Nothing ruins a good game faster than annoying music or inferior sound effects. Our Audio Track is a day long conference on Thursday 11 July for anyone involved in sound or music and video games. Audio professionals can expect to be inspired by the latest techniques and trends, plus hear from peers and experts who will share their own experiences and knowledge on all things sound related.
Audio director and writer, Rob Bridgett, draws on two decades of creating pioneering AAA game audio to reflect on what constitutes a balanced approach to making sound and music for videogames. In an ever-changing and inconsistent world, what grounds game audio practitioners to make them most effective within a fast moving, multi-disciplinary team environment as collaborative game developers as well as experts in their specialism?
In this keynote, Rob will discuss useful lenses which can be applied at almost every scale of comprehension of what it is we do and how it is we can achieve the critical quality of balance – understanding ourselves, our team, what we’re making, and most importantly, understanding the audience we are creating games for.
Sea Of Thieves’ Audio Director, Jon Vincent, discusses the value of sound designers taking much more tech control and going deeper into creating complex replay systems for themselves, citing examples of his own audio team’s voyages into scripting and logic control, as well as his personal code learning experiences. Katie Tarrant will join him to show some of the practical outcomes arising from these initiatives, demonstrating some key audio systems from their latest piratical project which show just what hidden treasure awaits the technically adventurous sound designer.
In recent years, Frontier Developments have focussed on large sandbox titles (Elite: Dangerous) and park builders (Planet Coaster and Jurassic World: Evolution). Such titles present key challenges for music system design including extensive play times not to mention free-moving cameras and a wide dynamic range.
Frontier audio team members discuss their golden rules for ‘emergent’ music system design - when to consider them, and when to break them - to keep music from becoming repetitive, jarring or in contention with the rest of the mix. Expect practical examples and tips on how to construct and maintain these systems, integrating music in a way that’s meaningful, reduces listener fatigue, and retains the quality and intended musical arc of the soundtrack.
Find out how building emergent music systems can improve flow within your game providing interactivity and freshness over vast hours of gameplay without sacrificing musical depth and complexity.
How do you get licensed music into your game? Who should you approach and why? What are the rights issues and costs involved?
After our two leading experts explain the commercial parameters, key contractual components and practicalities/planning considerations surrounding basic music licensing, they will outline some interesting and intriguing creative opportunities and benefits that can arise when a signed music artist also gets involved in the original game score, citing recent examples from their own projects to explore the potential added value such collaborations can provide to videogames and VR.
Renowned sound design expert Scott Gershin discusses how emotive sound design can go so far beyond a literal audio description of visuals, providing deeper meaning and subtle sub-texts which enrich the player’s gameplay experience. Citing several examples from his own projects he will discuss ways in which audio can better enhance gameplay and story-telling, creating a more immersive experience both emotionally and strategically.
In keeping with Develop Conference tradition, John Broomhall is joined by a panel of esteemed colleagues and friends for an inclusive town hall style discussion with conference delegates about the current state-of-the-art of music, sound and dialogue for games and what the future holds for game audio business, technology and creativity.
Immerse yourself into the sounds of Anthem. From high-flying Javelin manoeuvring, epic four-player battles, unique and driving soundtracks, massive otherworldly creatures, to the exotic serenity of Bastion’s wilds. Live Service Audio Director, Eric Vervaet, and Audio Technology Supervisor, Cody Behiel will guide you through the many successes and few stumbling points along the way of BioWare’s latest release, sharing their approach to design and problem-solving plus lessons learned. Dive behind the scenes as they walk through the content, processes, and implementations that have brought the world of Anthem to life.
How do you go from hearing two soldiers in combat to two thousand, all within a quick scroll of the mouse wheel? Creative Assembly’s Total War Sound Designers will outline the systems and design strategies employed to tackle the unique challenges of creating sound for real-time strategy battles on a massive scale. Accounting for close-up detail with hundreds of different soldier and weapon types, war machines, creatures and magic spells, while at the same time ensuring a coherent and compelling soundscape for wide strategic perspectives, and everything in between. You’ll hear about how we create crowd and foley sounds that scale, and about our efforts to achieve clarity and readability in the mix, and to provide focus according to gameplay context.
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Mike Bithell Games
Develop:Brighton’s a great conference. It’s got a spread of people from all parts of the games industry talking about such a wide range of topics.
I’ve been to every single Develop in the last 12 years. One thing you get here is networking - you will meet the most amazing individuals in the video games industry.
There really is a huge mix of people at Develop - loads of peers that you can learn from and the perfect blend of every element of game development as well.
There are many ways you can be part of Develop:Brighton 2020 - including speaking in the conference, taking a booth in the Expo or becoming a sponsor.Find out more