Discover and read the best of Twitter Threads about #GameAudio

Most recents (17)

'What do I need to do in order to get interviewed/hired for a #GameAudio #Job ?'
I get asked this often, so I thought I would share here (a thread).

Disclaimer: please understand this is my personal view/opinion, it is not universally true. But I hope it can still help. 💙
1a) Apply to the offer as soon as you can.
When an offer is posted, the employer receives a manageable amount of applications until it gets too much. You ideally want to be appllying within that short 'early window' to get noticed faster.
1b) If you are ready to apply with all the required elements 'ready to send', you have a potential advantage because you may be reviewed earlier.
This is not always true (hiring processes differ in companies), but early will always give you stronger chances than late.
Read 17 tweets
Unpaid work. At some point, we all do it. We are certainly always being buffeted with requests to do it, anyways! Let’s dig into this concept and discuss when it is(?!) a good idea to pursue!

Strap in, #gameaudio friends. We’re gonna figure out what is or isn’t exploitation!
Basics, first. We all have rates, we all have expenses, and kind words don’t pay your bills. Obviously, receiving usable currency is often the ideal outcome for a gig. However, it isn’t the ONLY positive result. What are some examples of ways we can extract value?
Credit and “exposure” receive a horrific reputation, and yet without these things, we have no reputation at all. There is a monetary value to exposure, and it is in fact calculable. Compare the eyes a project will put on your music to the equivalent cost in marketing/PR.
Read 21 tweets
Milestone today – 50 #gameaudio job rejections (in 2 years – screenshot from spreadsheet with the automated rejection counter)!

Here are some of the lessons I’ve learned and things I’ve observed, hopefully this can help people in similar positions!

Rejection – A Thread (1/18) Image
Any job application you’re not 100% “in” on, you probably shouldn’t bother applying. Some applications I’ve put in, I haven’t been convinced that even I would give myself the job – so someone else certainly won’t! (2/18)
They say the definition of insanity is doing the same thing over and over and expecting different results. It’s easy to just keep applying with the same material, but at points you must question whether what you’re applying with is reflective of your best work. (3/18)
Read 19 tweets
Here are my top 5 recommendations of free resources for aspiring #GameAudio folks trying to break into this competitive industry! (especially AAA)

Not a definitive guide but something to get you started in case you're wondering where to start

🧵
1. First up is this bible created by @FlorianArdelean on how to get a job in game audio!

A comprehensive guide containing a range of material from interviews with industry veterans to advice on CV, Cover letters etc.

docs.google.com/document/d/1sA…
2. Next is reel reviews by @regameyk on his Twitch channel @PowerUpAudio - he takes on 2 requests in each stream and gives some valuable advice on ways to improve your website/portfolio

Check out any video from his VOD on Twitch or YouTube channel:

youtube.com/user/PowerUpAu…
Read 7 tweets
gimme yer #gameaudio tips.

•transient designer followed by a clipper for big punchy impacts. gives the impression of a really sharp transient even though it’s shaved off
•envelope follower is great for gluing a bunch of layers together (one sound controls the amplitude of all the others) and makes things cohesive
•for snappy sounds, break the rules and use hard cuts with no fades (gasp!) and sometimes even tiny amounts of complete silence (GASP)
Read 24 tweets
#gamedev #indiedev #gameaudio

I'd like to share a couple tracks I made for APICO which were thrown out or never developed.
I've added comments to most of the tracks.

#1: Much too dark and mysterious.
#2: Also too dark and ominous.
#3: This was my first attempt at creating the track "Vulpes" (a shop theme). This attempt just... doesn't sound good.
And that's okay. Sometimes you just have to force yourself to come up with *something* in order to reach something you're happy with.
Read 7 tweets
Ok, time for the big one. What are appropriate rates for #gameaudio/#gamedev composers? How do you calculate what to charge? What is everyone ELSE charging? What do the numbers look like in AAA, midcore, indie, and so on? Let's deep-dive. #GameDevPaidMe

(1/23)
Sources: 1. I'm gonna be referencing stats from the Game Audio Industry survey by @GameSound. This is wonderful, but is biased in that respondents are folks who are well-enmeshed in this community. They are likely more successful than the average.
gamesoundcon.com/post/2019/09/1…

(2/23)
I'll also be sourcing convos w/ other studios, composers, etc. To protect privacy, I will not be providing names or identifying details. You'll kinda just need to trust me that these equal real people who replied. I don't want folks to get in trouble!

(2b/23)
Read 26 tweets
Friends in #gameaudio, I'd like to expand on this after a conversation with a composer buddy of mine. We talk about the importance of reels constantly without ever acknowledging that most of the best jobs don't actually consider reels whatsoever. (1/7)
What do I mean? Well, a reel serves a proof of concept for when you are pitching your services as a way of convincing someone else to hire you. However, many of the highest paying gigs (AAA etc) will tend to originate on the company end AKA they reach out to you. (2/7)
This is relevant because your reputation IS your reel. A lot of your favorite composers don't have video reels, or even audio samples. If asked for one, they'll send a disorganized dropbox link, or tell you to go on spotify; the sorta stuff I often call less than ideal 😅 (3/7)
Read 7 tweets
bit overdue but here's a thread of the most common mistakes I saw while going through #gameaudio entry level #sounddesign reels you guys sent a while
back. Its just my personal take but hopefully some will find this useful...

Audio vets chime in too!!
1. Dead space - a lot of reels contained slow or eventless moments. Replace slow moments for more action and chances to show off your skills. You can show
ambience design, but make it tastefully short
2. Repeat Plays - many segments contained SD (sound design) shown multiple times (repeated creature attack or gunshot). If you want to show any variations, two will be good enough with tasty variation.
I can rewind the reel when I hear something awesome.
Read 19 tweets
Celeste's dialogue design is the #1 most-asked-about topic when it comes to the game's sound. I figured I'd share some of how we went about creating it.
First, we explored some simple synth sounds to figure out a general tone for a given character's voice. Once we had a foundation timbre established, we moved on to setting up how that tone might change over time.
Essentially, using a Parametric EQ in FL Studio, we modelled what are called "formants" - that is, naturally occurring spectral peaks in human vowel sounds. These spectral peaks have specific frequency positions and relationships, and they looked something like this:
Read 18 tweets
Challenges on #WFH in AAA games after COVID: A thread.
This is my opinion on the future of Work From Home in big games, does NOT represent the view of my employer or any of my co-workers. #gamedev #GameAudio #gamedeveloper
After COVID, some developers glorify the idea of WFH permanently.
If you ever worked in a film or TV set, played with a band
or performed for a living you probably have an idea
about creative collaborative effort and the hurdles of doing it if people are not in the same space...
But beyond the ability or not to do it, is the casual interaction with people that are not in your immediate circle of collaboration what make a difference between just getting-your-job-done and a learning and growth path that is what I call a 'career'...
Read 13 tweets
We’re hiring for a couple of sound design roles at @HexanyAudio so I thought I’d share a bit what that process looks like at our studio. These things are true for us alone, not every studio. #gameaudio #sounddesign #gamedev
Reels 1: Our very first step is a blind review of demo reels. We don’t look at names, years of experience, resume, or anything else. We’ll pass if your reel isn’t excellent. And if your link doesn’t work, we move on. Pro Tip: Test your link a private window before sending.
Reels 2: We’re looking to hire video game sound designers. If your reel is 100% film and doesn’t contain anything at all from a game and your resume doesn’t have anything related to games, you’re probably not the best fit for this position.
Read 18 tweets
There are lots of unknowns to being a creative. What do I charge? How to find good clients? And the key is usually getting help from someone. But even once you have the info you need, there’s still a barrier to success. You have to believe that you deserve it #gameaudio #gamedev
A lot of people message me to ask about rates. “Hi, here’s what I do, here’s what I’m charging now! Is it ok?”
Often my answer is, no, you should be asking for many times what you are now. But a lot of the time, the person isn’t just shocked, they’re let down. “Oh, I could never make that much” is a response I hear a lot.
Read 15 tweets
I spend a lot of time yelling about how #gameaudio freelancers need to charge what you're worth (and for many I've talked to, this is as high as 10x what you charge now). But if you really want the gig and the client doesn't have the $$$, there are ways to compensate! #gamedev
All of what follows falls under the idea that "it's ok to work for free, but don't work for nothing." Money is ideal, but no matter what, you should be making sure you get some kind of fair value for your time and skill. Here are some options.
1. Revenue share: This should probably never be your first choice, but if they can't pay, or can't pay much, asking for a few percentage points off of the net revenue the game takes in is always a good idea. Keep in mind, this is likely to amount in Not Very Much Money.
Read 23 tweets
When you become a freelancer, one of the most unexpected setbacks people face isn't the level of skill required (they often have it, or are ready to build to it). It's the fact that you are now A Business. There's a lot about that no one teaches you #gamedev #gameaudio
Taxes fuck over a lot of people when they go freelance, me included. I didn't understand them; I had simply looked up my "income tax bracket" online and was setting that much aside. Ended up owing an extra 14k on my tax bill the first year I got paid well.
Luckily, I'd just received a large rev share payout and could afford it, but ouch! Turned out, freelancers pay income tax AND "self employment tax", which is basically covering social security and the other stuff your boss would take our of your check automatically if you had one
Read 23 tweets
#NiaHansen #sounddesign thread on EXPLOSIONS and fun with liquid nitrogen. Because liquid nitrogen is fun. Don’t try this at home. 💥💦❄



#filmsound #soundeffects #fieldrecording #audiopost #postproduction #gameaudio
This explosion recording day was for War Horse. World War I is a time period that not very many living people have actually HEARD. This gave the sound designer and editors some liberty to be interpretive and nonliteral with some of the war environment, guns, vehicles, etc.
We tried various things with the liquid nitrogen, which all had very different qualities. When sealed in a plastic jug, it will eventually explode (or implode a trash bin). We tried different sized jugs… and different material cans.
Read 9 tweets
We don’t always have the time or budget to collect many new/unique sounds for every film, esp. on Marvel projects which are so busy. We also may not know what we need until a visual effect shows up, or we learn that something cut/designed isn’t working.
Ideally, we put together a recording wish list at the very start of the project. These are sounds we don’t have in the library, or have but want better recordings of/variations of, or textures & components to use for designing.
Read 12 tweets

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