An audio professional working in the gaming industry is required to possess not only musical and audio talent, but also knowledge and experience with typical game audio workflow. Introduction to Game Audio prepares you for a career in the industry by covering the many facets of sound production and engineering that are particular to games.
You'll begin by gaining an overview of game sound development, and the basics of sound effects libraries and recording Foley while working with animation. The course will cover typical studio effects, sound manipulation, and addresses technical hurdles you might encounter. You'll learn more advanced concepts and techniques such as recording custom effects, proper integration of audio into game engines like Unity and middleware such as FMOD, and mixing techniques particular to the gaming industry. You'll also take a look at the business side of the industry – who's involved and what their role is, scheduling, contracts, networking, building a demo reel and finalizing a workflow. At the end of the course, you will have completed full audio (including sound design, dialogue, and music) for several short games for your portfolio, and a solid foundation of knowledge and skills that will prepare you to work at a game development company or as a freelance game audio professional.
By the end of this course, you will be able to:
- Record Foley and work with sound libraries to create original sound design
- Develop sound design and music for interactive environments
- Compose and edit music interactively with layering, branching and transitions
- Create video game soundscapes incorporating dialogue, sound design, and music
- Work with a variety of tools like FMOD and Unity to complete game audio implementation
- Work collaboratively and under the direction of a team leader
- Complete and implement an Audio Design Document
- Know how to create a portfolio and use it for networking
Lesson 1: Game Audio Overview
- Meet and Greet
- Video Game Sound Types
- Video Game Genres
- Assess the Audio in a Game Clip
- Game Company Personnel and Game Development Overview
- Hierarchical Map of a Typical Game Company
- Video Game History and Playback Systems
- Test your knowledge of Video Game History
- Game Sound Development Overview
- Audio Assessment of a Game
Lesson 2: Working with SFX Libraries
- The Basics of Sound Effects Libraries
- Storage Space
- Starting Your Sound Effect Library
- Preparing Your Sound Effects Library
- Organizing Your Sound Effects
- Trim, Edit, and Level Footstep Sounds
- Animation Systems
- Working with Animations
- Performance Considerations and Tracking Strategies
- Footstep Project
Lesson 3: Recording Custom SFX
- Field Recorders
- Assess Your Microphone Cabinet
- Signal Flow
- Record Footsteps Part 1
- Microphone Techniques
- Record Footsteps Part 2
- Recording on Location
- Custom Sounds for Animation
Lesson 4: Unity & Real-World Sound Design for Games
- Applied Effects
- Manipulation and “Sound_Design-y” Effects
- Identifying Applied Effects
- Working with an Audio Engine (Unity)
- Game Engines
- Bringing All the Sounds Together
- Implementing Audio in Unity
Lesson 5: Interactive Music
- Game Music Types
- Game Music History
- Technical Hurdles
- Horizontal Music Scoring
- Implementation of Looped Music in Unity
- Style and Genre Considerations
- Final Music Edits and Discussion
Lesson 6: FMOD: Interactive Scoring and Implementation
- Interactive Music History
- Vertical Music Scoring
- Create Three Simple Motifs
- Introduction to Middleware
- Scripting Systems for Interactive Sound
- Knowing Your Limits
- Complete the Interactive Music Project
- Interactive Music Approaches Discussion
Lesson 7: Recording and Editing Dialogue
- Dialogue Supervision
- Preproduction and Casting
- Casting Call Exercise
- Recording Preparation
- Recording Setup
- Preparing Your Recording Space
- Recording and Processing
- Editing Dialogue
- File Management and Delivery
- Add Dialogue to an Existing Game
- Game Dialogue Analysis
Lesson 8: Sound Design for User Interface Experiences
- Menu Interface Sound Design
- Unified Soundscapes
- User Interface Sound Design Discussion
- Synthesized Interface Sounds
- Record and Edit Mechanical Interface Sounds
- UI sound Design for Mobile Games
- Complete a Set of User Interface Sounds for a Game
Lesson 9: Interactive Sound Design in FMOD
- FMOD: Parameters and Game Data
- FMOD: Event Reference Modules
- FMOD: Logic Track
- Sound Design and Implementation
- Complete an FMOD Sound Design Project
Lesson 10: Unity & FMOD Finale Project Part 1
- Diegetic vs Non-Diegetic sounds
- FMOD Studio and Unity Integration
- FMOD: Scatter Module
- FMOD: Transition Regions
- Unity and FMOD Final Project
Lesson 11: Final Project Part 2, Budgeting and Schedules
- The Audio Director, Sound Designer, and Composer Roles
- Start an Audio Design Document
- The Team
- Create a Content List
- Milestones, Tradeshows, and other Deadlines
- Complete a New Schedule
- Time vs. Money vs. Quality
- FMOD: Live Update
- Complete The Unity and FMOD Project
Lesson 12: Demo Reels and Working in the Industry
- Performance Issues and Space Limitations
- Calculate Down sampling/Bit Reduction and Compression
- Quality Assurance/Testing
- Verify Functionality of Your Unity/FMOD Project
- Final Delivery and Archive
- Post Mortem
- Demo Reels and Networking
- Presenting Your Portfolio
Jeanine Cowen, Vice President for Curriculum and Program Innovation at Berklee, is a frequent lecturer on the topic of music technology and new media industries. She is an active composer, music producer, and technologist, working primarily with sound and music for visual media. Jeanine studied at Northwestern University as a classical percussionist and graduated with a degree from Berklee College of Music, completing a dual degree in film scoring and music production and engineering. Her graduate coursework focused on interactive design and game development at Savannah College of Art and Design. Jeanine has worked on development teams at the Education Development Center, Inc., Turning Point Software, and Turbine Entertainment. Her compositions can be heard in a wide variety of art and media, in works that include the documentary The Life and Times of Frida Kahlo, the critically acclaimed off-Broadway play Rapt, and Midway Games’ MMORPG Lord of the Rings Online: Shadows of Angmar. Her work as a percussionist can be heard on fellow Berklee composer and music technologist Stephen Webber's Stylus Symphony. Jeanine is an active advisor to the Alliance for Women Film Composers.
Jeanine Cowen, Vice President for Curriculum and Program Innovation at Berklee, is a frequent lecturer on the topic of music technology and new media industries. She is an active composer, music producer, and technologist, working primarily with sound and music for visual media. Jeanine studied at Northwestern University as a classical percussionist and graduated with a degree from Berklee College of Music, completing a dual degree in film scoring and music production and engineering. Her graduate coursework focused on interactive design and game development at Savannah College of Art and Design.
Jeanine has worked on development teams at the Education Development Center, Inc., Turning Point Software, and Turbine Entertainment. Her compositions can be heard in a wide variety of art and media, in works that include the documentary The Life and Times of Frida Kahlo, the critically acclaimed off-Broadway play Rapt, and Midway Games’ MMORPG Lord of the Rings Online: Shadows of Angmar. Her work as a percussionist can be heard on fellow Berklee composer and music technologist Stephen Webber's Stylus Symphony. Jeanine is an active advisor to the Alliance for Women Film Composers.
Author & Instructor
Gina Zdanowicz is an Emmy-Nominated sound designer and music composer for games, film, and TV. Her love for video games, sound, and technology began at a very early age and grew into a decade-long career in the games industry.
After graduating from Berklee College of Music with a degree in music synthesis, Gina focused on a career in game audio, working in-house for game developers as well as operating her own independent sound studio, Serial Lab Studios. Her work can be heard on more than 100 game titles from award-winning AAA games to casual games such as Just Cause 3, Bioshock2, The Bureau: XCOM Declassified, CrimeCraft, and Runeward, to name a few.
In addition to her work in games, Gina continues to score feature films and TV projects, which have won awards around the world and have premiered on networks such as Nickelodeon and Comedy Central. She currently resides in New Jersey, just outside of NYC, where she creates game audio for clients worldwide.
Completion of one of the following courses Pro Tools 101, Pro Tools 110, Producing Music with Logic, Producing Music with Reason, Producing Music with Cubase, Producing Music with Ableton Live, or equivalent knowledge and experience is required.
Students must be proficient with a professional-level DAW and sequencer of their choice, including the ability to record individual tracks, trace signal flow, complete a basic mix, route to and from effects and software instruments, and integrate any relevant MIDI gear as required. Students must have an advanced knowledge of MIDI sequencing, with the ability to edit pre-existing information. Students must also have an understanding of music theory and harmony, and be prepared to compose music and sound design elements in an appropriate genre for their game project. Knowledge of dramatic scoring techniques is suggested. Students should also be active as a casual gamer in some part of the industry whether it be console, computer, cell phone, or Web/Flash-based games.
Game Development Essentials: Game Audio Development by Jeannie Novak and Aaron Marks, Cengage Learning
- A digital audio workstation (DAW) capable of multi-channel sound playback is required for this course. The DAW must support MIDI sequencing, integrated QuickTime movie playback, and allow for manipulation of 8+ tracks of audio as well as allow for output to 2-channel stereo mixes for class discussion. Examples would include Pro Tools, SONAR, Apple Logic, Digital Performer, Vegas, and GarageBand 10 or later.
- A MIDI sequencer is required. Assets will be provided in broadcast WAV file format, QuickTime movies, and as proprietary formats specific to the course.
- We will also be using Unity 3D, a cross-platform game development engine for sound and music integration exercises. Download and install the version that matches your computer platform from this link: http://unity3d.com/. It would be helpful to become familiar with the software and its user manual before the course starts.
- You will need a utility to bring your audio files into Unity 3D in Ogg Vorbis format. A free, open source, audio recording and editing tool that can also convert your files to Ogg is Audacity. It is available for both Windows and Mac, and can be downloaded here.
- DVD-ROM drive
- A microphone will be necessary for recording your own custom sound effects. An example of a suitable microphone would be a Shure SM57.
- You will need a means of recording with the microphone in various locations, either through a cable directly to your computer or by using a portable recorder.
- A MIDI controller is recommended to complete the music composition portions of the class.
- 2 GB RAM (4 GB recommended)
- 500 MB hard drive space
- Speakers or headphones
- Internet connection with at least 4 Mbps download speed ( http://www.speedtest.net to verify or download the Speedtest by Ookla app from your mobile app store)
Got a question? Contact our Academic Advisors by phone at 1-866-BERKLEE (U.S.), 1-617-747-2146 (INT'L), or by email at email@example.com. We can also answer basic questions in the comments below. Please note that all comments are public.
Create a Free Account
Create an account to download our catalog, get our newsletter, and more.
Stay Informed About This Course
Create an account to download our free course catalog, and receive updates about this course.