Nothing ruins a good game faster than annoying music or inferior sound effects. Our Audio Track, curated by John Broomhall, is 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 sessions

Welcome to Audio Day

Thursday 28th October: 10.00 - 10.15 :

Procedural Foley for a Cinematic Sound

Thursday 28th October: 10.15 - 11.00 :

The award winning audio team at Supermassive Games present a detailed look at how their complex procedural foley systems have developed to bring a cinematic sound to their games. For their narrative cinematic games, characters are key and Foley is vital to making characters believable, connecting them to the environment, adding emotion and uniqueness while being robust enough to handle a wide variety of movements in the varied mocap performances.

3D Audio in Games: What, Where, Why and How?

Thursday 28th October: 11.15 - 12.00 :

3D audio provides the player with a new dimension for listening, increased localisation, and unparalleled sonic immersion. It is one of the leading features that separates the current generation’s gaming experience to previous generations.  

However, the shift away from traditional channel-based rendering requires the addition of 3D Audio objects and Ambisonic tooling to developers’ workflows. For 3D Audio to be effective, it is important to understand what is happening throughout the audio chain and how to exploit these new tools. 

This talk will give you a bottom-up understanding of what 3D audio is, from state-of-the-art research to implementation.  

Focussing on the practical application of tooling within general audio mixing and specifically within a game environment, we will discuss how to combine approaches to achieve a desired effect.  

Finally, we will share some of our best practices and tips for the use of 3D audio on the PS5. 

Dialogue Performance and Design for Creatures, Monsters and Demons

Thursday 28th October: 12.15 - 13.00 :

Respected UK-based developer Creative Assembly retains a seven-strong team to handle casting, recording, directing and post-production of voice talent. In this session, Principal Dialogue Engineer, Will Tidman, will outline their processes for getting creatively inspired dialogue into noted title Total War: Warhammer. 

He'll discuss the use of game design mechanics, performance characterization and audio processing techniques to create the voices required whilst remaining true to Warhammer lore and forging a distinct identity for each faction – plus maintaining variety and individual identity within a faction where there are multiple characters of the same type. 

Using real-world case studies, he’ll talk through the full pipeline from initial design ideas to collaboration with the design team, and R&D, casting, recording, post production and implementation. 

Subtlety & Nuance: A Foley Masterclass & Live Demonstration

Thursday 28th October: 14.00 - 14.45 :

The multi-award nominated Foley team from Molinare come together to discuss their work and how to 'think in Foley'. Underscoring the importance and value of bespoke foley, they will share expert insights as they demonstrate some artistic performance techniques to help you understand how to create believable, subtle and nuanced results when tackling such foundational foley areas as footsteps, cloth and equipment yourself.

The 3 Best and Worst Technical Audio Systems from The Ascent

Thursday 28th October: 15.00 - 15.45 :

Take a close look at the best (and worst) UE4-based technical audio systems from The Ascent; a 4 player multi-platform, online co-op, twin-stick RPG shooter set in a lush open-world cyberpunk city. Representing the Sweet Justice Sound team, Environmental Audio Lead, Joe Thom and Senior Technical Sound Designer, John Tennant give a tour of the Unreal Engine 4 blueprint systems that pulled the audio together for this remarkably data-driven game. Covering topics like gameplay tag-based weapons logic, data-driven civilian walla, 100% customizable player foley system, Ak Component optimization schemes (ones that failed and ones that worked!), server/client replication hacks and whatever else they can fit in! It’s an all-you-can-eat technical audio buffet so Joe and John invite you to bring your spoon and learn the same lessons they learned but without all the pain. See what worked and what didn’t - what they found surprisingly hard and what was surprisingly easy. 

How to Manage an Epic Intergalactic Music Project Remotely (in a global pandemic)

Thursday 28th October: 16.00 - 16.45 :

Marvel’s Guardians of the Galaxy is a high-profile, high-stakes, premium-quality videogame music project. Entrusted with creating an original score for the beloved franchise was renowned composer, Richard Jacques. In a candid session, he, along with Senior Audio Director Steve Szczepkowski (Eidos Montreal via video link),  will discuss takeaways and carry-overs to the ‘new normal’ drawn from working together on a AAA game score whilst based on different sides of the planet during a worldwide health crisis.  They’ll discuss the nuts and bolts of collaborative music design, effective scheduling, composer team requirements, remote recording during lockdown and delivery, management, implementation, and testing of vast amounts of music assets, as well as exploring the character and tenets of audio director/lead audio/composer relationships that lead to successful outcomes throughout project and pandemic pressures.

Behind the Split Screen Sound of It Takes Two: A Story About CO-LA-BO-RA-TION

Thursday 28th October: 17.00 - 17.45 :

This session tells the story behind the sound design of Hazelight’s intriguing and entertaining title, It Takes Two - and in particular, the challenges of audio for split screen gameplay. Anne-Sophie and Philip will discuss the iterations they experienced whilst experimenting and applying solutions in order to achieve a compelling high quality audio experience. They will explain how they learned to manage spatialized sounds in relation to each player’s screen space, maintain mix clarity across different gameplay types, and create a strong sense of immersion within the context of a split screen game - as well as outlining how continuous collaboration between the creative designers and technical designers was vital to successfully pushing the limits of the genre and setting new standards.

Open Mic 2021

Thursday 28th October: 17.45 - 18.30 :

In keeping with Develop Conference tradition, our panel of game audio experts limber up 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.

Host: Richard Jacques, Composer

Calling all wannabe speakers!

Develop:Brighton brings together the game dev community to share ideas, learn and be inspired by each other. So if you have an idea for a conference session we'd love to hear it. Hurry - the deadline for submissions is 25 Feb!

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