Amy Brockbank

Audio Cut Sequence Production Costings

The Role Of The Sound Designer

The sound designer has many different responsibilities when designing games. The atmosphere of the game depends on their work, and how well the sounds link up to the rest of the game’s visuals.

One of the first tasks they have on the job is working alongside the creative director, and offer input as to what the game should sound like, and what sort of atmosphere the sound in the game should provoke for the player. This is where the sound designer should get a general idea of what they are doing with the sound design in the game.

Another one of the responsibilities the sound designer has is composing the music that will play in the game. Using the input offered by the creative director, here is the time the sound designer will have to map out what music should play during different scenes of the game, to keep the player intrigued, and even provoke different emotions at certain parts of the story if the game has one.

The sound designer also has the responsibility to outsource different aspects of the sound to different people and companies, which means they should be looking at hiring voice actors for the characters in the game, musicians (Either individual musicians, bands, or even full orchestras) to help create the music, as well as hiring out recording studios where the sound can be recorded.

The sound designer also has to look at recording the voices of the voice actors once they have been hired. They should keep the voice actors acting in mind, and not be afraid to change anything or re-record lines if something doesn’t quite work.

They are also responsible for the sound effects within the game, either by creating them digitally, or actually going out on location to actually record the sounds themselves. The sound effects in game take up a large portion of the sound in the game, and play a vital role, so it is important that the sound designer gets them right.

First of all, the sound designer has to research how they are going to create each sound, and whether or not that sound can be re-created digitally, or whether it has to be recorded on location. It is important for the sound designer to know exactly what sounds are needed at this stage in the production of the sound.

BTEC Level 3 Games Design Unit 73: Sound For Computer Games

Amy Brockbank

If the sound effects have to be gathered in a particular location, it is the sound designer’s duty to go on location and gather all of the sounds that are necessary in that place, which also means that they will have to take the equipment that they will need to record with out to that location.

If the sound effects do not need to be recorded on location, the sound designer has a responsibility to gather different props that can be used for foley artistry to get sound effects for the game. These props do not have to exactly represent what the sound is supposed to be in the game (For example, if they need a sound of someone being stabbed for the game, they wouldn’t actually go out and stab someone just to get the sound effect, but find something that replicates the

sound.), but find objects that make a similar sound when used in certain ways.

Some recordings of sound effects may already exist out in different types of archives, in which case, it is the sound designer’s responsibility to use those in their work too, just so long as they get the proper permission to use the sounds themselves. Using sounds others have created is a good way

to save time and money, especially if those sounds cover any recordings that would have to be done on location.

If none of the three above apply, the duty of the sound designer is to then create those sounds digitally; using software that can be used to manipulate sounds in different ways, so certain sounds can be created. Creating sounds digitally can save time by not having to record the sound effects live from the actual object itself.

From this, the sound designer should also know how to use MIDI instruments, and how to create MIDI music using specialised software. This will allow the sound designer to create most of the music and sounds they want for the game quickly and efficiently, as well as being able to change the sounds midway through recording.

The sound designer must also know their way around the recording equipment that is used, and when it is appropriate to use it. They should

BTEC Level 3 Games Design Unit 73: Sound For Computer Games

Amy Brockbank

know what recording equipment does what, whether they are recording on location, recording in the studio, or creating sounds via MIDI technology. It is important that the sound designer keeps up to date with sound recording equipment and software, to ensure that sounds are the best they can possibly be.

Sound designers also have the responsibility to editing sound, or sequencing it, to make the sound for the game as suitable as it possibly can be. To edit the sound, designers may use audio production software to manipulate it.

BTEC Level 3 Games Design Unit 73: Sound For Computer Games