Issue link: https://digital.copcomm.com/i/1521235
14 M PS E . O R G Dear MPSE Members, I'm happy to share the direction planned for this game audio column. The world of video game audio is incredibly vast and evolving, and we're looking to widen our perspective in our exploration. I hope this inspires you to join the conversation and share your unique insights and expertise. Together, we will uncover new ideas and deepen our understanding of game audio, making this column a collective endeavor that resonates with, and educates, our sound community. In the upcoming editions, we will feature a series of interviews with some of the leading (including but not limited to) sound designers, dialogue designers, Foley artists, Foley editors, technical sound designers, audio implementers, audio artists, and audio directors in the gaming industry. These conversations are intended to uncover the depth of their creative work, giving our readers a glimpse at the methods and approaches used by these professionals. We'll explore some of their processes and learn about their vision for the future of game audio. There is no doubt this will be an invaluable resource, providing a unique chance to learn directly from the pioneers shaping the sound of modern gaming. Their stories and experiences will surely inspire and educate us, enriching our ongoing discussions in game audio. Additionally, we're eager to explore some of the technological advancements in game audio. We'll be looking at cutting- edge software, middleware, and sound Game Audio Update Coming Attractions design tools that are leading the way in innovation and creativity. For instance, Snapheap and Phaseplant by Kilohearts provide modular environments that are perfect for crafting complex effects chains and synthesizing sounds in fresh, exciting ways. Reaper, which is incredibly customizable and when paired with scripts like nvk.tools, boosts workflow efficiency and provides powerful solutions tailored specifically for sound designers working in the gaming industry. We'll check out iZotope RX, my personal favorite, which is renowned for its exceptional audio repair capabilities. I use it daily for all my AAA dialogue editorial and mastering workâit's indispensable for cleaning and polishing game dialogue to meet the demanding standards of today's games. The ARA 2 technology (Celemony) to integrate the iZotope RX Spectral Editor directly into Avid Pro Tools will be very exciting. This will allow users to be able to clean up audio without having to send from Pro Tools to RX via RX Connect plug-in, to then bring the cleaned audio back into Pro Tools from RX. I am a Pro Tools user (since 1999), so these developments are very exciting for me. These discussions will not only showcase how these tools are applied but will also explore the possibilities they can open for us all creatively, giving us a glimpse into the future of sound in gaming. Covering popular tools and emerging technologies promises to be an exciting part of this column, sure to enlighten even the most experienced audio professionals and enthusiasts. As VR and AR technologies continue to push the boundaries of what's possible, we're keen to examine their unique audio challenges and creative opportunities. We hope to bring light to specific projects and technologies that are leading the way in engaging audio experiences. VR and AR offer a huge potential for innovative audio. For example, augmented reality can overlay sounds onto the real world, enriching tasks or transforming educational experiences by providing contextual auditory information. In VR, sound is integral to the narrative and gameplay, guiding players and enriching the immersive experience. Technologies from companies like Oculus/Meta and Valve have significantly advanced VR headsets' spatial audio capabilities, focusing on simulating realistic acoustics. Additionally, emerging startups are enhancing the sensory experience by integrating haptic feedback, allowing users to 'feel' the sounds, such as explosions or rainfall! As VR and AR evolve, so does the role of sound editing and design, creating more dynamic, engaging, creative, and realistic audio environments that are critical to the success of these technologies. If these topics spark your interest, or if you have ideas you'd like to see featured, please reach out to me at Garrett.Montgomery@mpse.org Let's work together to shape a column that inspires and informs! Looking forward to this journey with all of you. Warm regards, Garrett Montgomery MPSE Game Audio Committee Chairman GA M E AU D I O There is no doubt this will be an invaluable resource, providing a unique chance to learn directly from the pioneers shaping the sound of modern gaming.