I recently passed the Audiokinetic Wwise certification course, which covered the core concepts of using Wwise to implement audio into a 3D game. Audio middleware like Wwise gives sound designers (or audio Wwizards) a ton of power, and puts less of a burden on game programmers. It's a night and day difference from just rendering out audio files, and triggering them when an event happens in game. I particularly enjoyed learning about how straightforward Wwise makes optimizing audio for multiple platforms.
Ryan Baldwin - Technical Sound Designer & Audio Engineer - Blog
[Sound Design, Game Audio, Sound Art, Interactive Computing, Field Recording]
Filtering by Category: Game Audio
Some footage from recent sound design projects.
A reimagining of Half-Life 2: Episode Two's audio. All visuals belong to the developer, Valve. Sound was removed from the original gameplay trailer and entirely replaced by me, using a combination of manipulated recordings and synthesis.
I refrained from listening to the original audio while working on the project, and tried to create my own take on what the scene should sound like, while also paying homage to a great game.
A couple of audio replacement videos. I recorded gameplay from the PS4 of The Swapper and flOw, then stripped out the audio, replacing it with my own musical sound design.
All visuals belong to the game developers: Facepalm Games and thatgamecompany
An interior helicopter sound created from scratch, for the game Sniper Tactical by fragOut Studio.
- Synthetic helicopter blades from a Buchla 200 modular analog synthesizer
- Cabin noise from a slightly pitched down recording of a washing machine
- Processed voiceovers for radio chatter