Issue link: https://digital.copcomm.com/i/1546054
M OT I O N P I CTU R E S O U N D E D I TO R S 61 25 or 30 years ago. You also now have indie, AA, and AAA as distinct tiers, each with different scales, timelines, and budgets. That's a function of the industry maturing and significant money coming into the space. When I started, games were still somewhat niche. Then consoles arrived, the console wars happened, and large- scale commercial pressure reshaped everything. As a professional, you have to understand that you're working within a business—and the goal is to bring delight to the player. We actually have tools now to measure that, which is remarkable. You don't have to wait for a Metacritic score; you can test for player delight along the way. My own role has shifted depending on the project. I've been deeply in the weeds building interactive systems and writing music on small teams, and I've operated at a higher level on larger ones. The size and scope of the project determines where you need to be. EM: If someone came to you interviewing for a role and was firmly attached to a DAW from a few years ago and unwilling to learn anything new, what would you tell them? BA: The DAW itself matters less than it used to. Early on, Pro Tools was the expectation. Now we have people on our team using both Pro Tools and Reaper, and we don't favor either one. If sessions can be shared, the tool is secondary. But middleware is a different story. If someone isn't willing to learn the middleware we use, or has no interest in learning a new engine, they don't get past the first round. Curiosity and a willingness to learn are non-negotiable— you should also do your homework before the interview. Know what the studio is using, know what they're working on. If you show up unprepared or resistant to learning new technology, this is probably not the right industry for you. It's always been about learning new tools, and I expect that to continue for a long time. EM: Some of your credits list you as executive producer. What did that title mean in the context of game audio? BA: Those credits are from an era when titles in gaming were not standardized. At Soundelux Design Music Group, where I was general manager, "executive producer" meant the person responsible for the budget, contracts, and overall delivery. It wasn't the same as what that title means today in games or in film. If I were going back and relabeling, I'd probably choose "studio manager" or "business manager." It's a reflection of how young and undefined the industry was—roles existed before there were clear names for them. Film has had decades longer to establish its vocabulary; games are still catching up in some areas. EM: Looking back, are there moments that taught you lasting lessons? BA: Early in my time at Microsoft—within my first four years—I went snowboarding one weekend and broke my right wrist. I'm right-handed. I came back to work with several projects on my plate, including as the lead on one or two of them, and I simply could not do the work. Debbie Gonzalez, Scott Gershin, and Becky Allen at GDC. Becky Allen, Scott Gershin, Kristen Quinn and Kristofor Mellroth at the 58th Annual MPSE Golden Reel Awards (2011).