive experience for the player.

Salta also discusses a variety of techniques for composing interactive music, such as the difference between linear and non-linear music, looping and layering techniques, and an introduction to adaptive music middleware. He shares his experiences and insights from working on some of the biggest games in the industry.

Salta's lecture is a valuable resource for anyone interested in interactive music composition. It is informative, engaging, and inspiring.

During Salta’s lecture, we learned some important points about interactive music. Firstly, interactive music can greatly improve the player experience. In order to create authentic and immersive music, it’s crucial to have a good understanding of the game world and its characters. Collaboration with game developers is also essential to ensure the overall experience is cohesive and unified. There are various techniques available for composing interactive music, such as adaptive music middleware and procedural audio. It’s important to be creative and experimental when composing interactive music, as there are no hard and fast rules to follow.

If you’re interested in learning more about Tom Salta and his Masterclasses, be sure to check out his website and social media pages at www.tomsalta.com.

At the session’s end, he looked like a star signing autographs and taking photos.

The same happened the day after Inon Zur with “Composing Music for an "Out of this World" Game - Starfield and More.” The 2 composers have been under the same representative for a long time, early with the legendary game composer agent Bob Rice and today with Jeremi Valiquette.

One of the most memorable lectures at GameSoundCon 2023 was Inon Zur's talk on “Composing Music for an "Out of this World" Game - Starfield and More,”

Zur is a renowned game composer who has worked on a variety of popular titles, including Fallout 4, Dragon Age: Inquisition, and Crysis. In his talk, Zur discussed the unique challenges of composing music for a science fiction game and how he approached the task of creating a score that would be both immersive and inspiring.

Zur began by talking about a concept: “Tell me something I know, Tell me something new.” When writing music, a composer may take the listener on a journey that could start with something familiar and accessible, which helps to ground them and make it more relatable; then, the composer may decide to introduce new and unconventional changes. By doing that, a composer can create a dynamic and engaging musical experience for the listener.

It starts by reminding the audience of something they already know, 

Zur created a score that would be both diverse and cohesive. Starfield is a vast game with a wide variety of environments, from bustling space stations to remote planets. Zur wanted to create music that would reflect the diversity of the game world while still maintaining a consistent organic overall sound in a multiverse/universe sci-fi environment.

To achieve this, Zur used a variety of music tech. He incorporated traditional orchestral elements in a different dress. He also used a variety of ethnic instruments to reflect the different factions in the game.

The result is a score that is both immersive and inspiring. Zur's music captures the vastness and grandeur of the Starfield universe while also conveying the wonder and excitement of exploring a new world.

There was a very interesting moment at GameSoundCon 2023, Stray Gods: Creating an interactive musical by Austin Wintory.

The panel was about Stray Gods, a musical video game where players can control the music, which adapts to their choices in real-time. The game is set in a modern world where the Greek gods have returned. Wintory's creativity and vision have made it possible to create such a groundbreaking and immersive musical experience. During the session, Wintory used a flowchart to explain the interaction of the music, depending on the player's decisions. It's incredible to think about and demonstrates the brilliant mind behind the game and the composer itself.

I am a super fan of Cyberpunk 2077, Vallorant, and the TV show Arcane by Riot Games.

The “Cyberpunk 2077 Phantom Liberty: Sound Design - Taking It Up a Notch” panel was hosted by Michał Pukała from CD Projekt RED, and it was truly remarkable. The session focused on the top-level sound design and technology used in patch 2.0 of Cyberpunk and the new episode “Phantom Liberty”. It was interesting to learn how consumers usually only notice graphic and visual improvements while leaving audio at a subconscious level where everything is fine until something goes wrong. However, in reality, sound design plays a crucial role in creating a rich and immersive experience for the audience, and on CYbeprunk 2077: Phantom Liberty the result is fantastic. Michał explained in detail how at CDPR they created and improved sound elements, including recording organic mechanical sounds in the backyard of his colleagues' sound designer and processing them to create the new engine sounds. The end result in Cyberpunk 2077: Phantom Liberty is truly impressive and enhances the overall experience.

Another highlight of GameSoundCon 2023 was the panel discussion on exploring the processes of in-house music teams. The panel featured a variety of speakers from different game studios, including J.D. Spears, Brendon Williams (from Riot Games,) Joshua Carro, Skye Lewin, and Becky Allen.

The panelists discussed a wide range of topics, including the different roles on an in-house music team, the challenges and rewards of working in a team environment, and the importance of collaboration. They also shared their insights on the different stages of the music production process.

One of the most important takeaways from the panel was the importance of communication and collaboration. In-house music teams often work closely with other departments, such as game design, art, and programming. This close collaboration is essential for creating music that is well-integrated into the game and enhances the overall player experience.

The panelists also emphasized the importance of creativity and flexibility. In-house music teams often need to work on multiple projects at the same time, and they need to be able to adapt their style and approach to meet the needs of each project.

Overall, the panel discussion provided a valuable behind-the-scenes look at the work of in-house music teams. Clearly, these teams play a vital role in developing video games and contribute to creating immersive and memorable experiences for players.

In conclusion, the game audio industry is rapidly evolving, and there is a high demand for skilled professionals who can create immersive, engaging, and memorable soundscapes for games. The industry is becoming increasingly diverse, with people from all backgrounds and disciplines finding success in-game audio. Suppose you are passionate about game audio and want to pursue a career in this field. In that case, many different roles and opportunities are available, ranging from music composition to sound design to dialogue production and beyond. You can make your mark in this exciting and dynamic industry with the right skills, knowledge, and passion.

[tylergonellicomposer]

Sampling my hotel room after gamesoundcon!

[ddashfens]

Can’t believe #gamesoundcon was already over a week ago! Had a great time with the boys, getting fired up on Bourbon to solve audio implementation issues, meeting wonderful likeminded people, absorbing great advice, and finally meeting my fav teacher Leonard for lunch. A whirlwind of inspiration! Looking forward to GDC 2020 🎮 . . . #gameaudio #game #audio #sound #middleware #travel #la #learning #sovga (at Millennium Biltmore Los Angeles) https://www.instagram.com/p/B4vMNb_hNBc/?igshid=f3kolt2nd0e8

[thechristopherescalante]

Had a great time at #GameSoundCon and staying with my sister @positivelyari in Beverly Hills. It was a blast and I can't wait to come out here again! (at Rodeo Drive)

[germanseabass]

Cheese for dinner at #GameSoundCon (at Bonavista Revolving Lounge at The Westin Bonaventure Hotel)

[jeffpennymusic]

How to Convince Game Devs to Hire You

TL;DR Video Version

This past week I virtually attended GameSoundCon and had the opportunity to speak to many wonderful people at various points in their careers. A common question I heard asked repeatedly was, “How do I convince game developers to hire me?” It’s something that I think mystifies a lot of people when they are trying to break into the industry, myself included. It can sort of loom ominously over everything we do, and affect our decision making more than we might even realize. But I’m here to tell you today that really, it’s not as complex and difficult as it might sound. In fact, the answer is pretty easy: you don’t. That’s all there is to it, thanks for coming to my TED Talk.

In all seriousness though, I have found that for me, and friends I’ve spoken with, this way of thinking does more harm than good. Even if we are doing our best to make genuine connections, and be a lovely person, it can create this subconscious itch that affects some of the choices we might make. People also are extremely good at detecting when someone wants something from them, and even if you have the best of intentions, that can be off putting. This question just gets in the way, and frankly isn’t a necessary line of thinking.

When I was looking to get my first experience working on a game, I did lots of research on getting into the industry. Watching videos, checking out interviews, reading blog posts, I did it all. I had heard the same standard advice about networking time and time again. The best thing you can do is go out and meet people, make real connections, etc. So, I thankfully didn’t make a TOTAL fool out of myself at my first industry event. Yet, even though I knew what not to do, I was unintentionally sabotaging myself. Even in trying to make genuine connections with people, my hunger was getting in the way of me making a good first impression. It wasn’t until I had attended a number of events before I finally realized how much I was sabotaging myself, and how something had to change.

I’m sure it’s advice you’ve heard a billion times before in one form or another, but for good reason. Don’t waste your energy on something that you can’t control, only focus on what you can. Until we make a bit more progress in mind control technologies, you can’t convince someone to hire you. No matter what you do, that decision is always going to be up to them. Some things you CAN control are the positions you put yourself in, the ways you present yourself, and the skills you have to offer. Rather than trying to force opportunities to materialize, focus on being ready for when they do. Spend your energy making sure you can be ready to not only say yes when your moment comes, but be able to notice it happening at all. Networking isn’t about creating opportunities for yourself, it’s about putting yourself in a position to be able to develop them.

Even before the previous failed games events I mentioned earlier, I actually missed an opportunity that still hurts me a bit when I think about it. At the time, my plan was to go down an entirely different career path, but I had this little inkling of a thought that it would be cool to work on games. I knew literally nothing about what that entailed. I didn’t have any resources or know a single person I could talk to. I wound up reaching out to a family member, who had a friend, who knew a friend, who knew a friend, who eventually led me to a contact working in game audio at a major studio. Then, when I finally found someone, I was so inexperienced that I didn’t even know what to ask. I just went with a general “How do I get into making music for games?”, and was given an answer similar to the standard networking advice I mentioned previously. I said thank you, and that could have been it. I already missed an opportunity to make a stronger connection with this person. However, they very graciously told me they knew of an upcoming project that was looking for a composer, and asked if I could send demos of my music. This was it, my first opportunity at maybe pitching for a job, and I wasn’t prepared. I unfortunately had to decline because I didn’t have a reel, I literally didn't have anything to show them. While it’s a real bummer to think about now, it at least is an experience I can look back on and learn from.

All of this isn’t to say don’t try. In fact, the best thing you can do is to focus on what you CAN control. Do everything in your power to put yourself in these positions. Follow all those tips about networking, about going to conventions, doing game jams, being active on social media. Make cool things to put out into the world, hone your craft, write clickbaity content on how to get work as a freelancer in games. Anything that gets yourself out there. Anything that puts you in a position where you are more likely to find these opportunities in the first place. While I ultimately wasn’t ready for it, I never would have gotten to the point of him asking for my music if I hadn’t spent time reaching out to people in the first place.

This also doesn’t mean that you can’t go for specific jobs. Have a dream team you want to be a part of? A game you think would be amazing to work on? Go for it! But rather than getting caught up in trying to figure out how you are going to get them to hire you, ask yourself, “How can I be the right person for this job?” Both in terms of skill set, and being in the right place to help out when they need it. This slight mindset change goes from focusing your energy into things that are beyond your reach, to ones that only you have control over. You still very much need to be prepared to fail, or not reach your goals, but by even just preparing yourself, you never know what other opportunities you might come across.

In all of the projects I’ve ever worked on, I don’t think I’ve gotten a single one through trying to convince them to hire me. They have all come from persistence, constantly doing everything I can to better myself, and being present in the industry. I also do very much understand that I come from a massively privileged position compared to others, and there are certainly hurdles that I have never had to deal with. But I still very much believe that no matter where you are starting from and what you have to contend with, little shifts in mindset like these can go a long way.

Really, this whole long thing has just been to say, something as small as changing the question you are asking yourself can make all the difference. You can’t convince people to hire you, but you can make yourself the one that they want to hire.

[smashclay]

In less than a month, I’ll be giving my talk “Game Audio: Beyond Aesthetics” at GameSoundCon. In my presentation, you’ll learn how to increase your game’s usability and accessibility through audio, and you’ll hear plenty of excellent examples from AAA and indie games.

[805aerial]

GameSoundCon to Offer Hands-On Workshops with Magic Leap

(Seattle, WA--July 20, 2020) GameSoundCon, For the first time since its inception 11 years ago, the largest professional conference for video game music and sound design, will be held in a virtual format from October 5-7, 2020. This is exciting news for all game audio professionals, music producers, from Creative COW News https://ift.tt/3jpb5IY via 805Aerial.com

[beatwithhookblog]

https://www.youtube.com/watch?v=26KmqtqAz9Y ➡️➡️Learn more about GameSoundCon here: https://bit.ly/321niJY We're currently at GameSoundCon 2019 in the Millennium Biltmore Hotel, Los...

The post GameSoundCon 2019 with Founder Brian Schmidt | #GSC19 – Warren Huart: Produce Like A Pro appeared first on BeatWithHook.com.

[websitewithfinalcut31-blog]

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[andronicmusicblog]

GameSoundCon 2023: I'm excited to be there!

I'm excited to announce that I'll be attending GameSoundCon 2023 this October 17-18 in Burbank, California! GameSoundCon is the leading conference dedicated to video game music and sound production, and it's a great opportunity to learn from and network with the best in the business.

If you're attending GameSoundCon, I'd love to meet you and chat about game audio. Please feel free to reach out to me on the Whova app, my Twitter account @domcapuano, or through my website, domcapuano.com. I'm also happy to answer any questions you have about GameSoundCon or the game audio industry in general.

Here are some other things I'm looking forward to at GameSoundCon 2023:

Networking with other game audio professionals

Learning about the latest trends and technologies in game audio

Discovering new and exciting game soundtracks

Meeting and chatting with my favorite game composers and sound designers

Having a lot of fun!

If you're interested in game audio, I highly recommend attending GameSoundCon 2023. It's a great opportunity to learn from and network with the best in the business. And if you see me there, please feel free to say hello!

I hope to see you at GameSoundCon 2023!

[toptovideo46-blog]

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[trendsfromvideo1-blog]

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[smashclay]

What can sound designers learn from User Interface design? Find out tomorrow at 10:35am in the Emerald room during my GameSoundCon talk!