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The Essential Guide to Game Audio: The Theory and Practice of Sound for Games is a first of its kind textbook and must-have reference guide for everything you ever wanted to know about sound for games. This book provides a basic overview of game audio, how it has developed over time, and how you can make a career in this industry. Each chapter gives you the background and context you will need to understand the unique workflow associated with interactive media. The practical, easy to understand interactive examples provide hands-on experience applying the concepts in real world situations.
- Sales Rank: #380172 in Books
- Published on: 2014-03-17
- Original language: English
- Number of items: 1
- Dimensions: 9.40" h x .60" w x 7.40" l, 1.35 pounds
- Binding: Paperback
- 254 pages
About the Author
Steve Horowitz is a creator of odd but highly accessible sounds and a diverse and prolific musician. Perhaps best known as a composer and producer for his original soundtrack to the Academy Award-nominated film "Super Size Me.", Steve is also a noted expert in the field of sound for games. Since 1991, he has literally worked on hundreds of titles, including a ten year run as the audio director at Nickelodeon Digital, where he garnered both Webby and Broadcast Design awards. Horowitz also has a Grammy Award in recognition of his engineering work on the multi-artist release, "True Life Blues: The Songs of Bill Monroe [Sugar Hill]." Best Bluegrass Album" (1996). Currently living in San Francisco, with his wife and son, he composes, teaches, lectures, consults, plays bass and continues to release strange and beautiful new sounds on an unsuspecting world.
Scott Looney is a passionate artist, soundsmith, educator, and curriculum developer who has been helping students understand the basic concepts and practices behind the creation of content for interactive media and games for over ten years. He pioneered interactive online audio courses for the Academy Of Art University, and has also taught at Ex'pression College, Cogswell College, and Pyramind Training. As a musician and composer, he has created compelling sounds for audiences, game developers and ad agencies alike across a broad spectrum of genres and styles, from contemporary music to experimental noise. He has also performed at numerous experimental festivals, designed custom instruments, and created performance interfaces utilizing sensors and microcontrollers. In addition to his work in game audio and education, he is currently researching procedural and generative sound applications in games, and mastering the art of code. He lives in Berkeley.
Most helpful customer reviews
2 of 2 people found the following review helpful.
Great primer on game audio- well illustrated, logical progression of technical topics that makes it easy
By Kristi Gilleland
I got this book because I've done a bit of short voice spots but would like to get into narration. I thought I might be able to pick up some knowledge and tips from this book and indeed, I did. There's a nice section on voice recording.
The book has very good illustrations and plenty of them. A lot of the concepts are explained primarily through the illustrations, which make the topics rather easy to understand, in my opinion.
The book is fine for absolute beginners, and I think it would be fine for teens and very smart younger kids that are into voice mods, or anyone with an interest in voice overs. It covers concepts as easy as file types to harder topics like achieving 3d sound.
The progression in the book is logical, and the topics build on each other in subsequent chapters. That said, people already familiar with recording and sound work should be able to skip to topics that interest them.
I learned a lot of new vocabulary, and some helpful voice recording tricks. Highly recommend!
2 of 2 people found the following review helpful.
Very good overall basic concept guide
By Cutenewt
This book is excellent in construction and presentation. I'm so happy to have a book that presents concepts in logical fashion. I know some audio technology from school but more as a musician and composer, not as an engineer. This gives basic and well thought out definitions both in conception and examples. Finally someone seems to understand exactly the way my brain works and learns. It's an overarching 'here's stuff you need to grasp.' I've only spent about a half hour with it so far and have already picked up a great deal. I'll be back to write more later once I've read more but note: the companion app is named "Essential Game Audio."
1 of 1 people found the following review helpful.
Almost perfect, but stops a little short of "Be The Wumpus" territory
By Brian Connors
The first time a game's sound ever really blew me away was Super Mario Land on the Game Boy, way back in the late 80s. Although it wasn't the most sophisticated of productions, the music was some of the best music Nintendo ever put out in a game of the era, second only to the legendary Tetris cover of "Korobeiniki", in part because unlike the NES, which only had the one mono channel going to TVs with only one speaker, the Game Boy had a stereo headphone jack, and Gunpei Yokoi's sound team took as full advantage as was possible with 8-bit beeps and buzzes and two channels.
The better part of thirty years later, audio production for even amateurs has become both cheap and very sophisticated indeed; witness the remarkable talents for abuse of binaural microphones that characterize popular ASMRtists on YouTube and the ubiquity of the well-regarded FOSS audio editor Audacity. The proportion of phone and tablet games that instruct you to use headphones for best effect is large and increasing, and there's even a small genre (originally created for the blind) of audio-only games based entirely on 3D sound. This book (and its accompanying app) is the best guide going for learning how to handle these things.
The book focuses particularly on the Unity game engine; it's a relatively new but widely used engine that's free for basic desktop development. Although it probably helps to be familiar with traditional studio production, you don't really need to be to get the most out of it, especially since it focuses heavily on user experience, something only a very few music producers specializing in surround sound need to give a lot of thought to. The extensive coverage of the history of both sound recording and video games should make it a sufficiently interesting read even for people who just want to learn a bit about the process without actually becoming a game developer as well. There's a lot of links to relevant websites and other resources for both game development and sound engineering, so you won't feel high and dry at the end.
I did find a couple of minor irritants. It covers FOSS codecs like Ogg Vorbis, but doesn't talk about FOSS tools like the above-mentioned Audacity. It mentions audio-only games, but although the book and app do an excellent job of showing how 3D sound works, the closest thing to a demonstration is a maze minigame that tells you how far you've strayed from the correct path by increasingly dissonant strings being played over the music track. That's pretty cool, but I feel like you should be able to play it in eyes-closed mode, and I'm not convinced you can. However, these are all relatively minor, and this book isn't any less a good investment despite them.
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