Sound designer for video games

This article will guide you as to how you can get a job as a sound designer for video games.

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Create a demo reel
The single most important step in becoming a professional sound designer is creating your demo reel. A demo reel is a collection of your work demonstrating your understanding of sound and how you apply it to visuals. Usually applicants will submit their reel online via a hyperlink or mail a hardcopy to me. In both instances make sure your reel is no shorter than 1-2 mins and contains at least three projects you’ve worked on. Remember, the key here is to demonstrate versatility and skill so you should pick projects that are unique in their content.

Develop a style
My biggest complaint when reviewing reels is that for every 15 only one tries to make a statement. The key to becoming a great sound designer lies in your ability to tell a story with audio. If, in addition, you can somehow create a distinct style that you can call your own (Within the conventions of proper audio engineering, of course. You are ultimately going to be creating material that will be judged against other material in the public eye/ear.) then you’ve put yourself light years ahead of your fellow applicants.

Demonstrate versatility
I think it’s great when I get a reel consisting of 6 cartoon spots. Cartoons are a great medium for sound design but sadly have little to do with video games. Most entry level designers don’t have access to real-time game footage and this is widely understood by many audio directors. To compensate find footage from other mediums: cartoons, commercials, trailers, film scenes, video game cut-scenes, etc. but just make sure to spread yourself out. If you pick a trailer, pick something with some weight, and if you pick a cartoon make sure it contrasts your other choices. Audio directors are sick of watching the same battle scene over and over again, instead focus on subtly. Choose a dramatic scene and make sure not to include music if you are applying for a sound designer position. Often enough applicants do a great job creating sound only to blow over it with some MIDI score they wrote. It’s important to understand that music and sfx are always fighting for the same space. Don’t lean too much on the music and lose sight of your reel’s goal. Decide early on what your intention with the piece is and stick to it. If you can convey emotion without the use of music, youre an excellent sound designer.

Study other films and video games
I can’t stress enough how important it is to always keep one ear on what’s happening in the other sound industries. You never want to re-invent the wheel, so pay attention to what others are doing and how they’re doing it. It’s obvious that most of us find inspiration in others’ work, how else would you have decided on becoming a sound designer? There’s no shame in learning from others, and saving production time by eliminating ideas based on previously created content can prove to be a useful money saver.

Foley and field recording
Anyone can purchase a car-crash sound effect online but only a good sound designer can accurately portray what a 2001 Mustang slamming into a telephone pole sounds like using elements they recorded on their own. It’s quite obvious when a designer puts together a scene using library effects. The sounds frequently vary in quality and source recording technique. The result in a messy scene. Sometimes it’s much easier to grab a mini-disc recorder with an embedded condenser and go out there and capture your source audio rather than spending days searching for one in libraries. It really depends on the project but efficiency is what audio directors look for. In the video game business you are faced with cold, hard deadlines and a high quality bar. Sometimes you can save yourself a lot of headaches by just “getting out there”. If you can demonstrate knowledge in gathering source material you’ve just earned several points and a new weapon for your resume.

Intern
Every video game company is different and no one expects you to know all the ins and outs of company’s procedures right off the bat. It is, however, important that you understand the essentials of commercial music development. Playing in a band, DJing, or working the board at a local club are always good things to list on the bottom of your resume, but this isn’t what companies look for. Audio directors want to know that, creatively, you can work well with others, meet deadlines, and respect the client or publisher and their needs. This is best learned by interning for a studio, composer, production or video game company. Seasoned working professional or not, what you learn by working in a creative atmosphere with a lot of money at stake teaches what you need to know, fast!

Network
I’m sure you’ve heard this one a thousand times, but networking is the only way to get your name out there. The phrase, “you’re only as good as your image” does have some relevancy. Join various online communities like Gamasutra.com, G.A.N.G. (audiogang.net), IGDA, music4games.com, etc. and attend as many conferences as you can. The Game Developer’s Conference (GDC) and Game Audio Conference (GAC) are two good places to start. If you’re a member of

Study the technology
You’ll always have the upper hand when it comes to knowledge if you spend the time and energy studying the field. Since you are here reading this article my guess is you already know that. One area that’s hard to get any information on is sound engines. Many companies have either their own proprietary engine or a hybrid of sorts. Essentially the constructs are the same, but the better engines provide great tools for controlling these constructs. Check out these multi-platform engines for starters:

AudioKinetic’s wWise (http://www.audiokinetic.com)
FMOD Sound System (http://www.fmod.org/)
Miles Sound System (http://www.radgametools.com/miles.htm)

Apply and Interview
So you’ve put together a great reel and made some promising connections. It’s time to send in your application. The single most important rule to follow when applying is to follow the requirements of the job description. If the company requests electronic submission of your materials, submit everything electronically. If they require a Protools certificate don’t apply without one.
There is an exception however. Sometimes company’s may have a minimum experience requirement, but are not against hiring a newbie with an amazing reel. Here is where your judgement counts. If you’re confident you can “wow” them with a diverse reel, by all means, apply. Each job description is different. When you interview cater to that job.
There are two key components to working in this industry: 1. You must have the skills to create and implement outstanding audio material, and 2. you be must be a creative thinker with an aptitude for software development. At the end of the day you are creating software, not recording an album. Creating great content is about 40% of production but developing interesting ways to use that content is more than half.
When interviewing, make sure to demonstrate your intelligence. Be honest with your feelings towards audio and show your interviewer that you have an emotional commitment to your work. We’ve heard the standard responses over and over again. There’s no better representation of who you are than a heart-felt response illustrating how you think and feel about audio.


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