The Complete Guide to Game Audio
For Composers, Musicians, Sound Designers and Game Developers
318 pages, parution le 25/07/2001
Résumé
This comprehensive guide gives readers with basic music
compositional skills the information they need to become
commercially viable artisans. In addition to providing a
foundation of prerequisite technical skills, including
basic audio considerations and sound file formats, the book
teaches the business skills needed to work successfully as
an audio technician in the game development business.
How-to features take the reader step-by-step, from
purchasing the right equipment, understanding the various
game platforms, and composing music and creating sound
effects specifically for games, to the ins and outs of
marketing, producing demo reels, determining fees, bidding
projects, and negotiating contracts.
Table of Contents
| Foreword | xv | |
| The Industry Now | xvi | |
| About the Author | xix | |
| Acknowledgments | xxi | |
| Chapter 1 | An Introduction to Game Audio | 1 |
| 1.1 | Insert Quarter Here | 1 |
| 1.2 | The Bleeps and Bloops of Yesteryear | 3 |
| 1.3 | Where Sound is Now | 4 |
| 1.4 | Where Sound is Going | 6 |
| 1.5 | Chances of Finding Work | 6 |
| 1.6 | The Rewards | 7 |
| 1.7 | Let's Go Get 'em | 12 |
| Chapter 2 | Essential Skill Sets and Tools | 13 |
| 2.1 | Important Skills | 13 |
| 2.2 | Tools of the Trade | 23 |
| 2.3 | Preparing your Studio for Surround Sound | 37 |
| Chapter 3 | Getting Organized and Ready for Business | 45 |
| 3.1 | Understanding the Business of Game Composing | 45 |
| 3.2 | Composing vs. Sound Design | 48 |
| 3.3 | In-house Audio vs. Independent Contractor | 48 |
| 3.4 | Audio Demo Reel | 56 |
| 3.5 | Determining Your Costs | 64 |
| 3.6 | Organization is Key | 71 |
| Chapter 4 | Finding and Getting the Jobs | 75 |
| 4.1 | Marketing | 75 |
| 4.2 | Where to Look for Clients | 87 |
| 4.3 | Finding Your Niche | 91 |
| 4.4 | Networking Basics | 95 |
| Chapter 5 | The Bidding Process | 99 |
| 5.1 | How Much Do You Charge? | 99 |
| 5.2 | Let's Play 20 Questions | 100 |
| 5.3 | Asking the Right Questions | 101 |
| 5.4 | Pre-Production Made Simple | 106 |
| 5.5 | Contract Payment Options | 108 |
| 5.6 | Speculative Demos | 109 |
| 5.7 | The Bid Submission | 111 |
| 5.8 | There is Still More | 115 |
| Chapter 6 | Making the Deals | 117 |
| 6.1 | Understanding Industry Contracts and Terminology | 118 |
| 6.2 | Negotiable Contract Points | 127 |
| 6.3 | Navigating Negotiations | 134 |
| 6.4 | Change Orders and Reworks | 141 |
| 6.5 | Sample Agreements and Contracts | 142 |
| 6.6 | Conclusion | 163 |
| Chapter 7 | Setting the Stage | 165 |
| 7.1 | Company Liaisons | 165 |
| 7.2 | Meetings with the Game Development Team | 169 |
| 7.3 | Pre-compositional Considerations | 172 |
| 7.4 | 'Gotchas' and Other Things to Watch Out For | 182 |
| 7.5 | Conclusion | 186 |
| Chapter 8 | Creating Music for Games | 187 |
| 8.1 | Game Music Varieties | 188 |
| 8.2 | Exercises to Create Fitting Game Music | 193 |
| 8.3 | Some Technical Considerations | 199 |
| 8.4 | Musical Details to Reconsider | 202 |
| 8.5 | Compositional Methods | 205 |
| 8.6 | Recording Methods | 210 |
| 8.7 | Editing Music | 215 |
| 8.8 | Conversions | 219 |
| Chapter 9 | Creating Sound Effects for Games | 221 |
| 9.1 | The Creative Aspects of Sound Design | 221 |
| 9.2 | Types of Sound Design | 222 |
| 9.3 | Editing Methods | 229 |
| 9.4 | Sound Design in the Production Cycle | 244 |
| 9.5 | Specific Sound Design Questions to Answer | 245 |
| 9.6 | Determining Necessary Sounds | 247 |
| 9.7 | Creating Original Sound Effects That Fit | 254 |
| 9.8 | Presenting the Final Work | 259 |
| 9.9 | Conclusion | 260 |
| Chapter 10 | Blending the Total Soundscape | 261 |
| 10.1 | Maintaining Consistency in Production with Audio Elements | 263 |
| 10.2 | Quality Control | 269 |
| 10.3 | Conclusion | 272 |
| Chapter 11 | Game Platforms and Their Audio Development Issues | 273 |
| 11.1 | Sony PlayStation 2 | 274 |
| 11.2 | Nintendo GameCube | 276 |
| 11.3 | Microsoft Xbox | 277 |
| 11.4 | CD-ROM Games | 281 |
| 11.5 | Web-based Games--Java and Flash | 283 |
| 11.6 | GameBoy Advanced | 284 |
| 11.7 | Coin-Op Games | 286 |
| 11.8 | Conclusion | 288 |
| Chapter 12 | For the Developer | 289 |
| 12.1 | Understanding Sound | 290 |
| 12.2 | Working with Contractors | 294 |
| 12.3 | Getting to Work | 299 |
| 12.4 | The Next Step | 303 |
| 12.5 | Production Nightmares | 304 |
| 12.6 | Conclusion | 306 |
| Chapter 13 | Game Over? Not Hardly | 307 |
| Appendix A | The Grammy's and Other Game Audio Awards | 309 |
| A.1 | Who's Eligible? | 310 |
| A.2 | NARAS Details | 310 |
| A.3 | Applying | 311 |
| A.4 | Other Game Music Award Possibilities | 311 |
| Index | 313 | |
| What's on the CD-ROM? | 330 |
Extrait du livre
Caractéristiques techniques
| PAPIER | |
| Éditeur(s) | CMP Books |
| Auteur(s) | Aaron Marks |
| Parution | 25/07/2001 |
| Nb. de pages | 318 |
| Couverture | Broché |
| Intérieur | Noir et Blanc |
| EAN13 | 9781578200832 |
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