processing happening in the box (“Waves plug-ins are a staple for us, especially from an engineering side. They get used in every session.”). Bigger differences are found in a game’s production cycle, and Taylor is quick to point out that there is no ‘typical’: audio budgets can range from none whatsoever to millions of pounds, taking anywhere from six months to up to four years depending on the developer, how the audio is implemented and, of course, the platform it will be played on.
Taylor recalls one particularly heavy sound effects recording assignment: “For
dialogue files can become even more unwieldy as a script can call for up to 10,000 lines, in
NEXT LEVEL In Europe, third-party software developers like AudioGaming
“We have to think on our feet and we have to find new ways to solve problems because, in the world of console game development at least, the goalposts change every 5-10 years with the advent of new platforms”
Gran Turismo 4 I recorded all the European cars, and we had to record every car if possible. I think for that game I recorded up to 400 cars.” The number of
English, though any territory can request a translated version. Taylor’s record number of translations currently stands at 24.
are creating the next generation of those game audio tools, such as the company’s series of procedural audio plug-ins including AudioWind and
Garry Taylor, SCEE
AudioRain. “In the video game world, procedural audio refers to the computational process of generating audio from nothing, or almost nothing. The goal is to use almost no WAV data but rather models that generate in real time the equivalent audio data that would be contained in pre-recorded files,” says Audio - Gaming CEO Amaury La Burthe. Procedural audio saves memory, relying on code rather than audio files, and since it links directly with a game’s audio engine, changes in game parameters will automatically
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