The Audio Source Winter Edition 2020

THE

AUDIO SOURCE MAGAZINE

JOSHUA MOSLEY

BRINGING THE WALKING DEAD: SAINTS & SINNERS SOUNDTRACK TO LIFE WITH DECCA RECORDS US AND SKYDANCE INTERACTIVE

LARYSSA OKADA MEMBER SPOTLIGHT

MAKING THE MOST OF AN UNSHIPPED GAME ADAM FLIGSTEN

COMPOSING IN TANDEM WITH GAME DEVELOPMENT CHASE BETHEA

ALLISON WRIGHT CLARK MEMBER SPOTLIGHT

Proudly supporting the game audio industry since 2002 audiogang.org

THE AUDIO SOURCE MAGAZINE // WINTER 2020 • ISSUE 02

STEP LOCKED:

CONTENTS

WINTER 2020 • ISSUE 02 04 NOTE FROM OUR LEADERSHIP

avina Ciaramella, Executive Director of the Game S Audio Network Guild, addresses the organization and community.

06 THANK YOU BECKY ALLEN FOR YOUR SERVICE

Brian Schmidt, President of the Game Audio Network

Guild, thanks Becky Allen for her service as Vice President.

07 LETTER FROM THE EDITOR 08 WHAT’S THE BUZZ 09 UPCOMING EVENTS IN GAME AUDIO 16 WELCOMING OUR NEW MEMBERS IN 2020 18 STEP LOCKED: COMPOSING IN TANDEM WITH GAME DEV

Chase Behea opens the hood of his score to the hit indie game Aground and his creative process behind fusing

retro, modern, and unique composition techniques.

24 IN MEMORIAM: CHERYL TIANO

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MEMBER SPOTLIGHT: LARYSSA OKADA An inside look at composer and producer, Laryssa Okada, and her career working on titles like Manifold Garden and Halo Infinite.

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36 MAKING THE MOST OF AN

UNSHIPPED GAME

omposer Adam Fligsten walks through his C experience working on a game that was ultimately never released and how he was able to salvage the great work he did on the project.

54 NEW PATRON SPONSOR:

TOM SALTA MASTERCLASS

SKYDANCE INTERACTIVE & DECCA RECORDS US

Bringing The Walking Dead: Saints & Sinners

56 GAME AUDIO NETWORK GUILD AWARD SUBMISSION REQUIREMENTS & VOTING GUIDELINES 64 OUR GENEROUS SPONSORS 66 AUDIO OF THE YEAR HALL OF FAME

42 SCHOLARS PROGRAM ALUMNI 2020

Meet the recipients of the Game Audio Network Guild Scholars program for both GDC and GameSoundCon.

46 NEW GOLD SPONSOR:

LIGHTSPEED & QUANTUM STUDIOS

47 NEW GOLD SPONSOR: TiMi STUDIOS 48 N EW GOLD SPONSOR:

A SOUND EFEFCT

50 NEW BRONZE SPONSOR:

soundtrec 52 NEW BRONZE SPONSOR:

soundsnap

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MEMBER SPOTLIGHT: ALLISON WRIGHT CLARK Music supervisor and music producer Allison Wright Clark shares her inspiring career in games and film.

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GA M E AUDIO NETWOR K GUILD

NOTE FROM OUR LEAD

BY SAVINA CIARAMELLA,

EXECUTIVE DIRECTOR, GAME AUDIO NETWORK GUILD by children, pets, gardeners, and doorbells, while striving to stay focused and productive.

The unions swiftly organized and established guidelines and protocols so we could continue to work with high caliber talent in safe environments.

We discovered recording solutions without compromising quality to comply with new safety regulations, such as striping orchestral sessions, recording actors and musicians from their home studios, and utilizing electronic multi-tracking options to achieve a fuller live sound, all with the help of creative engineers.

Greetings! I hope this message finds you well. This has been a challenging year, and I’m amazed by the resilience, creativity and fortitude within our community. Our lives flipped in March as we prepared for GDC, and once the Safer at Home order was announced, we pivoted and adapted to new methods of communication and collaboration. Audio producers, composers, sound designers, foley artists, VO actors, musicians and engineers forged ahead and found new ways to create content with limitations and the constant reminder of social distancing. It was a big adjustment, however, we moved forward with the support of family, friends and colleagues who helped guide and stabilize us. We withstood a constant barrage of video calls interrupted

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We realized having a career in the video game industry offered a safety net during the pandemic. There was a massive increase in game sales, and Twitch viewership skyrocketed this year. Video game production didn’t slow down, while other facets of entertainment were significantly disrupted.

We hosted several online events this year, including the 18th Annual Game Audio Network Guild Awards show in May, which streamed on Twitch and was a great achievement. We were able to expand our communications and production teams to provide more opportunities and perks for our members. Cody Matthew Johnson joined our team in January and hit the ground running. He has helped us tremendously as our operations manager, editor in chief, event moderator, and co-host and co-producer of the awards show.

As if that wasn’t enough, Cody also spearheaded the design of our new quarterly magazine and website reskin, and he oversaw the creation of our new sleek style-guide.

As I look back on this year, I’m grateful for the extraordinary acts of kindness and generosity throughout our organization. We pulled together and helped one another offering encouragement, advice, and friendship, as we’ve always done.

We’re continuing to advance and adjust to new ways of living, working, and socializing. We’re all heroes doing our best to keep things on track while being of service to others, and I believe we will come out stronger on the other side with more XP and HP than ever before!

I would like to take this opportunity to thank our members, generous sponsors, fellow officers, staff, board of directors, alumni committee, advisory board, volunteers, and partners. You are the heart of this organization, and the leadership team truly cares about everyone’s well-being and success.

Please reach out to us if you would like to share any views or ideas.

Warmest thoughts and best wishes to you and yours for a wonderful holiday season and a very Happy New Year.

— SAVINA CIARAMELLA

GAME AUDIO NETWORK GUILD • THE AUDIO SOURCE MAGAZINE • WINTER 2020 • ISSUE 02

T HE AUDIO SOUR C E MAGAZINE

DERSHIP OFFICERS President

Executive Director

Treasurer

Brian Schmidt

Savina Ciaramella

Liza Rivera Salta

BOARD OF DIRECTORS Scott Gershin

Jason Hayes

Phil Kovats

Scott Selfon

MaryClare Brzytwa

Leslie Ann Jones

Paul Lipson

Brian Schmidt

Anastasia Devana

Sally-anne Kellaway

Shannon Potter

Guy Whitmore

Wilbert Roget, II

Sabrina Hutchinson

ADVISORY BOARD Adam Gubman

Elvira Bjorkman

Marty O’Donnell

Richard Savery

Andrew Lipian

Emmanuel Lagumbay

Max Davidoff-Grey

Sean Beeson

Austin Wintory

Jesse Harlin

Nassim Ait-Kaci

Sean Zhao

Bonnie Bogovich

Ken Jacobsen

Penka Kouneva

Shauny Jang

Channel Chen

Kole Hicks

Rachel Robison

Shiloh Hobel

Dren McDonald

Lennie Moore

Richard Jacques

Guy Whitmore

STAFF Operations Manager

Assistant Communications Manager

Cody Matthew Johnson

Gabriella Ciaramella

Associate Producer Lucas Fehring

Scholars Alumni Committee Chair

Scholars Alumni Committee Vice-Chair

Andrew Lipian

Rachel Robison

DECEMBER, 2020 • WWW.AUDIOGANG.ORG

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GA M E AUDIO NETWOR K GUILD

THANK YOU BECKY ALLEN FOR YOUR SERVICE

The time has come to say goodbye and thank you to Becky Allen, as she has stepped down as Vice President of the Game Audio Network Guild, a position she proudly served for more than 3 years.

A lot goes on behind the scenes to run the day to day operations of the Game Audio Network Guild and I don’t believe it’s possible to fully convey the work ethic and excellence that Becky brought to the organization every day. She not only brought fresh, positive-looking initiatives such as the Game Audio Network Guild Diversity Initiative to the group, but was a crucial sounding board for the leadership of the organization, always ensuring that a 360 perspective was brought to each issue. Her perspective and insight into the industry will be sorely missed. She made everyone more effective at their roles.

On a personal note, Becky excelled at keeping me ‘on track’, and I would often try to measure myself against her yardsticks of diligence, accountability and effectiveness, and I will miss working with her tremendously.

Becky won’t be a stranger to the organization, and will continue to work with the Diversity Initiative and we wish her well in her coming endeavors.

— BRIAN SCHMIDT

PRESIDENT, GAME AUDIO NETWORK GUILD

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GAME AUDIO NETWORK GUILD • THE AUDIO SOURCE MAGAZINE • WINTER 2020 • ISSUE 02

T HE AUDIO SOUR C E MAGAZINE

LETTER FROM THE EDITOR

OPERATIONS MANAGER, CODY MATTHEW JOHNSON

CONTRIBUTORS: THE AUDIO SOURCE EDITOR IN CHIEF

Cody Matthew Johnson

EXECUTIVE EDITORS Brian Schmidt Savina Ciaramella Liza Rivera Salta

ASSISTANT EDITOR Gabriella Ciaramella

DESIGN

Cody Matthew Johnson Crystal Yang

CONTRIBUTORS Adam Fligsten Asbjoern Andersen Brian Schmidt Chase Bethea Sabrina Hutchinson Savina Ciaramella

SPECIAL THANKS

Abigial Johnson Allison Wright Clark Andrew Lipian A Sound Effect Decca Record US Digital Entertainment World Expo First Artists Management Formosa Interactive The Gorfaine/Schwartz Agency, Inc. Joshua Mosley Laryssa Okada Lightspeed & Quantum Studios Music Marketing Nicole Yazmin Jacobus Pyramind Rachel Robison ReelCrafter Skydance Interactive soundsnap soundtrec TiMi Studios Tom Salta Masterclass

This year has certainly felt like a movie or at times like our favorite resident video game. It has not been without its trials and tribulation, that is something we can all agree on.

We’re all praying to the universe for the clock not to roll past midnight and into the 13th hour of 2020 and for this year to end [insert favorite social distancing cliché] There’s no doubt this year also reinforced a strong sense of community within our world of game audio, from regular messaging, tweet threads, or after hours GameSoundCon Altspace VR hang outs (see screenshot on the next page), the year was not short on our ability to adapt and stay connected.

We’ve also had a lot of time to think about what we value, both as individual people and as a community. For the organization, we value acceptance, inclusion, diversity, and abundance, to name a few. We’re constantly looking inwards to find more value for our members and the community at large and are rigorously working towards doing just that.

What does adding value and creating abundance look like for Game Audio Network Guild? It looks like increased representation, both in our membership and at our annual awards. It looks like expanding our offering of digital events to cater to our ever-growing and globalized membership, not just those in major US cities. It looks like more diversity initiatves. It looks like more accessible mixers and social events. It looks like an updated board of game audio jobs.

OK - great! So what is in store for 2021?

A true master never shares their secrets, but luckily this is a game audio nonprofit and we’re happy to fill in our friends and members about some of the

ambitious plans in the pipeline.

First, we’re excited to significantly expanded the award categories for the Game Audio Network Guild Awards - now with 31 categories and greater principle parity. You’ll find new categories for dialogue, sound design, implementation, indie games, and many more.

Second, the organization is working towards a comprehensive rebuild of the website. We’ve already given the website a bit of a design update, courtesy of Crystal Yang Design, but it’s the season to turn it up to eleven. The main goal is streamlining a low friction and flexible membership experience -- allow of various payment options, profile settings, membership management, and more for both members and sponsors alike. A new site will be a new platform for ongoing initiatves Be well. Reach out! Don’t be a stranger :)

— CODY MATTHEW JOHNSON

DECEMBER, 2020 • WWW.AUDIOGANG.ORG

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GA M E AUDIO NETWOR K GUILD

WHAT’S THE BUZZ

This year has proven to be a learning curve for any organization, especially one that offers value through inperson networking and diversity events!

Awards submissions are open until Dec. 31. Submissions are also open to the public this year for a small nominal fee and as always are free to members! The date of the awards ceremony is TBD 2021.

with Wataru Hokoyama was also very popular with 90 viewers. The VOD will be up on YouTube soon! Expect more webinars in 2021. Let us know through email or on social media what topics you’d like to see.

GAMESOUNDCON 2020

Leave it to game audio folks to pull through and make a digital event feel as lively and engaging as ever.

Between our virtual zoom lounge and Altspace VR afterparties, complete with a virtual opera concert by John Robert Matz, basketball, and plenty of opportunity for memery, if felt like our community didn’t skip a beat. Our panel on career building stigmas was a hit! Our giveaway saw thousands of dollars of plugins and software go to attendees, thanks to sponsors Music Marketing and iZotope. We were also able to pair up scholar recipients from both GSC and the GDC with industry mentors - see page 42. Lastly, the demo derbies were filled with insightful and sage wisdom - both the music and sound design demo derby will be on YouTube soon.

AWARDS SEASON

It’s that time of year where everyone scrambles to submit their latest and greatest to the Game Audio Network Guild Awards. Be sure to check out all of the new and updated categories for a total of 31 unique awards! See all of the new category information starting on page 56.

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Submissions open now!! [click here] WHAT WEBIN-ARE YOU WAITING FOR?

It was thrilling to see nearly 100 concurrent viewers for our first webinar, “The Art of Communication for Collaboration” and we were happy to give away a plugin package to Nicole Yazmin Jacobus! The VOD will be up on YouTube soon!

Our most recent webinar, “Clearing Your Mind - Manifest What You Want”

MEMBERSHIP COVID RELIEF

We acknowledge the financial strain this year brought, and we are offering COVID relief on membership dues for those struggling financially this year.

Head to the website to learn more. https://www.audiogang.org/why-join/ EVENTS IN 2021

Plenty of new and interested content is lined up for 2020 - we hope you’ll come through and say hello, we think at least some of it will be a Riot :)

NICOLE YAZMIN JACOBUS I am a Master of Music student in the Technology and Applied Composition program at San Francisco Conservatory of Music. I work as a freelance composer, sound designer, and live sound mixer. I was thrilled to win Sonible, Fab Filter, and D16 plugins at the Art of Communication webinar. These plugins have already been incredibly beneficial in both school and my freelance work. I am so grateful for these amazing plugins. Thank you to The Game Audio Network Guild for providing engaging learning opportunities and a community has been invaluable in helping me grow, learn, and create valuable connections.

GAME AUDIO NETWORK GUILD • THE AUDIO SOURCE MAGAZINE • WINTER 2020 • ISSUE 02

T HE AUDIO SOUR C E MAGAZINE

UPCOMING EVENTS 2021 DATE TBD:

DIVERSTY EVENT WITH COLIN GRANT We’ve all had to adapt to this brave new world in different ways with different challenges from fires, racial injustice and more.

11 JANUARY: CES 2021: ALL-DIGITAL CES 2021 will be a new immersive experience, where attendees will have a front row seat to discover and see the latest technology.

We will showcase how those who may have had a more difficult time or more challenges have adjusted to the pandemic in game audio in order to foster more understanding.

18 JANUARY: NAMM 2021 BELIEVE IN MUSIC WEEK 24 DECEMBER: HMMA SUBMISSIONS:

Submissions for the Hollywood Music in Media Awards close December 24 at 11:59pm PT.

31 DECEMBER: TEC AWARDS VOTING ENDS The 36th Annual NAMM TEC Awards will be held on Jan 22, 2021!

31 DECEMBER: AWARDS SUBMISSIONS: Game Audio Nextwork Guild Awards submissions close December 31 at 11:59pm PT.

Believe in Music will feature a mix of comprehensive programming and professional education as well as an interactive marketplace to connect buyers and sellers.

08 FEBRUARY: D.E.W. EXPO This February, the 8th annual Digital Entertainment World Conference returns for 5 days of online programming! This year, #DEW2021 will explore “Creativity and Innovation in a Changing World” - a theme resonating across digital entertainment and media landscapes. Topics on Television, Streaming, Advertising, Games, Esports, RightsTech, Music & Podcasts Learn more at dewexpo.com

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15 MARCH: UNFOLD GAMES AWARDS 28 JANUARY: TAIPEI GAME SHOW

Submissions close on March 15. Categories include Best Music, Best Sound Design, and more!

Taipei Game Show, held by Taipei Computer Association (TCA), is the only game exhibition, which combines B2B and B2C zone. From 2003, it attracts tons of gamers from all over the world

29 JANUARY: MPSE SUBMISSIONS CLOSE

16 MARCH: SXSW 2021: ONLINE SXSW is launching SXSW Online as part of our 2021 offerings. The dates for SXSW EDU Online are March 9–11, 2021 and SXSW Online will take place March 16–20, 2021.

DECEMBER, 2020 • WWW.AUDIOGANG.ORG

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T HE AUDIO SOUR C E MAGAZINE

DECEMBER, 2020 • WWW.AUDIOGANG.ORG

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MEMBER SPOTLIGHT:

LARYSSA OKADA

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composer & producer laryssa okada Music after applying for the position three separate times. In her case, the third time was really the charm.

Laryssa Okada is a composer, music editor, and audio producer for video games. Like many of her colleagues, Laryssa’s love for video games and video game music took hold through titles like Skies of Arcadia, Final Fantasy IX, and NieR Gestalt. Long before her foray into the world of video games and music therein, Laryssa was musically inclined from a young age. At the age of three, Laryssa’s mom signed her up to classical piano classes. The piano itch stuck with Okada and dedicated her free time to music. Laryssa loved video games from a young age but did not play much because any free time she had she was practicing piano. However, her brother loved playing video games and she would actively watch him do so.

She earned a degree in Film Scoring with a minor in Video Game Scoring from the Berklee College of Music in Boston, Massachusetts. During and after her time at Berklee, Laryssa credits game jams for a chance to cut her teeth in the game development industry. After graduating from Berklee in 2016, she went on the hunt for work - as all fresh-out-ofcollege grads do - applying to many opportunities. She took an internship for Sony Interactive Entertainment 14

During her internship at Sony, she was a music editor for titles Mass Effect: Andromeda and Days Gone. When asked what she gained from this internship she said, “This was my first time seeing a AAA level full group of audio professionals and it totally prepared me for what to expect from the industry. Also, everyone was really nice.”

After her internship at Sony, she went on to briefly work for Sarah Schachner in Los Angeles on Assassin’s Creed: Origins in the same role. Laryssa says this is her favorite project she has worked on thus far. Laryssa’s first project as an independent composer was found on Twitter after she came across a tweet from a Mr. William Chyr, inquiring about hiring a composer for his indie game title Manifold Garden. Her work on Manifold Garden garnered high acclaim and recognition, winning her the Breakout Talent Award at the 18th Annual Game Audio Network Guild Awards in May of 2020.

While assisting and composing, Laryssa also found work as a QA Tester, then Associate Producer at Hyperkinetic Studios. As her work on Manifold Garden wrapped she moved to Washington state to work on Halo Infinite as an Audio Producer, where she currently works today.

Laryssa says she learned a lot about music and editing at Sony, and though she now focuses on composing, her

composing techniques are heavily influenced by the workflow of editing - using half composing and half editing to bring her pieces together. She finds composing the most rewarding and loves setting the atmosphere of a game and “bringing to life evocative nuances that may otherwise be difficult to show on screen.”

When it comes to production, Laryssa expressed, “I love bringing everything together and serving all members of the team. It feels good to help other people feel good.”

Laryssa is currently an Audio Producer at 343 Industries working on Halo Infinite, but she is also working fulltime on production and composition, spending her free time exploring new music projects that stretch further out, stylistically, and looking for new and unique ways to create music.

Laryssa has been a part of the Game Audio Network Guild since 2016.

She says, “It’s inspiring to go to

the award shows to see what’s out there and the skill and dedication of the people who are evolving and changing the craft.”

She was a part of the Game Audio Network Guild’s panel at GameSoundCon, Breakout Series: Redefining Career Building Stigmas, where she shared her experiences and advice for building a career, networking, how to avoid careerbuilding pitfalls, and how perception has shifted over time within the game audio industry. Laryssa was also a guest of the Soundtrack Scramble panel at PAX 2020 Online, where she and other guests, including Lena Raine (Celeste), had to rearrange classic video game music themes in entirely new styles in under 40 minutes. She appreciates how everyone in the Game Audio Network Guild community is really good at sharing their knowledge and welcoming everyone into the community.

— GABRIELLA CIARAMELLA & CODY MATTHEW JOHNSON

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WELCOMING OUR NEW MEMBERS IN 2020 Elizabeth Paich Tommaso Annoni Jean Bellefuille Nicole Yazmin Jacobus Walter Mair Paul Boechler Tommy Pedrini Patrick Crecelius Bill Lacey Jeffrey Snyder Elliot Thring Juan Tejerizo Dannyellis Melendez Jessica Cury Ming Mei Li Lu Yan Yong Zhen Ma Kai Xuan Chen Zhe Wen Lou Hang Mei Xu Guang Zhu Jakub Kluczewski Zachary Stern Karl Flodin Sean Rollins Gene Willet Brian Hu Jake Archer Graham Metcalfe Ziad Asadi Ryan Thompson Gregory White Zach “ZW” Buckley Susan Chatman Rup Chattopadhyay Daniel Braunstein Suzanna Jelsema Aleksandra Stevanoska Charles Reeves Chris Robinson Twi McCallum

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Zoe Morfas Andrew WearScott Starrett Sarah deCourcy Hua-Hsuan Tseng Shawn Marren Patric Catani Colton Dodd Chun Yeung Poon Andrew Parroll Matis Merilain Jon Nicholls Lucas Fehring Andy Milburn Andrew Ryan Mark Campbell Chris Farmer Dillon Feldman Benjamin Nissimov Nicole Decker Kerianne Pinkstaff Cody James Mitchell Greg Moss Sebastien Najand Evan Barr Cephas Causey Raunak Barde Bill Rouse Roy Osherove Mike Georgiades Austin Blau Jayden Sabins Anton Riehl Marco Chiavetta Roger A Martinez Charlie Campagna Michael Beck Luke Evans Ben Nix-Bradley Wyatt Nymoen Brandon DiLorenzo Nicholas Vogels

Royce Cole Tony Manfredonia Ethan Featherly Joshua Matthews Jordan Katz Vince Webb Johannes Roth Josh Velasco Austin Hart Hyeongseob Kim Kaiyun Wong Leonardo Munoz Espinosa William W Edmisten Jeremie Voillot Sean Daniel Adi Keltsh Edward White Shota Nakama Braeger Moore Chris Opon Dylan Mi Mars Xin Jinglei Huo Monnie Yang Michel He Dreama Wu Baptiste Mouton David Dumais Kyle Griffith Amy (Aizhou) Liu Neal Gustafson Ryan Mulder Michael Wilson Margot Frey Lynn Lendway John Pinder Dawn Olejar Adam Jones Ryan Udairam David Childs Kiehl Carlquist

T HE AUDIO SOUR C E MAGAZINE

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DECEMBER, 2020 • WWW.AUDIOGANG.ORG

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GA M E AUDIO NETWOR K GUILD

STEP LOCKED:

COMPOSING IN TANDEM WITH GAME DEVELOPMENT

BY CHASE BETHEA Many of us don’t get the privilege to score an alpha prototype. You look at the build with beautiful customized art and functional game play. You may ask yourself, “what does this sound like?”

As you play the game for 30 minutes nothing musical comes to mind. You play longer, and an hour passes, two hours pass, three hours pass. You decide to turn the game off and return another day, return the next week and still nothing musical has come to mind. After a month without a note written you start to wonder is this game a gem? You say to yourself, “I’m having fun but I’m not hearing what the game is telling me to write for.” This is how it all started when I approached the music world for Aground.

Aground is a game about mining, crafting and unlocking new areas. In the game, you dig for resources and use those to upgrade your character 18

and get better equipment. Survival is only the beginning. The only way for humanity to have a future is to return to the stars and confront them. However, it will require a lot of ingenuity and help to recover everything that was lost and even that might not be enough.

It took three months to write the main theme for Aground ,“No Sky Limits/ No Boundaries.” I put a lot of nisus

into creating the sound palette. I was concerned that nothing would come to me but the duende that came from the team was strong and that energy pushed me to think away from the game. The challenge was not to have it be an opuscule but rather a larger piece that could be digested subconsciously while the player was collecting resources. Perhaps this was the challenge that I had faced which is why it took so long to compose.

T HE AUDIO SOUR C E MAGAZINE However, once I wrote the track the formula was clear. I needed to incorporate a through-composed method in order for the goal to be achieved. This method of writing had naturally been my favorite but was never well received among my peers.

So, I took a really big chance on this methodology of writing.

Once the demo was released to the public, I had realized that risk was a success.

Here is a journal entry from 4/30/2019 that explains some different mental struggles:

“I was told that you need to tell stories. I know this. Old ideas from what we learned from previous composers over the past two centuries. Tell sentences through phrasing [and] that’s still accomplished in what I write.

However, did anyone consider that sentences are interrupted by people you meet and talk to? That attention spans change more rapidly than ever in our time 2019. When you speak to someone, you may not always get your point across or finish your sentence. The person listening may get bored of your paragraphs. You or them may shift topics etc. This is what the music language is saying and this is how I interpret it to be.

People have a thousand ideas a minute, you will like something one second and then you change your mind and this is what is constant.

This is how I chose to break the monotony,still have a conversation and tell a couple stories in one listen.

So, if you’re old school and thrive on traditional harmony/melody and yearn for that, I have good news for you. There is a ton of music out there for you to enjoy. In contrast, if you’re searching deep, want something different, fresh, unique, abstract, eclectic, un-traditional,sometimes random, complex and catchy, I have all of that right here and more.”

DECEMBER, 2020 • WWW.AUDIOGANG.ORG

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GA M E AUDIO NETWOR K GUILD PROGRESSION The theme of Aground is about progression. Since the game always evolves in story and through the development it only made sense that the music would do the same.

Sound palettes for consistency is often discussed for many years when composing for games. You want the player to feel familiar with certain instruments and textures to keep the cohesiveness of their entire art form.

I needed the sonic identity to be very specific to each island and planet of Aground. Oftentimes throughout the entire soundtrack, I would recall the theme from “No boundaries/No Sky Limit” while expanding more and more on the sound palette with the texture.

Asset sheets played a big role in the direction for most of the music because they had descriptions of what island and planet was being designed for the player to experience. I use this inspiration in conjunction with the art.

SPECIFIC SYNTHESIZERS When I visited the Yamaha headquarters in 2018, I was reminded of the classic synths in their synth history room that Yoko Shimomura, Yuzo Koshiro as well as other Japanese game composers used during that time. For example, the Yamaha SY 85. So, I found an emulation VST synth of that keyboard synthesizer and used that in the sound palette as well. That model can be mostly heard near the end of the track of “Grimoire Architect,” where in the game you have a masterful grasp of magic on a specific island.

LIVE MUSICIANS With the Aground being in Steam Early Access, I was always wondering how I best myself with the next track that I would compose for the next island or planet. The thought of collaborating with other musicians was becoming more enticing however, I didn’t know exactly when I would want to collaborate. It became apparent when I wrote “Subaqueous Metropolis” and “Hive Dive Havoc.”

I wanted the process to be smooth with little preparation and really good ear training/improvisatory skills.

I reached out to a couple guitarist friends that I knew could achieve this very quickly. I treated the sessions as jam sessions rather than “recording sessions.” I have found over the years collaborating with live musicians that when it comes time to recording they tense up. I do my best to keep the atmosphere as mellow as possible but with this approach of making it a jam session it really loosens the vibe and the nerves to achieve really great recordings.

Other honorable mentions for synths used in the Aground score are Autogun, from FL Studio, Korg M1, Vanguard and Sprike. Some more Easter eggs are some vocal messages that are musically connected to the theme of the track depending on the island or the planet that you’re exploring.

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GA M E AUDIO NETWOR K GUILD MAKING HISTORY Of course you never think of these things when you’re writing the music until it occurs to you later.

With composing “Neila Enemui Bar Amber,” which is a cryptic name for a track that conflates between two Elvish languages, I wanted to make the track and title feel as if it was related to what was happening in the game as it is “foreign.”

I thought to myself, “if I could create a cipher/anagram and translate that into creating music then, it could prove to be a powerful metric and composing tool.”

On top of that I thought about time signatures to which would feel completely disoriented but have a strong groove. So, I composed a time signature that I believe has ever been written in the history of game music. Only one of my friends, who works at Respawn Entertainment, has been able to figure out the time signature. So, I leave it as a challenge for anyone that does figure it out and if you do consider it the ultimate badge of honor to your ears.

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ABOUT THE AUTHOR Chase Bethea is a freelance Composer that has shipped 19 titles in his nine years experience. He scored games such as I Can’t Escape Darkness, Super Happy Fun Block, </reality> Aground, and Potions Please.

Chase has received many accolades throughout his career.

In 2013, Chase’s score from the successful flash horror game, I Can’t Escape received an honorable mention in Indie Game Magazine. His soundtrack for Cubic Climber earned a Noteworthy on Destructoid. In 2016, Chase was nominated for Artists of the Year – Independent Composer by VGMO in the entire industry. In 2019, he was selected to perform live at Indiecade. He is also a co-host of Game Audio Hour and an iASIG Steering Committee Leader.

GAME AUDIO NETWORK GUILD • THE AUDIO SOURCE MAGAZINE • WINTER 2020 • ISSUE 02

Learn video game music production and composition from one of the most celebrated composers in the industry T HE AUDIO SOUR C E MAGAZINE

“Game Music Essentials covers all the basics you need to begin your career as a video game composer, drawing on my real-world experiences in order to help you with yours. Whether you are new to composition and production, or a seasoned veteran looking to hone your craft, this series was made for you. You will not be required to buy any additional hardware or software beyond that which you already have, all you will need is an internet connection, a good listening environment and a passion for video game music.” - Tom Salta Game Music Essentials Scoring for Video Games / Composing Interactive Music Implementation and Adaptive Scoring The Creative Process The Business of Game Music

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Veteran composer and music producer Tom Salta, renowned for scoring some of the most iconic video games in history, including the HALO Series, PUBG, the TOM CLANCY Series, PRINCE OF PERSIA, WOLFENSTEIN and many others, is bringing the culmination of his experience and expertise to a new Masterclass Series on music production and composition for video games.

For the first time, Tom Salta is offering his in-depth knowledge and experience from working in the video games industry in a unique educational series. Tom Salta’s Masterclass Series is a gamechanger for any composer and musician interested in building a career in video games.

All active members of G.A.N.G. will receive a $50 discount on "Game Audio Essentials" as well as more discounts on future courses in the Tom Salta Masterclass series.

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in memoriam

Cheryl Tiano 24

Cheryl Tiano, beloved Hollywood film music agent, dies at 59 Cheryl Tiano, an agent for the Gorfaine/Schwartz Agency representing composers of music for film, television and video games, died November 2, 2020 of complications from heart surgery. She was 59 years old.

The agency provided the following statement: “It is with deepest sorrow that we mourn the passing of our dear friend and colleague Cheryl Tiano. Cheryl was a beloved member of our GSA family for nearly 30 years. Our thoughts and prayers are with her family at this difficult time, and with everyone in our industry who knew and loved her. It is impossible to express how deeply we will miss her.”

The Society of Composers & Lyricists added: “Cheryl had long ago taken her place amongst the top tier of composer agents in the entertainment industry. Her clients loved her, and she loved repping them. She is an enormous loss to our media music community.”

A musician herself, Tiano was born in Cincinnati, Ohio and studied composition at Boston’s Berklee College of Music, later graduating from the California Institute of the Arts. She spent several years working with high-profile arts organizations, including the Los Angeles County Museum of Art, where she ran their prestigious Monday Evening Concert series. Tiano then joined the Gorfaine/Schwartz Agency in May of 1993, where she represented many of the agency’s high-profile composers for film and television for the past twenty-seven years. She also developed the agency’s video games and interactive division, through which she successfully encouraged game producers to elevate their soundtracks by utilizing orchestras in their scores and involving many of the industry’s most prominent composers.

“Cheryl was sensitive to the art form itself, and to the artists who created it,” said GSA partner Sam Schwartz. “She had a unique, effervescent personality. She was dedicated to her clients, her work, and her relationships.” GSA partner Michael Gorfaine added: “She was a talented representative who was very detail-oriented and homework-driven, all of which was wrapped around a core of decency, integrity and a deep love of music. She never wavered from those values.”

Among the composers she represented over the years were Brian Tyler (Avengers: Age of Ultron), Steve Jablonsky (Transformers), George S. Clinton (Austin Powers) Sean Callery (24), Gabriel Mann (Modern Family) and Jesper Kyd (Assassin’s Creed).

“Cheryl was one of the smartest, most loving, and incredible human beings I’ve ever had the privilege to know for the last 24 years as my agent and friend,” said Tyler. “She was a true beacon in the music world and a champion for change for so many. My heart goes out to everyone who knew and loved her. This loss is incalculable.”

Clinton added: “Cheryl was that rarest of rare combination of a really great person and a really great agent. I feel so fortunate to have been both her client and her friend. Hollywood will be a darker place now because we’ve lost her bright light.”

“The word ‘agent’ is too impersonal,” offered Callery. “She was someone I loved and trusted unconditionally with absolutely anything. She often knew more what was going on in my head than I did. I suppose the word ‘consigliere’ comes closer, but not quite. Not once in 24 years of conversation did she ever put me on hold or step away. If God ever needs an agent, he sure has one now.”

Tiano is survived by her husband of 15 years, Frank Gerechter, stepson Joseph Simon of Cambridge, MA, father Hi Tiano of Los Angeles, and sister Linda Tiano of New Jersey. A memorial service will be held at a later date. In lieu of flowers, the family is suggesting that donations in her name be made to local animal rescue organizations.

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GAME AUDIO NETWORK GUILD • THE AUDIO SOURCE MAGAZINE • WINTER 2020 • ISSUE 02

T HE AUDIO SOUR C E MAGAZINE

THE WALKING DEAD: SAINTS & SINNERS

BRINGING THE SOUNDTRACK TO LIFE

BY SABRINA HUTCHINSON DECEMBER, 2020 • WWW.AUDIOGANG.ORG

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HOW SKYDANCE INTERACTIVE AND DECCA RECORDS US BROUGHT THE WALKING DEAD: SAINTS & SINNERS SOUNDTRACK TO LIFE

BY SABRINA HUTCHINSON

As Skydance Interactive prepared for the January 2020 release of The Walking Dead: Saints & Sinners, a major consideration was the game’s score and soundtrack. The gripping, jazz-infused soundtrack with music and dialogue from the game brings its horrifying journey through the walker-infested streets of New Orleans to life and further immerses players in the amazing world created by the development team. Not only was it vital to find composers who would bring an authentic musical tone, but it was also a priority to find the perfect partners to bring the music to life.

Skydance’s Nicolas Soufflet, who served as executive producer on the soundtrack and external development producer as well as VO producer for the game, took immense pride in assembling just the right team for the project. Expectations were high, and the fan experience was a top priority.

Formosa Interactive was engaged to produce the music and hire the voice over talent for the survival horror game and soundtrack, with Music Producer Savina Ciaramella at the helm of the project. One immediate goal was to source and enlist a compelling creative team as well as a label and distribution partner for Skydance. Michael Peter is an Audio Director at Skydance and was tapped to score the game, with composer Joshua Mosley chosen to write and arrange songs.

Said Peter, “The music score had to be effective horror music, and we also wanted to pay homage to New Orleans, where The Walking Dead: Saints & Sinners is set.

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NOLA isn’t just the birthplace of jazz but is a city where music plays a vital role in its identity. For The Walking Dead: Saints & Sinners, I tried to compose a game score that’s both moody and scary. I found certain themes that felt cohesive with the game’s art and story and tried to evoke that with the music we created. Some devices that were valuable included detuning, the use of polytonalism or outright atonal parts, and even instruments that were themselves broken.”

Peter continued, “The other aspect of the music score, and something that allowed me to focus more on effective visceral stuff, was the compelling diegetic music that came from our very talented musical partner, Joshua Mosley. Joshua and the Formosa team’s work really flourished in bringing the human element to the story. They created original music and renditions of great standards that really brought the whole concept of The Walking Dead: Saints & Sinners together into a compelling musical adventure, and one that I am so proud and honored to have been a part of.”

Ciaramella shared, “We chose Joshua Mosley for this project given his versatility and deep background in jazz, blues, and funk music. He wrote several original songs inspired by classic artists of the ‘20s through the ‘70s, and also wrote new arrangements of recognizable songs from that era. The audio team at Skydance trusted our capabilities and gave Joshua creative freedom. They were very happy with the mockups, and were supportive throughout the entire process.”

GAME AUDIO NETWORK GUILD • THE AUDIO SOURCE MAGAZINE • WINTER 2020 • ISSUE 02

T HE AUDIO SOUR C E MAGAZINE Ciaramella continued, “Once all the tracks were approved, we assembled the talent and recording team quickly. We called a handful of friends and colleagues who are jazz musicians to record the rhythm section at Riot Drum Studio. Everyone poured their heart and soul into it, and some of the musicians improvised, enhancing the overall vibe. Lucas Fehring was an incredible engineer and made adjustments on the fly. We also enlisted Joshua’s brother, Jordan Mosley, and Suzanne Waters to track the vocals at Formosa Interactive in Burbank, engineered by Nick Mortillaro. Recording “When The Saints Go Marching In” was particularly fun and memorable, as we experimented with a variety of vocal styles. Working with Joshua, the Skydance team, and all the talent was a terrific experience from beginning to end.”

Mosley shared, “I was thrilled when Savina reached out to me about this project, especially since it was for a genre that I’m usually not hired for, Jazz, which is in fact part of my DNA. Growing up in a musical household, my mother was a jazz vocalist and instructor, I was heavily influenced by jazz music. I developed a passion for the genre and was mesmerized by the legends my grandfather worked with such as Count Basie, Louis Armstrong, and Ella Fitzgerald.”

Mosley continued, “Working on The Walking Dead: Saints & Sinners with the teams at Skydance Interactive and Formosa Interactive, was honestly some of the most fun I have had writing music for a video game. There were so many talented and great creative minds involved with a

deep sense of the story and the musical history of New Orleans. It was truly inspiring. I am very proud of what we created for this title and grateful to have been taken along for the ride.”

THE FIRST VIDEO GAME SOUNDTRACK ON THE DECCA RECORDS US LABEL Not only was the soundtrack release for The Walking Dead: Saints & Sinners an important gift to fans, it was also a key factor in marketing the game. It was critical to select the right label for the release. With deep experience in the record industry, Ciaramella suggested that Decca US would be a great option to market and distribute the OST. Skydance was moved by their storied history and reputation for dramatic creative direction and innovative marketing resources, and chose them as their label partner.

NEW ORLEANS AND THE FLEUR-de-LIS Skydance had specific ideas for the world setting of The Walking Dead: Saints & Sinners. “We were looking for an iconic and original location to set the game world, one that had not yet been featured in The Walking Dead universe,”, said Soufflet. “Creative Director Adam Grantham wanted a world that juxtaposed surrealism with survivalism, vibrant culture with ruin. New Orleans is a character in itself, a world unto itself. Reclaimed by the Bayou and the dead, it was the perfect place to tell our story.”

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GA M E AUDIO NETWOR K GUILD the religious imagery present in New Orleans and our game; The Hub in the cemetery, for example.”

The artistic vision was carried out by label Creative Director Joe Spix and Designer Alex Kalatschinow and illustrated by accomplished artist Oliver Barrett.

Soufflet continued, “The flood represents the game’s post-apocalyptic world and the negative space creates a Fleur-de-Lis shape which symbolizes New Orleans. The background features details reminiscent of the city.

The foreground has several objects and details to finalize the Fleur-de-Lis shape while giving discreet nods to the game. The concentric circles are a nod to the radio while giving the appearance of a distress signal emanating from the statue.”

A PERFECT DANCE PARTNER John Pinder, Director of Revenue and Consumer Acquisition at Decca Records US, ran point on the soundtrack for the label. From the onset, it was important to them to open doors for consumers to access video game music.

The art direction of the album embraces an approach that is more artistic and interpretative than brand-driven.

The team wanted it to have its own identity. It prominently features the moral values and choices which are a major part of the game, and it was also important for New Orleans to be represented in a subtle way, as the city and the Bayou are essential to the setting of the game.

Michael Peter, Composer

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Said Soufflet, “The broken angel statue is the centerpiece of the composition. Decay and mold give the appearance of blood and tears.

The statue stands for the loss of innocence of humanity, forced to do terrible things for survival in the wake of the Walker apocalypse. It’s a strong visual, which also reflects

Pinder Said, “The video game industry is the perfect dance partner, and The Walking Dead: Saints & Sinners was a project that really interested us. The fact that it was born from a storied IP made it a logical first project. I’m a great lover of bespoke vinyl, and this triple vinyl release was a beautiful project to be a part of. I really loved the whole process.”

This album was released as a body of work to tell the full story of the game.

The creative direction evolved considerably from the team’s first ideas, and Pinder recalled that one of the biggest surprises of the project was seeing the finished product. Because of limitations due to Covid, some of the final approvals were handled digitally rather than via physical proofs, so get-

GAME AUDIO NETWORK GUILD • THE AUDIO SOURCE MAGAZINE • WINTER 2020 • ISSUE 02

T HE AUDIO SOUR C E MAGAZINE

THE VIDEO GAME INDUSTRY IS THE PERFECT DANCE PARTNER. ting to see the completed product was exciting. Pinder shared, “The amount of care and detail that went into the project would probably surprise people. Our team was relentless and meticulous in the attention to detail and story. The game’s packaging was something the team labored over - a labor of love. People need time to fully take in the album, to soak it in and appreciate it.” When asked if there were other surprises for fans, Pinder teased, “Check out the album on Spotify on your mobile device.”

Graham Parker, President, Decca Records US, shared, “As a company passionate about new music, video game music is an underserved genre in terms of commercial distribution.

The fact that Decca US could work with Skydance on a project, and that it would resonate with fans, was something very appealing.”

The complete soundtrack including the original score, songs, and voiceover tracks from the game, was released to streaming services in the summer.

The team took their time releasing the limited edition collectible vinyl product. Universal’s internal °1824, a marketing, content, and experiences team powered by university students and young creatives from around the world, played an important part in the album’s marketing efforts. They drove some of the creative content ideas, including a successful TikTok campaign that engaged make-up artists for a zombie Halloween activation. The team constantly finds creative ways to deliver content and reach more listeners. As Dawn Olejar, Executive Vice President, Decca Records US put it, “Given our resources and innovation, we, along with our internal resources,

are the next evolution in marketing a video game score. Our creativity, excitement, and dedication to this genre of music set us apart from the rest.”

As part of the label’s reimagination strategy, the team re-delivered just the classical tracks from the OST as a separate playlist to coincide with the Oculus 2 release in October. The same strategy was implemented with the tracks created by Joshua Mosley to accompany the release of the vinyl on December 4th.

Marvin Gordy, Joshua Mosley, Paul Lipson, Lucas Fehring, Steve Hass

Decca Records US is passionate about game music and looks forward to expanding its role within the industry.

Notable artists on the Decca Records US roster include concert and media music composer, Christopher Tin, as well as the famed Japanese composer and musical director, Joe Hisaishi.

The Walking Dead: Saints & Sinners was released on PC VR platforms and PlayStation VR earlier this year, and on Oculus Quest and Quest 2 in October. In November, it received a Game Awards nomination for Best AR/VR Game.

Suzanne Waters & Jordan Mosley

— SABRINA HUTCHINSON Nick Mortillaro, Jordan Mosley, Suzanne Waters, Savina Ciaramella, Joshua Mosley, Paul Lipson

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MAKING THE MOST OF AN UNSHIPPED GAME

BY ADAM FLIGSTEN

I WROTE MUSIC FOR A PROMISING INDIE GAME WITH TALENTED DEVELOPERS, GOOD FUNDING, AND A GREAT CONCEPT IDEA, ONLY TO REALIZE THAT IT WOULD BE SHELVED. – ADAM FLIGSTEN In 2016, I was contacted by a small independent game development studio who were working on pitching their biggest project to date. They had previously shipped a few mobile games, but were feeling much more ambitious this time around. They had found some of my music on the Unreal Asset Store and were using it as temporary music in a prototype to pitch to investors.

I agreed to help them out as they needed music for a trailer and a few more custom cues for the prototype.

Fairly quickly, they found an interested publisher and were in talks about getting the game development funded.

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Because I was on the project early, I was included as a line item in the budget to the publishers. Often music and sound are somewhat of an afterthought this early of a stage in development, but I was able to negotiate a reasonable deal for the music.

“EVEN THOUGH THE GAME NEVER SHIPPED, SOME OF WHAT WE AGREED UPON STILL MATTERED QUITE A BIT.”

I was given a lump sum fee, which would be paid as they hit their milestones of development. 50% was up front and 50% about halfway through the project. The idea of this would be that it would be money to live on, as well as any music related expenses for the game.

Even though it was a reasonable fee, over the course of development, I could not have afforded rent and basic expenses on this fee alone. So, like all freelancers, this was not my only project at the time.

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I kept soundtrack rights, which meant that I would make all of the money for any sales or streams of the music. I seem to remember that they would take 20% of the soundtrack sales through Steam, which seemed fair to me.

I also had full ownership of the music and publishing. I gave them a 2 year exclusivity clause, which meant that I wouldn’t license the music for any other projects within the first 2 years of the game’s release. But also, this music would be legally part of their game in perpetuity.

So they wouldn’t need to renegotiate, as long as it was a part of the game.

The game took place entirely on a Soviet spacecraft in the early 1980’s. Stylistically, the art leaned on a sort of 1970’s to early 1980’s Soviet technology aesthetic.

Lots of cassette tapes, physical knobs and blinking lights were to be found around the ship.

The story was about space aspirations broadly, as well as the specifics of the time and place in a Soviet spacecraft near the end of the Cold War. After a number of musical experiments, I decided to score the entire game using entirely Soviet era synthesizers. Every noise, drums and all, would come from just two synthesizers manufactured in the former Soviet Union (an Aelita and a Polivoks).

I even wrote a fake Soviet pop song which would be found on a cassette on the spaceship. The song expressed loneliness and a distant feeling from the world.

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It is impossible to say how much the finished product benefited from synthesizers built in the former Soviet Union. I’ve been asked, “Why didn’t you just use software or an emulation?” And to be clear, there are really great software synths and emulations that would’ve sounded great on this project. But when we compare gear like one synth to another, we are really talking about marginal differences. Can you hear the difference between two different square waves? If you can hear a slight difference, does it matter musically? Maybe not in a 1 to 1 test, but as the sounds get added up, the differences begin building on each other. The final product has hundreds of specificities and imperfections embedded into it.

I am going to shy away from essentializing any aspects of Soviet manufacturing. But I will say that these two synths definitely have a world and character of their own. The Polyvoks has a notoriously brutal filter that saturates very quickly. The Aelita is a lighter, paraphonic synth which seems a little more geared towards organ players. When I put them against the game, they just felt right. The specific workflow of these synths pushed me towards making sounds and tones that I probably never would have, if I were using other synths.

line, probably in conversations that I wasn’t a part of, things began to slip away in the development process.

I was actively writing music for roughly a year and a half. A new section would be developed in order to hit a milestone for the developer. I would usually have about 2 weeks to score the new section, then about a month or so of downtime as the next part was being worked on. I would usually use that off time to work on other projects.

Meanwhile, these developers had bills to pay. If they didn’t hit their milestone, they didn’t get their next chunk of funding, but they couldn’t hit their milestones with some of the deep technical problems that they were running into.

For a year and a half or so, the project kept growing.

More animators were hired, set pieces created, and the publisher was getting excited. But, somewhere down the 38

The developers missed a few milestones due to unforeseen technical hurdles. I remember specifically, one where they were trying to program and animate hands as the player traverses the outside of a space station. This might have been a relatively solvable problem in a AAA game, but this was a small team and it took weeks of precious development time to resolve.

There was never a formal moment when the game was canceled, but we did get a notification that progress would be “slowed” and that some of the developers would begin taking other contract work. I had other projects to keep me busy, so I did my best to forget about the project and hope

GAME AUDIO NETWORK GUILD • THE AUDIO SOURCE MAGAZINE • WINTER 2020 • ISSUE 02

T HE AUDIO SOUR C E MAGAZINE that at some point I would get another call to start up on it again. (I never got that call) After a year or two, I decided to just release the music on a soundtrack myself. My contract said that I owned it, so why not let people hear it?

“HOW MUCH ENJOYABLE MUSIC IS OUT THERE GATHERING DUST ON A HARD DRIVE, LOCKED BEHIND A CONTRACT?”

With care to not use any existing IP, I renamed the project and released it as: “​We Will Open The Distant Worlds.”

The title comes from a Soviet poem regarding space travel aspirations.

I spent a little bit of time cleaning up and sorting the music that I had written. Some cues were good to go. Some needed to be remixed. I spliced a few cues together and reworked a few others to make them more “song-like” and flow better as a soundtrack.

ABOUT THE AUTHOR

Working in games can be a bit of a gamble for all of us.

We never know when the next gig is coming, or when it does come, how it will work out. We only have control of our little slice of the project. So we can only do our best within our position as a sound person.

His career began in the independent electronic music industry in Brooklyn, New York. In 2008, he moved to Los Angeles to complete the UCLA Film Scoring program and transition into the film and video game music industries.

I’ve already gotten work out of connections that I’ve made through this project. Plus, I was able to write music that I am proud of, and play with strange new synths.

In 2016, Adam founded Silen Media, a full service video game audio house that provides music, sound design, implementation, and voice recording.

Adam Fligsten prides himself in blurring the line between acoustic and electronic sounds.

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SCHOLARS ALUMNI: GAME DEVELOPERS CONFERENCE 2020 DAYNA AMBROSIO COMPOSER

School: Berklee College of Music Mentor: Jason Hayes A Berklee Film Scoring Graduate, Dayna Ambrosio is a Video Game and Film Composer with experience in music production, audio implementation, and sound design. A recipient of the 2019 BMI Film Scoring Award and Berklee Video Game Audio Endowed Scholarship for Women, she has worked on over 20 game titles in the past two years. She is currently working on two games to be released in the next year, providing music, sound design and audio implementation, as well as a short film to be released this summer.

COLE MASAITIS COMPOSER, SOUND DESIGNER, AUDIO ENGINEER School: San Francisco Conservatory of Music Mentor: Anastasia Devana

Cole Masaitis is a composer and sound designer from Fairfax, Virginia. He graduated from the San Francisco Conservatory of Music in their Music Technology and Applied Composition graduate program in 2019. Cole has come from playing music in numerous bands, and he most recently has found himself as a session guitarist for the newest episode of Bento Banana, as composer for the documentary “Mother to Earth”, indie games and jams, as well as being mentored by the team at Emperia Sound and Music.

XIEXIAOMENG HU (JACK) GAME AUDIO DESIGNER, TENCENT TIMI STUDIO School: Berklee College of Music Mentor: Scott Selfon

Jack Hu is a game audio designer at Tencent Timi studio in ShenZhen, he is a Berklee alumni. During his time at Berklee, Jack was the Vice President of the Chinese Music Industry club. In the summer of 2019, he interned at Tencent Aurora Studio and fell in love with game audio. In November 2019, Jack helped organize the Game Sound Design panel as part of the 3rd US-China Music summit at Berklee College of MusicRecently Jack is working on game audio design for two mobile games: Arena of Valor and QQ Speed Car.

SANDY ZHOU SOUND DESIGNER

School: Berklee College of Music Mentor: Scott Gershin Making convincing and immersive auditory experience has always been one of my strongest passions. I specialize in sound design, interactive audio design, music composition, and implementation. At Berklee, I received the Game Audio Fund for Women Scholarship. During my internship at Tencent Games Timi Studio, I was on the audio team of Honor of Kings. I am currently working with Power Up Audio as a freelance sound designer on their unannounced game project. Feel free to reach out!

AXEL DELAFONTAINE COMPOSER, SOUND DESIGNER

School: 3IS (Institut International de l’image et du son) Mentor: Max Davidoff-Grey I’m Axel, from France ! I work 3 weeks a month as a Sound Designer in a game audio company based in Angoulême. I also study sound design and audio engineering at 3IS France. During my free time I often play videogames or I do some music too ! Why not doing both ? That’s why I’m here. I always have been creative and living in such a rural area was really inspiring. I had the opportunity to attend GDC and GSC being on of this year’s scholars . That was an amazing experience and I really would like to the organization!

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T HE AUDIO SOUR C E MAGAZINE

SCHOLARS ALUMNI: GAMESOUNDCON 2020 TWI McCALLUM COMPOSER

School: Yale School of Drama Mentor: Sally-anne Kellaway Hailing from Baltimore, MD, Twi got started in theater through costume design during her undergraduate at Howard University. She relocated to NYC to work at New York Live Arts. She’s gone on to design for Kansas City Rep and National Black Theater, and received an internship at Alchemy Foley Studio.

She donates to and volunteers for several charitable organizations. She also writes articles for Broadway World and Live Design Magazine, highlighting the success of Black people working in backstage careers.

WAYNE MESSAM, II COMPOSER, SOUND DESIGNER School: Florida Atlantic University Mentor: Adam Gubman

Born in 1998 in Fairfax, Virginia, video game composer and sound designer WMII began composing musicat the age of 18. Influenced by sound designers and composers like Mike Niederquell and Martin O’Donnell, he began to study digital synthesis and orchestration. Starting as an audio engineer at Hoot Wisdom Recordings, Wayne also started creating songs as an EDM Artist under an alias named after his self-made company, Neptune’s Cloud. Wayne Messam, II is currently freelancing in South Florida.

COLTON DODD COMPOSER, SOUND DESIGNER

School: NYU, Masters of Music in Screen Scoring Mentor: Max Davidoff-Grey Colton Dodd is an American composer based in New York City. As assistant to Paul Chihara, Colton worked on the album “Paul Chihara Collection Volume 4”, international film projects, and arranged for world renowned ensembles, including Brooklyn Rider, Orpheus Chamber Ensemble, the Vietnam National Symphony Orchestra, and the London Symphony Orchestra. Colton received a Bachelor of Music from Virginia Commonwealth University and a Masters Certificate in Orchestration for Film and TV from Berklee College of Music.

MAKO IKENO COMPOSER, SOUND DESIGNER

School: NYU Steinhardt’s Scoring for Film and Multimedia Mentor: Austin Wintory Mako Ikeno is a British Japanese film, television, and video game composer.

She holds a Bachelor’s degree in Film & Video Game Scoring as a scholarship student at Berklee College of Music in Boston, MA. Currently, she studies at NYU Steinhardt’s Scoring for Film and Multimedia Masters program under Mark Suozzo. She is also a freelance composer. She also has attended the Royal College of Music Junior Department in London and Wells Cathedral School in Somerset.

ANDREW J. RYAN COMPOSER, SOUND DESIGNER

School: ThinkSpace Education / University of Chichester Mentor: Neal Acree Andrew J Ryan is a composer hailing from Australia, and educated at the Universities of Melbourne and Chichester. Having studied the hard sciences, he also got his Masters degree in fine arts as a composer, with a focus on video game music and audio. Andrew has enjoyed a multiveried career in media to include video games. He was awarded a licentiate Diploma in Piano from the Australian Music Examinations Board. Andrew is also proficient in the French, German, and Japanese languages.

Q& A ALLISON WRIGHT CLARK MUSIC SUPERVISOR, EXECUTIVE & PRODUCER

Allison Wright Clark is a Los Angeles based music executive, music supervisor and licensing expert, score and song producer for all media, including video games, film, and television. Clark is a proud member of the Game Audio Network Guild and has been working on video games throughout her career.

Notable projects include Magic The Gathering and Dungeons and Dragons, Call of Duty 4: Modern Warfare, Def Jam: Icon, Pirates of the Caribbean, and has worked with legendary studios and production companies such as Konami, Electronic Arts, Activision/Infinity Ward, Ridley Scott and Associates, and more. Clark is also an instructor for Music Supervision for Film and TV at the UCLA Extension program in Los Angeles, CA. Clark’s most recent film, The Comeback Trail, releases on December 18th.

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Q: You have worked across all screens, including games, broadcast TV, cinematic trailers and feature films.

How is each process different from the other?

A: The differences are scope of work, schedule and budgets.

Feature length animated projects typically have longer lead times which is great for concepting musical direction.

It’s great to have enough time for the ideation, production and music licensing process. But some of the best work comes when you’re under pressure on a deadline.

Q: How did you get started in the music industry?

A: My high school and college had student run radio stations and I was a program director and DJ. I am a classically trained pianist and vocalist which fueled my interests in the business. I worked for a music production company specializing in music for games, advertising and films as well. It was an amazing training ground.

GAME AUDIO NETWORK GUILD • THE AUDIO SOURCE MAGAZINE • WINTER 2020 • ISSUE 02

Q: W hat is the most challenging part of your job?

Q: What interested you into becoming a music supervisor?

A: Early on in my career film production was big in Illinois. I was fascinated by production, the art of storytelling, how music and songs are used in unique ways. Production is a collaborative experience where everyone lends their talents with a purpose driven goal. That process appealed to me.

Q: When did you first start working on video games, and what are some of your favorite projects?

A: After college I worked with the executive staff and video game production team at Konami’s Chicago office. I loved that job.

I’d say Call of Duty: Modern Warfare, Def Jam: Icon, XMen, Lethal Enforcers, Metal Gear Solid, and Castlevania are favorites. Now I just want to play them all again!

Q: Any exciting projects you’ve been working on lately that you can share with us?

A: I recently had the great time working on “The Comeback Trail”, directed by George Gallo starring Robert De Niro, Tommy Lee Jones, and Morgan Freeman.

It’s about two movie producers who owe money to the mob and set up their aging movie star for an insurance scam to try and save themselves. Comes out December 18th. within your schedule’s timeline.

A: Finding the best piece of music or creating a song for the production that works within your budget. It can be a balancing act with creative direction, rights clearance priorities, and production stakeholders’ input all under tight schedules.

Q: W hat is the most rewarding part of it?

A: Same as above. It’s rewarding when your creative and the business side come together within your schedule’s timeline.

When you get the chance to showcase a new artists or band’s music who’s work may not have the chance to be heard by a larger audience yet.

Also hearing the final music to picture, knowing how much work and talent went into making it happen behind the scenes is great, too.

“ IT’S GREAT TO HAVE ENOUGH TIME FOR THE IDEATION, PRODUCTION AND MUSIC LICENSING PROCESS. BUT SOME OF THE BEST WORK COMES WHEN YOU’RE UNDER PRESSURE ON A DEADLINE.,” – ALLISON WRIGHT CLARK

Clark’s most recent film, The Comeback Trail, releases on December 18th.

Q: H ow have you been able to give back to the music community?

A: t’s been an important priority of mine to mentor, teach, and advise up and coming professionals and talent in the business. I’ve been active in allyship within music supervision and scoring community. I had the pleasure of being on the Guild of Music Supervisor’s allyship panel over the summer.

I was a part of songwriting camps and feedback sessions in several cities including Nashville and Chicago this past year. I’m looking forward to doing more of this work coming up.

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GA M E AUDIO NETWOR K GUILD

NEW GOLD SPONSOR:

LIGHTSPEED & QUANTUM STUDIOS

Founded in 2008, Lightspeed & Quantum Studios is one of the four game studios in Tencent Interactive Entertainment Group. Lightspeed and Quantum Studios is a combination of seven studios across five major categories: FPS &TPS, Competitive, Card & Board Game, MMORPG, and Indie Game. Over the last twelve years, Lightspeed and Quantum Studios has developed more than fifty games on multiple platforms and gained more than 1.4 billion players globally.

It has developed many famous products such as PUBG Mobile, Game for Peace, Happy Mahjong, Happy Landlord, Rhythm Master, and more!

After twelve years of development, Lightspeed and Quantum Studios has multi-platform development experience ranging from PC, web gaming, mobile, and the WeChat H5 mini program format (minigame) in the following categories: tactical competition,

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FPS, MMORPG, puzzle, simulation, casual SNG, sports, music game, card, MOBA, ARPG, SLG, VR, etc. Lightspeed and Quantum Studios has gathered and trained thousands of employees who love games and aspire to create and produce groundbreaking titles. In recent years, Lightspeed and Quantum Studios have made remarkable achievements in China while bringing their titles to a rabid international fanbase, bringing the enthusiasm of the team to gamers all over the world.

In the future, Lightspeed and Quantum Studios will continue to actively embrace change, focus on creating high-quality games, accumulate many cutting-edge technical talents, artists and game designers, and at the same time carry out a multi-directional panentertainment strategic layout, exploring the fields of e-sports, animation, film, television, and other fields, and further exploring the influence of video gaming on the world.

GAME AUDIO NETWORK GUILD • THE AUDIO SOURCE MAGAZINE • WINTER 2020 • ISSUE 02

T HE AUDIO SOUR C E MAGAZINE

NEW GOLD SPONSOR:

TiMi STUDIOS

TiMi Studios, a sub subsidiary of Tencent Games, is a leading global video game development team headquartered in Shenzhen, China, with offices in Los Angeles, Shanghai and Chengdu, China.

TiMi strives to create high quality, high fidelity and highly accessible games across a wide variety of genres. Founded in 2008, TiMi has developed a string of hit titles including Honor of Kings, Speed Drifters, Saint Seiya: Awakening, CrossFire: Legends, Arena of Valor and most recently, Call of Duty: Mobile. TiMi is working on several new titles, including with The Pokémon Company on Pokémon Unite, the first strategic Pokémon team battle game.

On 1st November 2020, TiMi Studios revealed that Honor of Kings, one of the world’s most popular games, set a new world record of 100 million average daily active users year to date. Since its launch in 2015, it has gained momentum to become the most popular game in China and one of the world’s highest grossing games of all time.

TiMi Studios was presented with ‘Best Developer’ award at the Mobile Game Awards at Pocket Gamer’s annual gala in London. The Studios’ recognition at the Pocket Gamer Mobile Games Awards follows Call of Duty: Mobile winning Pocket Gamer’s Game of the Year, as well

as Google Play’s Best Game of 2019 and its Mobile Game accolade at The Game Awards. The Call of Duty: Mobile game was co-developed by TiMi Studios with Activision Blizzard, which exceeded 100 million downloads within a month of launch, making it one of the biggest ever smart phone game launches. The game racked up 300 million downloads in just over a year.

as one of the most beloved games in China and one of the key elements of the game’s success is its music,” Sam Yang, head of TiMi Studios Audio Center said. “Our talented roster of composers created a score that elevates the player’s experience. By releasing the game’s score to a global audience, we hope a new audience will discover this amazing music.”

TiMi Studios and The Pokémon Company unveiled Pokémon UNITE, a new game for the Nintendo Switch and mobile devices, during a Pokémon Presents video presentation in June 2020. Pokémon UNITE is the first strategic Pokémon team battle game. Players face off against each other in five-on-five team battles. Pokémon UNITE will be free-to-start.

TiMi also released the official game soundtrack album to its role-playing game Battle Through the Heaven, a 19 track release written by multi-award-winning composer Inon Zur (Fallout series, Dragon Age series, Prince of Persia series). The Battle Through the Heaven soundtrack includes over 38 minutes of Zur’s original score from the game.

TiMi has invested considerably in offering AAA audio experiences in its popular mobile games, having its own TiMi Audio Center, which works across each of TiMi’s studios to help create the music and audio effects found in each of TiMi’s titles.

The Honor of Kings Original Game Soundtrack, Vol. 1 was released digitally on January 25, 2020. The album consists of 16 original tracks. There are also rearranged themes from Hans Zimmer and Lorne Balfe featured on the album. This marks the first time the hit game’s music has been officially released internationally.

“Honor of Kings continues to thrive

TiMi Audio has garnered several awards, including Best Sound Design in a Casual/ Social Game and Best Music in a Casual/ Social Game at the 2020 Game Audio Network Guild Awards, Best Original Song at the 2019 Game Audio Network Guild Awards, Best Music in a Casual / Social Game in 2016 & 2017 at the Game Audio Network Guild Awards, Song/Score – Mobile Video Game at the 2015 & 2018 HMMA Awards, and Song/Score – Trailer at the 2014 HMMA Awards.

To learn more about TiMi, follow @ timistudios on Twitter.

DECEMBER, 2020 • WWW.AUDIOGANG.ORG

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NEW GOLD SPONSOR:

A SOUND EFFECT

BUILDING A GLOBAL HUB FOR SOUND CREATORS

- AND THOSE WHO NEED THEM

BY ASBJOERN ANDERSEN

HOW DO YOU MAKE LIFE EASIER FOR PEOPLE WHO WORK IN SOUND AND FOR THE PEOPLE AND COMPANIES WHO NEED SOUND FOR THEIR PROJECTS? Those have been core goals for Asbjoern Andersen ever since he founded A Sound Effect (asoundeffect.com), a site that features thousands of curated sound effects libraries from independent sound creators.

A PLACE FOR SOUNDS

Since its launch in 2013, A Sound Effect has evolved to become the largest marketplace for independent sound effects on the planet. And in 2020, virtual instruments and plugins have also been added to the constantly-growing catalog. The site has also been strengthening its enterprise offerings, with the possibility for custom bundles, subscriptions, multiuser deals and customized licensing terms.

“Back when I started A Sound Effect, it was frustratingly difficult to get a good overview of independent sound effects libraries, and that was what I wanted to help solve by launching the site. Since then, independent sound libraries have absolutely exploded in popularity, and it’s been a thrilling ride ever since,” says A Sound Effect founder Asbjoern Andersen.

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A Sound Effect is also home to a popular blog, covering sound for games, film, and television. Recent indepth interviews have taken readers behind the sound for games such as Microsoft Flight Simulator 2020, Ghost of Tsushima, The Last of Us Part II and many more.

“The A Sound Effect blog celebrates the sound community on a global level, by sharing stories focused on the hard work and creative contributions of sound pros from the game, film, television, and digital media industries worldwide.

Additionally, we offer a supportive space to nurture professional growth, a place for sound pros to share tips, techniques, and advice to help others perfect their craft or explore new fields of sound,” says A Sound Effect contributing editor Jennifer Walden.

A PLACE FOR SOUND JOBS

In 2016, companion site soundlister. com was launched to help audio pros showcase their work, and to make it easier for companies to find worldwide audio talent for their projects. It currently features portfolios for over 2,500 audio professionals in 79 countries.

GAME AUDIO NETWORK GUILD • THE AUDIO SOURCE MAGAZINE • WINTER 2020 • ISSUE 02

T HE AUDIO SOUR C E MAGAZINE Soundlister.com site isn’t just for companies to help audio professionals find work, the site also runs weekly job recaps that typically highlight between 10-20 new audio openings – available via the shortcut audiojobs. org, in the weekly Audio Jobs newsletter, and - thanks to a brandnew collaboration - the job feed will soon be viewable on the Game Audio Network Guild website. Additionally, Soundlister runs the Audio Jobs group on Facebook, with more than 16,000 members.

“Over the years, we’ve shared a huge number of audio jobs on Soundlister, and it’s been exciting to see how this has made a tangible difference for a lot of people in the community.

Nothing beats the feeling when I get an email from someone who landed a job thanks to a post on Soundlister,” says Asbjoern Andersen.

A PLACE FOR SOUND EVENTS

To make it easier to find audio-related events around the world, the Audio Events calendar (audioevents.org) was launched on A Sound Effect in the summer of 2017, offering a calendar overview of Audio Events taking place around the world. To date, more than 800 events have been shared on the calendar, and new entries are being continuously added.

So for those who want the very latest in independent sound effects, new audio jobs, a place to showcase their audio skills, find audio pros for their projects, or list and find audio events, asoundeffect.com and soundlister. com are ready to help with exactly that.

ABOUT THE AUTHOR Asbjoern Andersen is the founder of A Sound Effect, the world’s largest site for independent sound effects, and is also the co-creator of Soundlister, featuring portfolios of thousands of audio professionals from around the world.

Along with his team, he also runs the Audio Jobs newsletter and Audio Jobs groups on Facebook and LinkedIn.

Find 1000’s of independent sound effects libraries here: asoundeffect.com/shop Find game audio blog posts here: asoundeffect.com/category/game-audio/ Find 2,500+ audio professionals here: soundlister.com Find 850+ audio events here: audioevents.org Find 1,000s of audio jobs heres: audiojobs.org

DECEMBER, 2020 • WWW.AUDIOGANG.ORG

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NEW BRONZE SPONSOR:

soundtrec

SHOTA NAKAMA CEO & COMPOSER

The Game Audio Network Guild is pleased to announce our newest Bronze Sponsor, soundtrec!

Soundtrec was founded by CEO, Music Director, and Producer Shota Nakama. Born in Okinawa, an island south of Japan, Shota’s mom was a stay at home mother and his father was a doctor. In middle school he decided to drop out which was looked down upon in Japan.

At the age of 15, he discovered many new bands that inspired him, such as Deep Purple, and he begged his mom for a guitar. After his uncle gifted him a guitar, Shota fell in love with the instrument instantly and knew from then on that music was going to be his passion. As Shota neared the end of his teenage years, he realized there wasn’t a music industry in Okinawa, unfortunately, so he decided his best option would be to acquire a GED and move to the United States.

When Shota arrived in the United States, he studied music at the Berklee College of Music and earned a degree in Film Scoring. The major was very versatile ranging from composing, sequencing, arranging, and more, which was beneficial for Shota looking to be a in-demand studio musician and arranger. During his last semester at the Berklee College of Music, Shota formed the Video Game Orchestra. The ensemble has gained international renown and has toured across the globe to places like China, Taiwan, and Brazil.

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With his new ensemble, Shota was encouraged by his colleagues and friends to try recording and production - coincidentally the first gig was recording choir for Tekken. The momentum from the Tekken choir success led him to an anonymous production project that ended up being Final Fantasy XIII. After the success of these first two projects, Shota received requests and clients for arranging, orchestration, recording, and mixing on AAA and indie games - this was the beginning of Soundtrec. It started out as a production service and grew into composing and custom music work.

Soundtrec has had a very large presence in Asia and is one of the most famous game audio companies in Malaysia. When asked what clients can expect from Soundtrec, Shota said, “We can do everything from composing to mastering. If you want great music, great sound recording, great mix, we can provide the whole thing for you. You can get the ‘western sound’ you have always dreamed of.”

Shota has history in live sound and tries to infuse that into Soundtrec work. “We always try to record live musicians, we humans are the ones that create music. I believe that.”

GAME AUDIO NETWORK GUILD • THE AUDIO SOURCE MAGAZINE • WINTER 2020 • ISSUE 02

T HE AUDIO SOUR C E MAGAZINE

We can do everything from composing to mastering. If you want great music, great sound recording, great mix, we can provide the whole thing for you.

You can get the ‘western sound’ you have always dreamed of.

– SHOTA NAKAMA Shota strongly believes we need to get rid of the division between Asia and the West because in terms of business, they are very separated between the two cultures. He would love to see more healthy competition and evolution of the music in games. He thinks a lot of companies are stuck in the mindset of certain sounds and that we need external help to break the shell. Shota believes he is one of the people who can make this happen.

“MY GOAL IS TO NARROW THE GAP BETWEEN ASIA AND THE WEST.” Soundtrec is credited on Final Fantasy XV, Final Fantasy XII: The Zodiac Age, Kingdom Hearts 2.5 HD ReMIX, Sonic Mania, Made in Abyss, Rising the Shield of Hero, and much more! Currently, Soundtrec is working on multiple projects including games, anime, and feature films.

— GABRIELLA CIARAMELLA & CODY MATTHEW JOHNSON

DECEMBER, 2020 • WWW.AUDIOGANG.ORG

GA M E AUDIO NETWOR K GUILD

NEW BRONZE SPONSOR:

soundsnap

Home to over 370,000 high-quality sound effects, Soundsnap is the number one online source for unlimited sound effects. Soundsnap’s sound effects are used by companies such as Konami, Zynga, Playstation & many more AAA game publishers, as well as thousands of indie creators. Our library is sourced from award-winning sound recordists and all files have been curated and checked for quality before inclusion in the library. Our curation never stops either, we have added over 90,000 new sound effects in the past 12 months with even more to come in 2021.

We’re delighted to join the Game Audio Network Guild as a sponsor.

We know how important sound is to the gaming experience and we believe that with your expert knowledge and our huge library you will always find the sound you need for your game.

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GAME AUDIO NETWORK GUILD • THE AUDIO SOURCE MAGAZINE • WINTER 2020 • ISSUE 02

T HE AUDIO SOUR C E MAGAZINE

MUSIC MARKETING Let’s Grow Your MI Retail Business Together LEARN MORE

DECEMBER, 2020 • WWW.AUDIOGANG.ORG

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NEW PATRON SPONSOR:

TOM SALTA MASTERCLASS SERIES “The Game Audio Network Guild has always been like a second family to me and I’m thrilled to have the opportunity to give back again to this amazing community and become involved as a sponsor!”

It’s hard to believe that it’s already been sixteen years since I won The 2004 Game Audio Network Guild Award for “Rookie of the Year!” I vividly remember my first GDC in 2002, the year the Game Audio Network Guild was founded.

Having come from a 17-year career in the music business, I immediately noticed there was something really special and different about these “game audio folks.” They all seemed part of a family and had a generous spirit and passion for what they did. I wanted in! I had no idea where to start and felt a bit overwhelmed wandering the halls feeling like an outsider in this new world, I immediately started making new friends. To this very day, I continue to make friends in the industry.

I think back to that feeling of uncertainty, fear and doubt that I had in my early days aspiring to “make it” as game composer. Back then there were virtually no educational resources that I could learn from and the only time I could hear directly from a successful game composer was at a conference like GDC. I’m glad to say that today things are much different.

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I believe every aspiring composer around the world should have an opportunity to follow their dreams, regardless of their location or circumstances, and learn directly from the working professionals they want to hear from.

It has always brought me a sense of joy and fulfillment anytime I speak to those who have a desire to learn from me, whether it be at universities, industry conferences or mentee visits. This new Masterclass Series will allow me to connect directly with anyone who has a desire to learn about the world of game music and music production. The concepts that people often ask me about aren’t covered very often in schools. I have based my content on the topics real-world composers want to learn. I will keep releasing the kind of relevant and up-to-date content that people want to see, whether it be about business, health and wellness, technology and much much more!

The Game Audio Network Guild has always been like a second family to me and I’m thrilled to have this opportunity to give back again to this amazing community and become involved as a sponsor!

GAME AUDIO NETWORK GUILD • THE AUDIO SOURCE MAGAZINE • WINTER 2020 • ISSUE 02

Thirty year professional music veteran Tom Salta, known for scoring some of the most iconic Video Games in history (including the Halo Series, PUBG, the Tom Clancy Series, Prince of Persia, Wolfenstein and many others) is bringing the culmination of his experience and expertise into this brand new Masterclass Series.

©KOJIMA PRODUCTIONS, SONY INTERACTIVE ENTERTAINMENT, 505 GAMES

For the first time, Tom is offering his knowledge from working in the Video Game industry in this unique educational series. Known for being a dynamic presenter and having spoken internationally at TEDx and numerous conferences and universities, Tom Salta’s masterclass series is a game-changer for any Composer interested in building a Video Game career of their own.

All active members of the Game Audio Network Guild will receive a $50 discount on “Game Audio Essentials” as well as more discounts on future courses in the Tom Salta Masterclass series.

Game Music Essentials

- Interactive Music* - Implementation and Adaptive Scoring* - The Creative Process part 1 - The Creative Process part 2 - The Business of Game Music *these sessions were aired during GameSoundCon 2020

PLUS, get a FREE Private Zoom call with Tom to critique your work!

You can sign up for a free account at MASTERCLASS.TOMSALTA.COM

DECEMBER, 2020 • WWW.AUDIOGANG.ORG

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GA M E AUDIO NETWOR K GUILD

19TH ANNUAL AWARD Submission Requirements:

Voting Guidelines:

— OF THE YEAR AUDIO OF THE YEAR The submission requirement for Audio of the Year is one game capture video, no more than 10 minutes in length, illustrating all elements of the audio (music, sound design, VO) within the context of the game.

Edits are encouraged to demonstrate various parts and aspects of the game, but refrain from marketing or trailer style quick edits. If linear cinematics or other non-gameplay elements are included, at least half of the video should contain game-play footage. Please do NOT include music soundtrack links with your submission.

Audio of the year is intended to award the year’s best overall game audio experience. All audio elements, including sound design, music, voice performance, plus their integration, mix, and context within the game are to be considered. All aspects of the game, from cinematics, all gameplay areas, to UI, should be represented. This category transcends game genre, aesthetic style, production budget, and platform.

Audio of the Year is awarded to the game title as a whole.

MUSIC OF THE YEAR The submission requirement for Music of the Year is one game capture video, no more than 10 minutes in length, featuring the music within the context of the game. Edits are encouraged to demonstrate various parts and aspects of the game, but refrain from marketing or trailer style quick edits. If linear cinematics or other non-gameplay elements are included, at least half of the video should contain game-play footage (unless there is no music during gameplay). Please do NOT include music soundtrack links with your submission.

Music of the Year is intended to award the year’s best overall game music experience. All aspects of the music are to be considered, including composition, arrangement, mix, adaptive scoring, integration, music supervision, musical direction, and context within the game. All aspects of the game, from cinematics, all gameplay areas, to UI, should be represented. Voters should NOT base their decision on the soundtrack or listening to the music outside the context of the game. This category transcends game genre, aesthetic style, production budget, and platform.

Music of the Year is awarded to the game title as a whole as well as the individual musical creatives.

SOUND DESIGN OF THE YEAR The submission requirement for Sound Design of the Year is one game capture video, no more than 10 minutes in length, featuring the sound design within the context of the game. Edits are encouraged to demonstrate various parts of the game, but refrain from marketing or trailer style quick edits. If linear cinematics or other non-gameplay elements are included, at least half of the video should contain gameplay footage.

Sound Design of the Year is intended to award the year’s best overall game sound design experience. All elements of the sound design are to be considered, including ambience, physical sounds, abstract sounds, foley recording, procedural, etc. plus their integration, mix, and context within the game. All aspects of the game, from cinematics, all gameplay areas, to UI, should be represented. This category transcends game genre, aesthetic style, production budget, and platform.

Sound Design of the Year is awarded to the game title as a whole.

DIALOGUE OF THE YEAR The submission requirement for Dialogue of the Year is one game capture video, no more than 10 minutes in length, featuring the game’s voice and dialogue within the context of the game. If cinematic content is used, at least half of the video must include gameplay that features dialogue (unless there is no dialogue during gameplay).

Dialogue of the Year is intended to award the year’s best overall experience of dialogue in games. The award takes all aspects of dialogue into consideration, including written script, individual performance, ensemble performance, direction, casting, recording, integration, and in-game dialogue systems. If there is dialogue in both cinematics and during user controlled gameplay, both should be considered. Context and effectiveness within the game experience is an important criteria.

Dialogue of the Year is awarded to the game title as a whole.

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T HE AUDIO SOUR C E MAGAZINE

D CATEGORIES Submission Requirements:

Voting Guidelines:

— FOR AN INDIE GAME BEST AUDIO FOR AN INDIE GAME The submission requirement for Best Audio for an Indie Game is one game capture video, no more than 10 minutes in length, illustrating all elements of the audio (music, sound design, VO) within the context of the game. Edits are encouraged to demonstrate various parts and aspects of the game, but refrain from marketing or trailer style quick edits. If linear cinematics or other non-gameplay elements are included, at least half of the video should contain game-play footage. Please do NOT include music soundtrack links with your submission.

Best Audio for an Indie Game is intended to award the year’s best overall game audio experience in a game produced by an indepedent game studio. All audio elements, including sound design, music, voice performance, plus their integration, mix, and context within the game are to be considered. All aspects of the game, from cinematics, all gameplay areas, to UI, should be represented.

The submission requirement for Best Music for an Indie Game is one game capture video, no more than 10 minutes in length, featuring the music within the context of the game. Edits are encouraged to demonstrate various parts and aspects of the game, but refrain from marketing or trailer style quick edits. If linear cinematics or other nongameplay elements are included, at least half of the video should contain game-play footage (unless there is no music during gameplay). Please do NOT include music soundtrack links with your submission.

Best Music for an Indie Game is intended to award the year’s best overall game music experience in a game produced by an indepedent game studio. All aspects of the music are to be considered, including composition, arrangement, mix, adaptive scoring, integration, music supervision, musical direction, and context within the game. All aspects of the game, from cinematics, all gameplay areas, to UI, should be represented. Voters should NOT base their decision on the soundtrack or listening to the music outside the context of the game.

Best Audio for an Indie Game is awarded to the game title as a whole.

BEST MUSIC FOR AN INDIE GAME

Best Music for an Indie Game is awarded to the game title as a whole as well as the individual musical creatives.

BEST SOUND DESIGN FOR AN INDIE GAME The submission requirement for Best Sound Design for an Indie Game is one game capture video, no more than 10 minutes in length, featuring the sound design within the context of the game. Edits are encouraged to demonstrate various parts of the game, but refrain from marketing or trailer style quick edits. If linear cinematics or other non-gameplay elements are included, at least half of the video should contain gameplay footage.

Best Sound Design for an Indie Game is intended to award the year’s best overall game sound design experience for a game produced by an independent game studio. All elements of the sound design are to be considered, including ambience, physical sounds, abstract sounds, foley recording, procedural, etc. plus their integration, mix, and context within the game. All aspects of the game, from cinematics, all gameplay areas, to UI, should be represented.

Best Sound Design for an Indie Game is awarded to the game title as a whole.

BEST DIALOGUE FOR AN INDIE GAME The submission requirement for Best Dialogue for an Indie Game is one game capture video, no more than 10 minutes in length, featuring the game’s voice and dialogue within the context of the game. If cinematic content is used, at least half of the video must include gameplay that features dialogue (unless there is no dialogue during gameplay.

This category is intended to award the year’s best overall experience of spoken performance or dialogue in a game produced by an independent game studio. The award takes all aspects of dialogue into consideration, including written script, individual performance, ensemble performance, direction, casting, recording, integration, and in-game dialogue systems.

If there is dialogue in both cinematics and during user controlled gameplay, both should be considered. Context and effectiveness within the game experience is an important criteria.

DECEMBER, 2020 • WWW.AUDIOGANG.ORG

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19TH ANNUAL AWARD Submission Requirements:

Voting Guidelines:

— MUSIC CREATIVE AND TECHNICAL ACHIEVEMENT IN MUSIC The submission requirement for Creative and Technical Achievement in Music includes a game capture video, no more than 4 minutes in length, that clearly demonstrates the adaptive music systems within the context of the game.

Annotating the video with high level descriptions of the techniques and methods used is encouraged. A brief write up (300 words max) describing the innovation, technology, and integration is required; this description should be in the text/comments section of the uploaded video.

Creative and Technical Achievement in Music is intended to award game music that pushes the creative and technical boundaries of what’s previously been done in this area. It considers both technical achievement AND its creative application within a game. This includes games that make innovative use of existing or third party technologies, as well as those introducing entirely new technologies. Areas of innovation can include, but are not limited to, adaptive/interactive scoring, surround/3D music, custom playlist curation, generative/algorithmic composition, etc. The creative combining of technologies is to be considered as well.

Creative and Technical Achievement in Music is awarded to the game title as a whole.

BEST MAIN THEME The submission requirement for Best Main Theme is a continuous recording of the piece of music. Only one submission per game will be accepted. Edits are dioscouraged and refrain from marketing or trailer style quick edits.

Please do NOT include linear cinematics, video, or music soundtrack links with your submission.

Best Main Theme is intended to award the year’s best thematic composition originating from a video game. Voters should be mindful to judge based on the overall excellence of the piece, considering all aspects including the strength of the composition, production, mix, and aesthetic in regards to its creative context within the game. There are no stylistic or ensemble limitations: orchestral and non-orchestral music should be judged equally considering the sound palette and style intended. (e.g. a major chord will sound awesome with a 100-piece orchestra but it doesn’t make it “better” than a smaller ensemble, rock or electronic style).

Best Main Theme is awarded to the individual musical creatives.

BEST ORIGINAL SONG The submission requirement for Best Original Song is a recording of the piece of music. Only one submission per game will be accepted. A song is defined as a structured song (e.g. verse, chorus, etc) sung by a vocalist with lyrics (in any language including made up languages). Edits are discouraged and refrain from marketing or trailer style quick edits. Please do NOT include linear cinematics, video, or music soundtrack links with your submission.

Best Original Song is intended to award the year’s best original song originating from and written explicitly for a video game. All aspects of the song including writing, composition, performance, production, mixing etc. are to be considered. The song recording is to be judged outside the context of the game, but how well it complements the game in general should be considered. A song here is defined as a composition of lyrics and music, often with a verse/chorus structure.

Best Original Song is awarded to the individual musical creatives.

BEST ORIGINAL SOUNDTRACK ALBUM The submission requirements for Best Original Soundtrack Album is a recording of the soundtrack. Provide a link to show that the soundtrack album is available publicly; you may optionally provide a link to a private upload of the soundtrack itself. The soundtrack must have been formally released (digitally or physically) during the calendar year with a published released date (as usually found in iTunes, Amazon, Google Play, Bandcamp stores). Only the first SKU release is eligible (i.e. the vinyl release came out 1 year after the digital, that counts as the 2nd SKU and wouldn’t be eligible).

This is for the original soundtrack, not a remix of the original musical content.

Best Original Soundtrack Album is intended to award the year’s best commercially released soundtrack of music from a video game. Voters should think of this as the ‘best music collection’ and judge based on how it stands on it’s own as a collection of music and/or a listening experience.

Best Original Soundtrack Album is awarded to the game title as a whole as well as the individual musical creatives and/or musical artist(s).

BEST GAME MUSIC COVER OR REMIX The submission requirement for Best Game Music Cover of Remix is a recording of the piece of music. Multiple tracks from the same release are discouraged. Games from any commercially available platform are eligible.

A cover is defined as a new performance or recording by someone other than the original artist or composer of a song. A remix is defined as a piece of media which has been altered or contorted from its original state by adding, removing, and changing pieces of the item. Edits are discouraged and refrain from marketing or trailer style quick edits. Please do NOT include video or entire album links with your submission.

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Best Game Music Cover or Remix is intended to award the year’s best cover song or remix of music and themes from a previously commercially released video game. Voters should consider the piece as an interpretive creative arrangement in comparison to the original version and should be mindful to judge based on the overall excellence of the piece, considering all aspects including the strength of the cover/remix, production, mix, and aesthetic without regard to context within the originating game title.

Best Game Music Cover or Remix is awarded to the individual musical creatives and/or musical artist(s).

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D CATEGORIES Submission Requirements:

Voting Guidelines:

— SOUND DESIGN CREATIVE AND TECHNICAL ACHIEVEMENT IN SOUND DESIGN The submission requirement for Creative and Technical Achievement in Sound Design includes a game capture video, no more than 4 minutes in length, that clearly demonstrates the sound design and implementation systems within the context of the game. Annotating the video with high level descriptions of the techniques and methods used is encouraged. A brief write up (300 words max) describing the innovation, technology, and integration is required; this description should be in the text/comments section of the uploaded video.

Creative and Technical Achievement in Sound Design is intended to award game sound design that pushes the creative and technical boundaries of what’s previously been done in this area. It considers both technical achievement AND its creative application within a game. This includes games that make innovative use of existing or third party technologies, as well as those introducing entirely new technologies. The creative combining of technologies is to be considered as well.

Creative and Technical Achievement in Sound Design is awarded to the game title as a whole.

BEST UI, REWARD, OR OBJECTIVE SOUND DESIGN The submission requirement for Best UI, Reward, or Objective Sound Design is one game capture video, no more than 10 minutes in length, featuring the sound design within the context of the game. Edits are encouraged to demonstrate various parts of the game, but refrain from marketing or trailer style quick edits. If linear cinematics or other non-gameplay elements are included, at least half of the video should contain game-play footage.

Best UI, Reward, or Objective Sound is intended to award the year’s best sound design experience for UI, Reward, or Objective for a video game. Only elements of the sound design to be considered are any and all aspects that include or involve UI, Rewards, or Objectives and their integration, mix, and context within the game.

Best UI, Reward, or Objective Sound Design is awarded to the game title as a whole.

BEST GAME FOLEY The submission requirement for Best Game Foley is one game capture video, no more than 10 minutes in length, featuring the sound design within the context of the game. Video content showing recording and foley performance process is optional. Edits are encouraged to demonstrate various parts of the game, but refrain from marketing or trailer style quick edits. If linear cinematics or other non-gameplay elements are included, at least half of the video should contain game-play footage.

Best Game Foley is intended to award the year’s best sound design foley experience for a video game. Only elements of the sound design to be considered are any and all aspects that include or involve foley recording and their integration, mix, and context within the game.

Best Game Foley is awarded to the game title as a whole.

— VOICE PERFORMANCE / DIALOGUE BEST VOICE PERFORMANCE The submission requirement for Best Voice Performance is one game capture video, no more than 10 minutes in length, featuring the game’s voice and dialogue within the context of the game. If cinematic content is used, at least half of the video must include gameplay that features dialogue (unless there is no dialogue during gameplay. Video content showing recording and foley performance process is optional.)

Best Voice Performance is intended to award the year’s best experience of a single cast member for dialogue in a game. The award takes dialogue aspects of individual performance, direction, and character embodiment into consideration within the context of the game. If there is dialogue in both cinematics and during user controlled gameplay, both should be considered.

Context and effectiveness within the game experience is an important criteria.

Best Voice Performance is awarded to the individual voice artist as well as the game as a whole.

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19TH ANNUAL AWARD Submission Requirements:

Voting Guidelines:

— VOICE PERFORMANCE / DIALOGUE (CONT.) BEST NON-HUMANOID PERFORMANCE The submission requirement for Best Non-Humanoid Performance is one game capture video, no more than 10 minutes in length, featuring the game’s voice and dialogue within the context of the game. If cinematic content is used, at least half of the video must include gameplay that features dialogue (unless there is no dialogue during gameplay). Video content showing recording and foley performance process is optional.

Best Non-Humanoid Performance is intended to award the year’s best experience of a obscure, non-humoid, and/or create-like voice performance in a game. The award takes voice aspects of individual performance, direction, and character embodiment into consideration within the context of the game. If there is voice performance in both cinematics and during user controlled gameplay, both should be considered. Context and effectiveness within the game experience is an important criteria.

Best Non-Humanoid Performance is awarded to the game as a whole.

BEST ENSEMBLE CAST PERFORMANCE The submission requirement for Best Ensemble Cast Performance is one game capture video, no more than 10 minutes in length, featuring the game’s voice and dialogue within the context of the game. If cinematic content is used, at least half of the video must include gameplay that features dialogue (unless there is no dialogue during gameplay. Video content showing recording and foley performance process is optional.

Best Ensemble Cast Performance is intended to award the year’s best experience of an ensemble cast for dialogue in a game. The award takes dialogue aspects of ensemble performance, direction, character embodiment, and chemistry of character interaction into consideration within the context of the game. If there is dialogue in both cinematics and during user controlled gameplay, both should be considered. Context and effectiveness of inter-character chemistry and interactive within the game experience is an important criteria.

Best Ensemble Cast Performance is awarded to the game as a whole.

— AUDIO BEST AUDIO FOR A CASUAL OR SOCIAL GAME The submission requirement for Best Audio for a Casual or Social Game is one game capture video, no more than 10 minutes in length, illustrating all elements of the audio (music, sound design, VO) within the context of the game. Edits are encouraged to demonstrate various parts and aspects of the game, but refrain from marketing or trailer style quick edits. If linear cinematics or other non-gameplay elements are included, at least half of the video should contain game-play footage). Please do NOT include music soundtrack links with your submission.

Best Audio for a Casual or Social Game is intended to award the year’s best overall game audio experience in a casual or social game. All audio elements, including sound design, music, voice performance, plus their integration, mix, and context within the game are to be considered. All aspects of the game, from cinematics, all gameplay areas, to UI, should be represented.

Casual or social game categories are only for game titles that embody all or a combination of simpler rules, shorter sessions, less learned skill than long-form games, and/or require social interaction between players as a core game experience. This category transcends game genre, aesthetic style, production budget, and platform.

Best Audio for a Casual of Social Game is awarded to the game title as a whole.

BEST CINEMATIC & CUTSCENE AUDIO The submission requirement for Best Cinematic & Cutscene Audio is one game capture video, no more than 10 minutes in length, showing only linear cutscene footage (pre-rendered video and/or real-time rendered video capture). Included cinematic clips must be part of the game story/experience.

Game trailer footage is not eligible.

Best Cinematic & Cutscene Audio is intended to award the year’s best cinematic & cutscene audio, which is defined as linear game-controlled story elements that have little to no player interaction. All audio elements, including sound design, music, voice, and mix are to be considered. The overall effectiveness of how these elements work together, how they support the narrative, and how they complement the visuals, should also be considered.

Best Cinematic & Cutscene Audio is awarded to the game title as a whole.

BEST AUDIO MIX The submission requirement for Best Audio Mix a game capture video, no more than 6 minutes in length, that represents the overall audio experience and mix. Please note that the 5 final nominees for this category will be required to supply a copy or the game or code so that the game can be played by the judging panel.

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A special judging panel will be created to look at and curate submissions, as well as select the winner. This panel should include those that have experience mixing or directing audio for non-linear and linear media.

Best Audio Mix is awarded to the game title as a whole.

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D CATEGORIES Submission Requirements:

Voting Guidelines:

— AUDIO (CONT.) BEST VR AUDIO Submissions for Best VR Audio may be from the entire VR, MR, or AR spectrum on any commercially available hardware or LBE and require a game capture video that is no more than 6 minutes in length. This video should represent the general audio experience as best as possible, across the various areas of gameplay. Please note that the 5 final nominees for this category will be required to supply a copy or the game or code so that the game can be played by the judging panel.

A special judging panel will be created to look at and curate submissions, as well as select the winner. This panel will include those that have some experience with VR and 3D audio, representing sound, music, and voice.

Best VR Audio is awarded to the game title as a whole.

BEST NEW ORIGINAL IP AUDIO The submission requirement for Best New Original IP Audio is one game capture video, no more than 10 minutes in length, illustrating all elements of the audio (music, sound design, VO) within the context of the game. Edits are encouraged to demonstrate various parts and aspects of the game, but refrain from marketing or trailer style quick edits. If linear cinematics or other non-gameplay elements are included, at least half of the video should contain game-play footage. Please do NOT include music soundtrack links with your submission.

Best New Original IP Audio is intended to award the year’s best overall game audio experience to a new IP or original game title that is not a sequel, part of a series, or part of an anthology of any kind. All audio elements, including sound design, music, voice performance, plus their integration, mix, and context within the game are to be considered. All aspects of the game, from cinematics, all gameplay areas, to UI, should be represented. This category transcends game genre, aesthetic style, production budget, and platform.

Best New Original IP Audio is awarded to the game title as a whole.

EXCELLENCE IN AUDIO ACCESSIBILITY The submission requirement for Excellence in Audio Accessibility is one game capture video, no more than 10 minutes in length, illustrating all elements of the audio (music, sound design, VO) that support and convey gameplay information. Edits are encouraged to demonstrate various parts and aspects of the game, specifically in how audio is used to assist gameplay and how any audio accessibility features are utilized, but refrain from marketing or trailer style quick edits.

Please add timestamps and descriptions of what is being demonstrated at that time in the video description. Please do NOT include any non-linear footage in the submission (all footage must be of actual gameplay). Please do NOT include music soundtrack links with your submission.

A special judging panel will be created to look at and curate submissions, as well as select the winner. Excellence in Audio Accessibility is intended to award the year’s best example of auditory feedback to assist and compliment gameplay. All audio elements, including sound design, music, and voice performance, plus their integration, mix, ability to convey gameplay information, and ability to allow access through audio are to be considered.

This category transcends game genre, aesthetic style, production budget, and platform.

Excellence in Audio Accessibility is awarded to the game title as a whole.

— TECH / OTHER BEST GAME AUDIO ARTICLE OR PUBLICATION Best Game Audio Article or Publication is intended to reward a standout achievement in game audio writing, scholarship, or journalism. Eligible mediums include books, blog series, academic writing, and game audio articles. If a long running series has won in a previous year, it will get lower consideration in subsequent years.

A special judging panel will be created to look at and curate submissions, as well as select the winner. This panel should include those that have published writings about game audio, include people from game audio education and academia.

Best Game Audio Article or Publication is awarded to the individual contributors.

BEST GAME AUDIO PRESENTATION, PODCAST, OR BROADCAST Best Game Audio Presentation, Podcast, or Broadcast is intended to reward a standout achievement in game audio reporting, discussion, workshops, and audio journalism. Eligible mediums include audio blogs, documentaries, video blog series, podcast series, presentations and other spoken or recorded game audio journalism, dicussion, reporting, or workshops (with or without visual presentation). If a long running series has won in a previous year, it should get lower consideration in subsequent years.

A special judging panel will be created to look at and curate submissions, as well as select the winner. This panel should include those that have published writings about game audio, include people from game audio education and academia.

Best Game Audio Presentation, Podcast, or Broadcast is awarded to the individual contributors.

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19TH ANNUAL AWARD Submission Requirements:

Voting Guidelines:

— TECH / OTHER (CONT.) BEST GAME TRAILER AUDIO The submission requirement for Best Game Trailer Audio is one video containing one trailer, no longer than 6 minutes, showcasing all disciplines of the audio (music, sound design, voice, mix) within the context of the game. Please do NOT include music soundtrack links with your submission. A YouTube link is acceptable for this category.

Best Game Trailer Audio is intended to award the year’s best overall video game trailer audio experience. All audio elements, including sound design, music, voice performance, mix, and context to the game’s overal asethetic are to be considered. This category transcends game genre, aesthetic style, production budget, and platform.

Best Game Trailer Audio is awarded to the game title as a whole.

BEST PHYSICAL SOUNDTRACK RELEASE The submission requirements for Best Physical Soundtrack Release is a visual lookbook of the physical release that showcases the design, visual and creative aesthetic, creative use of medium, and context of the music and game title. Provide a link to show that the soundtrack album is available publicly for purchase (or proof if it is sold out). The soundtrack must have been formally released (digitally or physically) during the calendar year with a published released date. Please note that the 5 final nominees for this category will be required to supply a copy of the release to the awards committee to validate and confirm accuracy of all submitted visuals.

Original, newly released soundtracks of a previously released game (if the physical soundtrack was released during the eligibility period but the game was released in a previous year), and re-releases/re-masters with significant changes to design aesthetic and/or additional musical content (e.g. a ”deluxe” release) will be considered. Best Physical Soundtrack Release is not limited to the first SKU release.

Best Physical Soundtrack Release is intended to award the year’s best commercially released soundtrack of music from a video game. Voters should only judge based on how it stands as a packaged product visually representing the musical source material and game title. Voters should consider the release on design, visual and creative aesthetic, creative use of medium, and context of the music and game title.

Best Physical Soundtrack Release is awarded to the game title as a whole as well as the label, publisher, individual musical creatives, and/or musical artist(s).

BEST VIDEO GAME AUDIO TECHNOLOGY The Submission for Best Video Game Audio Technology should include a link to the product page and a description of what innovation(s) make this technology worthy of submission. Note that technologies must be publicily available; a proprietary ‘in house’ tool or technology is not eligible.

A special judging panel will be created to look at and curate submissions, as well as select the winner. The Best Video Game Audio Technlogy award recognizes a substantial, unique or innovative technology that has a direct impact in game music, sound design or dialogue. This category is not necessarily limited to technologies that run “in the game.”

— AWARDS DESIGNATED BY THE ORGANIZATION GAME AUDIO NETWORK GUILD & MAGFEST PEOPLE’S CHOICE AWARD RECOGNITION AWARD DISTINGUISHED SERVICE AWARD BREAKOUT TALENT AWARD LIFETIME ACHIEVEMENT AWARD GAME AUDIO EDUCATOR AWARD AMBASSADOR AWARD 62

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D CATEGORIES

VIEW PAST WINNERS ONLINE SEE COMPLETE VOTING GUIDELINES, SUBMISSION REQUIREMENTS, AND SUBMIT FOR CONSIDERATION ONLINE

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MANY THANKS TO DIAMOND

GOLD

PATRON

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OUR GENEROUS SPONSORS PLATINUM

BRONZE

SILVER

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AUDIO OF

HALL OF

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Death Stranding — Kojima Productions

2020

God of War — SIE Santa Monica Studio

2019

Cuphead — StudioMDHR

2018

Uncharted 4: A Thief’s End — Naughty Dog

2017

Ori and the Blind Forest — Moon Studios

2016

Call of Duty: Advanced Warfare — Sledgehammer Games

2015

The Last of Us — Naughty Dog

2014

Diablo III — Blizzard Entertainment

2013

Battlefield 3 — DICE

2012

©KOJIMA PRODUCTIONS, SONY INTERACTIVE ENTERTAINMENT, 505 GAMES

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THE YEAR

F FAME 2011

Red Dead Redemption — Rockstar Games

2010

Uncharted 2: Among Thieves — Naughty Dog

2009

Dead Space — EA Redwood Shoes

2008

Bioshock — 2K Games, 2K Boston

2007

Gears of War — Epic Games, The Coalition

2006

God of War — SIE Santa Monica Studio

2005

Halo 2 — Bungie

2004

Call of Duty — Infinity Ward

2003

Hitman 2: Silent Assassin — IO Interactive

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