Interactive


GAME DEVELOPMENT SOUND DESIGN - ISOFTBET


Sound game design: making some noise


Lucien Doban, Sound Designer at iSoftBet, discusses the importance of the audio element of game design.


As part of G3’s ongoing series exploring the mechanics of game design, we quiz iSoftBet’s Lucien Doban about the functional and creative processes required in the making of a game’s soundscape, from instrumental noises, sound effects, reward alerts and background music


The artwork changes quite a lot before it is finally agreed. If we talk about a bigger title that needs more time in the sound department, we might approach it while the art is still in development, but most of the time we’ll handle the sound and music once the look and feel of the game is already established. With one element fixed it’s easier for us to create the accompanying sound.


Could you outline your career and background in sound design?


I’ve been the sound designer at iSoftBet for several years. Before that I was ears deep into trance and other styles of music, so a bit different from your usual background! I was lucky to be signed with various record labels from the UK, Italy, Germany, among others, before turning my attentions to the iGaming industry.


How did you become involved in sound design for games?


iSoftBet has been expanding for some time, and at one expansion point a friend of mine approached me and described the opportunity. I took the plunge and haven’t looked back since. It’s different from my previous music work, but it’s lots of fun!


Who do you admire in terms of great sound design and where do you seek your inspiration?


In terms of inspiration, there are so many people and companies that produce great sounds. It’s amazing how some sounds and music styles are still so iconic after so many years, and some are


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brand new and pushing the boundaries of innovation. It’s a very exciting sector.


Starting from a blank canvas, how and where do you begin the creative process of designing sound?


Our process is so well defined that it’s now a very smooth experience. As a starting point we go through the design and the specifications, then talk to the producers and review the artwork. Having information about the market, knowing what other games are popular in that or those specific regions, in that segment or mood area is all part of the job. So, to an extent knowing what we’re after is the hard part – the rest will come, once we know what type of sound design we are aiming for.


Do the sound and art departments work together throughout the process of creating a game? Do you work together from the initial concept stage or is sound design somewhat dictated by the artistic style of the game?


Te artwork changes quite a lot before it is finally agreed. If we talk about a bigger title that needs more time in the sound department, we might approach it while the art is still in development, but most of the time we’ll handle the sound and music once the look and feel of the game is already established. With one element fixed it’s easier for us to create the accompanying sound.


Do you view music as a separate element within the design as opposed to sound effects? Are they two different things - and do you create them separately?


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