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Leading with Sound: Creative Visions for Game Audio

The creation of sound for a video game is a complex task, often spanning several years. Best practice constantly evolves alongside technology advancements. Meanwhile, an increasing focus on the aesthetics of game audio has developed.

Saturday October 5. from 9.30 - 18.00 followed by dinner           

Sunday October 6. from 9.30 - 16.00


During this weekend seminar, Lydia Andrew, Rob Bridgett and Ben Minto, the renowned senior audio directors and sound designers behind the soundtracks for such noted game series as Assassin's Creed, Tomb Raider, Battlefield and Star Wars Battlefront, will provide unique and valuable insights into the elements that combine to create a successful game soundtrack, discussing the challenges and opportunities of working in a non-linear, interactive medium.

Game audio specialist, composer and Game Music Connect co-founder John Broomhall will provide a contextual backdrop via an examination of the development of game audio - from primitive sound chip to today’s sophisticated soundscapes - asking what game audio can learn from its own history and from sound for linear moving pictures. He will then join award-winning game composer and sound designer Martin Stig Andersen and noted film sound designer Rune Palving in moderating sessions with the guest speakers.

To distill the essence of game audio, the similarities and differences to film sound will be highlighted through discussion and on-screen practical examples. For instance, the audience
will experience how the iconic sounds of Star Wars are adopted into the dynamic and interactive world of the recent Star Wars Battlefront games.

Featuring Shadow of the Tomb Raider we will also dive into game specific topics such as spatial storytelling, how ambiguity in sound is used to elicit fear, the overlap between sound design and interactive score, how sound is utilized to communicate gameplay information to the player, spatial audio (Dolby Atmos et al) mixing, and more.

Exploring the vast open worlds of Assassin's Creed will give the audience an understanding of the massive scope of games compared to films, how a 20-plus in-house audio team works
together, and what skills, know-how and modus operandi underpin the key role of audio director. Dialogue, from casting to implementation, will also be discussed as well as the role of music as part of the overall audio design.

The seminar aims to provide a balanced discussion on the “whys” and “hows” of game audio, ranging from initial thought processes to practical application, the latter demonstrated, for
example, by an exclusive “under the hood” live demo of a game engine in action. Throughout the discussions, our leading game sound experts will share insights about how audio teams
operate internally and interact with other disciplines within larger game studios, and demystify the massive undertaking of developing sound for a “AAA” game.

Participants fee is DKR. 1.695 incl. lunch Saturday &Sunday.                                                                                                                                                                

We will have a nice dinner Saturday evening where you can meet and mingle.

If you would like to join us, the price is DKR. 225,-  excl. Wine&Beverages.
Please add in the motivation field when you apply, if you want to join the dinner.

Lydia Andrew is a Senior Audio Director with over 24 years of experience in sound. Originally training as a singer and performer, she started her career in audio in location sound recording in 1994, then moved into sound post-production for film and television in 1999 and into games in 2002. She has worked for EA and Ubisoft across multiple titles and genres, including Battlefield, Harry Potter and Assassin’s Creed. Lydia has extensive experience in sound design, casting and voice directing, dialogue editing, audio integration, location recording, music direction, mixing and audio direction. Lydia has talked at GDC, AES, Ludomusicology, Develop Conference UK and the ASCAP expo. Originally from London she now lives and works in Canada for Ubisoft Quebec where she heads up a team of 21 people. Her most recent project is 'Assassin's Creed Odyssey'.

Rob Bridgett is a senior audio director based in Montreal, Canada. In 1993 he attended Derby University to study cinema and media, after which he was one of the first to graduate from the ‘Sound Design for the Moving Image’ Master’s degree programme at Bournemouth University in 1999. Since then, Rob has worked primarily as sound designer, audio director, recordist, mixer and music director at a variety of development studios across the UK and Canada. Since 2015 he’s been Audio Director at Eidos Montreal responsible for the sound, music and Dolby Atmos mix of Shadow of the Tomb Raider. Throughout his career Rob has also written extensively about video game sound practice, publishing two books, and as well as currently running the gameaudiomix.com website.

Ben Minto is a five times Academy (AIAS & BAFTA) award-winning Sound Designer/Audio Director working out of EA DICE’s studios in Stockholm. There, with his 15-person strong audio team, he is responsible for all the studio’s audio output (Music, VO, SFX, Implementation & Mix), including the audio for the critically acclaimed Battlefield and Star Wars Battlefront franchises. He moved to Sweden in 2007, after having spent 7 years working at Criterion Games in Guildford as lead sound designer on both the Burnout series and Black, and prior to that at Acclaim’s London studios.

John Broomhall is the co-founder and host of Game Music Connect, half of EDM music artist STRING THEORY (Modularity) and the composer for such iconic games as Transport Tycoon and X-COM/UFO: Enemy Unknown. A multi-faceted independent sound creative with many years’ experience in music and video games, he previously held a number of senior in-house and outsourced management roles (including European Head Of Audio and Game Development Manager), and has dozens of published titles to his credit as audio
director/consultant, composer/producer, sound designer and voice director. He’s written dozens of articles about game music and sound, and chaired numerous awards juries for Bafta. He curates and hosts the Develop Conference Audio Day in Brighton and has been a keynote speaker for AES. He received a Recognition Award from the Game Audio Network Guild of
America and has spoken at London’s School Of Sound, Bilbao’s BIME PRO, The Sound of Story @Rewire and the Lithuanian Academy Of Music & Theatre. Current music writing projects include Lost Ember and Phoenix Point, the latter renewing his collaboration with original Xcom auteur Julian Gollop. Beyond games, he spends as much time as possible playing jazz keyboards.

Rune Palving graduated as sound designer from The National Film School of Denmark in 1999 and has ever since worked as sound designer, sound editor, production sound mixer and re-recording mixer on fiction, documentary and TV-series. Word of God (Henrik Ruben Genz) 2017, The Man (Charlotte Sieling) 2017, A Conspiracy of Faith (Hans Petter Moland) 2016, Bridgend (Jeppe Rønde) 2015, A Soap (Pernille Fischer-Christensen) 2006, Italian For Beginners (Lone Scherfig) 1999, Among many. Rune Palving is also teaching sound at The
National Film School of Denmark.

Martin Stig Andersen is a composer and sound designer with a background in the fields of acousmatic music, sound installations, electroacoustic performance, and video art. In 2009 he created the audio for Playdead’s video game LIMBO which won Outstanding Achievement in Sound Design at the Interactive Achievement Awards, the IndieCade Sound Award 2010, and was nominated for Use of Audio at the BAFTA Video Games Awards 2011. Following LIMBO, Martin created and directed the audio for Playdead’s INSIDE (2016) which won Best Audio at the Game Developers Choice Awards, and received nominations at The Game Awards, The Interactive Achievement Awards, and the BAFTAs. In 2017 he composed the score for MachineGames' Wolfenstein II: The New Colossus alongside Mick Gordon, receiving nominations The Interactive Achievement Awards, New York Game Awards and others.
Recently Martin was involved as Ambient Music Designer on Shadow of the Tomb Raider (2018), and has composed the score for Remedy’s upcoming video game Control (2019). He
has been lecturing at conferences such as GDC, Develop, and the School of Sound in London. Martin graduated as a composer from The Royal Academy of Music in Aarhus, Denmark in
2003, after which he went on to study electroacoustic composition under Professor Denis Smalley at City University, London.