Sound Design For Games
Sound Design For Games
In this fantastic new course, you'll learn everything you need to know about composing music and sound tracks for the ever growing gaming industry, all taught by Piotr Nowotnik who has over 10 years experience within the industry. Learn everything from knowing what time signatures work with what style of game, through to learning how to produce an 'armour hit' sound with household items. Jump in now to this highly engaging and fun course.
23 Lessons (5 Hours)
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Learn how to set up your projects to allow for a quick workflow and get an overview of the basic functions
Discover the importance of writing idiomatic music and choosing the right instruments and sounds
Learn how to create the ambience for a game landscape and how to professionally set the scene
Find out where to obtain sounds from diverse sources to be unique and discover that 'missing ingredient'
Learn how to use irregular time signatures to improve interest and rhythmical attractiveness
Watch a real game come to life before your very eyes as Piotr creates the sound FX, the ambience and the music
Gain endless tips and tricks from a professional game music/sound producer with over 10 years experience
Learn how to adapt simple recordings with pitch shift and time stretching to fit the sound-scape you're creating
Total course length 5 Hours - 23 Lessons Of Pure Music / Sound Design Skills
Piotr introduces you to the course and the theoretical background of using sound in video games and the idea of a “sense of place”. As sound designers, he explains we have to create 3 elements 1.Sound FX 2.Ambience 3.Music. He continues with the classification of audible elements of a game soundtrack, explains terms such as diegetic and gives an overview of tools, programs and libraries useful in creating audio for games. He shows methods behind online collaboration and overall workflow management. He finishes the module by introducing you to creating and using templates in Cubase 9 as a way of streamlining the workflow.
This section deals with the very important role of Idiomatic music. If you're not sure, it's writing music for specific gaming or mood types. For example a fantasy game would have orchestral instruments, a sport / racing game would probably have upbeat electronic music etc. But we can also put our own stamp on these stereotypes and still achieve our audience's expectations.
Piotr explores and discusses basic musical idioms applicable in creating audio for games and combines idiomatic conventions to create a unique “sense of place”. He explains tools and methods in existing game music works.
Module 3 introduces you to the idea of using themes and motifs in a game. A game is a story, illustrated by sound and music and to anchor a character we can use motifs. Piotr starts with practical workshopping of a simple melodic theme in Sibelius notation software and develops a basic harmonic and melodic variation of a theme based on its shape, harmony and musical vectors. He then moves onto orchestrating a musical theme with strings and percussion, demonstrating cross-textural relations between the two. Afterwards he demonstrates ‘sweetening’ methods to improve the overall musicality of the piece.
So now we move onto the important ambience or background sound texture. As sound designers, we can use it as a way to make the gaming world more 'convincing' and add realism. We can add realistic sounds like wind, birds etc or it can be abstract like sounds from a world we've never had experience of in our lives before (alien planet). Piotr demonstrates multiple ambiences from the “Rainbow Rumble” game and shows useful libraries, tools, methods and application of reverb to achieve diverse outcomes of “soundscaping”. He also creates a full ambience from scratch as a live project right before your eyes using visual elements to illustrate the process. He provides an overview of tools and their application accordingly to their role in building the ambience.
Module 5 is about standing out from the crowd. All sound designers pretty much have access to all the same instruments and sound libraries so we have to find a way of being unique. Piotr introduces the idea of using unorthodox methodology in obtaining sound sources from diverse sources and shows you some of his highly personalised tools, libraries and unique methods as ways to enrich the overall originality of a soundtrack. He also demonstrates the idea of irregular time signatures such as 5/8, 7/8, 14/8, 9/8, 11/8 and dissects an existing game music work written in 7/8 signature. He ends the module with a listing of a few selected commercial works as examples of writing in irregular time signatures.
In the final Module, Piotr brings all the skills taught in this course together and creates a complete set of audio elements for Solpeo’s “Canvas Knight” game. Watch as he analyses visual elements to establish the required style, hit points, action segments and our idiomatic approaches. He creates the ambiences by mixing real audio recordings with musical elements and sound FX from VSTs and libraries. He also creates an appropriate idiomatic loading/splash music “loop” for our game.
Onto the sound FX (knight and armour hits) he shows you how to create realistic sounds with just everyday household items and of course much, much more!
FREE lessons from the course
Free Clip 1
Sound Design For Games : Creating Ambience
Here your tutor Piotr shows you how to manipulate a simple outside recording of a park, by pitch shifting and EQ'ing it and adding reverb. Watch how the futuristic 'space' like visuals come to life.
Free Clip 2
Sound Design For Games - Background Sound FX
In this second free clip from Sound Design For Games, Piotr continues to build the theme for the Knight game - in particular the blacksmith sound FX within the medieval village sound-scape.
Free Clip 3
Sound Design For Games - Create Your Own Foley Sounds
In the final free clip, it's time to have some fun. To create the sound-scape for the battle scene between the mummy and the knight, Piotr uses everyday household items to create the armour hit sounds along with mummy punches, painful 'arrghhs' and bones crunching.
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