Interactive


SOUND DESIGN KALAMBA GAMES


sophisticated means to manipulate sound files in-game. Due to the nature of slot games, where maths and stability are the first priority, and the platforms to which the games are deployed, we don’t have the luxury of using any audio middleware (such as FMOD, Wwise, etc.) that allows for elaborate handling of audio files. Tis means that the weight of implementing and fine-tuning the audio falls on the shoulders of the developers. Te composer/sound designer has no way to adjust things directly.


Another challenge that is quite significant is file size restrictions. High quality audio means both large file sizes and large numbers of files, something that is a big no-no in slot games that need to be light and glitch-free. Add to that the fact that sounds need to be created in a way that plays nicely with each other, as at any given point you might end up having 10 different files being triggered in very quick succession or simultaneously, and it all becomes quite challenging. Tat being said, I have to admit that


P86 NEWSWIRE / INTERACTIVE / MARKET DATA


High quality audio means both large file sizes and large numbers of files, something that is a big no-no in slot


games that need to be light and glitch-free. Add to that the fact that sounds need to be created in a way that plays nicely with each other, as at any given point you might end up having


10 different files being triggered in very quick succession or simultaneously, and it all becomes quite challenging.


working in slot game audio has allowed me to grow significantly as a composer and as a professional because of these challenges.


At what stage in the development process is sound considered?


As early as possible would be ideal! Sounds are usually divided into batches based on whether they depend on animations or not. I almost always begin with the music because to me this is what sets the tone for every other audio asset.


What are the biggest challenges marrying the sound with the other game elements?


It comes down to the very short development cycles. Tis usually means that I need to begin working on sound effects long before I have access to any animations, presenting difficulties both inspiration-wise but also practically. For sounds that are independent of animations, life is much easier. But for sounds that will need to


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