作者：Wilbert Roget (Composer, Music Supervisor, RogetMusic)
In the transition from Helldivers 1 to Helldivers 2, audiovisuals became more realistic, and gameplay more close-up, visceral, and cinematic. We needed to evolve the musical score as well, adding a sense of gritty realism while maintaining the satirical jingoistic tone of the first game. This presentation will discuss the creative approach and mindset, as well as the specific music composition and production techniques I used to achieve this evolution in the context of each faction within the game.
在从《地狱潜者1》过渡到《地狱潜者2》的过程中，视听效果变得更加真实， gameplay（游戏玩法）也更加贴近、具有冲击力且更具电影感。我们也需要进化音乐配乐，增加一种粗糙的真实感，同时保持初代游戏中讽刺的沙文主义风格。此次展示将讨论创造性的方法和思维模式，以及我用来在游戏中的每个阵营背景下实现这一进化的具体音乐编曲和制作技术。
链接：https://schedule.gdconf.com/session/a-matter-of-perspective-mixing-sound-in-split-fiction/906792
作者：Joakim Enigk Sjoberg (Senior Technical Sound Designer, Hazelight Studios)、Philip Eriksson (Audio Director, Hazelight)
How do you use audio to make sense of two stories unfolding simultaneously? Join in on an intimate lecture where Philip Eriksson and Joakim Enigk Sjöberg outlines how the Hazelight audio team worked their way towards their answer to this very question as they went on the creative journey to build their new coop adventure in Split Fiction. In true Hazelight split screen fashion, this title pushed the team in new directions to mixing sound, which forced changes to technical processes as well as challenging old philosophies in design. Throughout this presentation we'll learn about the individual parts that make up the unique mix of Split Fiction, how the team worked to sustain player connection to ever-changing gameplay and how tech and creative choices came together in an experience that both hits hard and leaves an impression.
如何通过音频理解两个同时展开的故事？加入一场私密的讲座，Philip Eriksson和Joakim Enigk Sjöberg将介绍Hazelight音频团队是如何在创作过程中寻找这个问题的答案，他们致力于构建新的合作冒险游戏《Split Fiction》。遵循Hazelight分屏游戏的传统风格，这款游戏推动了团队在声音混合方面走向新的方向，这迫使他们改变了技术流程，并挑战了旧的设计理念。在此次展示中，我们将了解构成《Split Fiction》独特混合效果的各个部分，团队如何努力保持玩家与不断变化的游戏玩法之间的联系，以及技术和创意选择是如何结合在一起，创造出既震撼又令人难忘的游戏体验。
链接：https://schedule.gdconf.com/session/a-score-for-wizardry-world-building-through-music/906748
作者：Winifred Phillips (Composer, Generations Productions LLC)
This session will explore the creative process behind composer Winifred Phillips’ Grammy-nominated musical score for the video game Wizardry: Proving Grounds of the Mad Overlord. Released in May 2024 by Digital Eclipse, the Wizardry: Proving Grounds of the Mad Overlord video game is a remake of the 1981 game that inspired franchises like Baldur’s Gate, Dragon Quest, and Final Fantasy. The original game had no musical score, so Phillips created new music that remained faithful to the 44-year-old game. In addition to her Grammy nomination, Phillips has also won the Telly Award, two Gold NYX Game Awards, and a Global Music Award for the Wizardry score. For this project, Phillips researched Medieval and Renaissance music, both style and instrumentation. Introducing orchestral anxiety into the music of the dungeon maze helped to keep things apprehensive. Combat music in Wizardry consisted of unnerving chromaticism, gestural flourishes and broad thematic statements reinforcing the epic stakes. By combining historical research with orchestral momentum, Phillips' Grammy-nominated music for Wizardry built a culturally rich fantasy world while paying tribute to the spirit of the classic game.
本场会议将探讨作曲家温妮弗雷德·菲利普斯为视频游戏《巫术：疯狂领主的试炼之地》所创作的获格莱美提名的音乐配乐背后的创意过程。由Digital Eclipse于2024年5月发行的《巫术：疯狂领主的试炼之地》是一款对1981年的原版游戏的重制版，该原版游戏启发了诸如《博德之门》、《勇者斗恶龙》和《最终幻想》等知名系列。由于原版游戏没有音乐配乐，菲利普斯创作了新的音乐，以忠于这款已有44年历史的游戏。除了获得格莱美提名外，菲利普斯还因《巫术》的配乐赢得了泰利奖、两个黄金纽约国际游戏奖以及一个全球音乐奖。在这个项目中，菲利普斯研究了中世纪和文艺复兴时期的音乐，包括风格和乐器。在地牢迷宫的音乐中引入管弦乐的焦虑感有助于保持紧张氛围。《巫术》中的战斗音乐包含令人不安的半音阶旋律、手势性装饰音符以及宏大的主题陈述，强化了史诗级的紧张局势。通过结合历史研究与管弦乐的动力，菲利普斯为《巫术》创作的获格莱美提名的音乐构建了一个文化丰富的奇幻世界，同时向经典游戏的精神致敬。
链接：https://schedule.gdconf.com/session/alan-wake-2-audio-systems-in-a-game-of-two-halves/907718
作者：Joshua Bell (Senior Technical Audio Designer, Remedy Entertainment)、Gulli Gunnarsson (Senior Audio Designer, Remedy Entertainment)
Alan Wake 2 represents a highly anticipated addition to Remedy's expansive universe, marking the developer's first venture into the Survival Horror genre.From the chilling terror experienced in Wake's surreal and foreboding alternate dimension, the Dark Place, to the captivating mystery of Saga, navigating the eerie and nostalgic primordial forests of the Pacific Northwest, the audio team held nothing back to ensure that players truly feel they are in the character's shoes. The team collaborated closely to create audio-driven systems and compelling sound design and invested in innovative technologies to craft impactful soundscapes that propel the narrative.The speakers will take you through the approach, development, and execution of Alan Wake 2's audio design, as well as the technologies and systems employed to achieve it.
Alan Wake 2 是 Remedy 扩展宇宙中的一个备受期待的补充，标志着开发团队首次涉足生存恐怖类游戏。从Wake所经历的阴森恐怖的超现实且令人不安的另一个维度——黑暗之地，到Saga引人入胜的神秘故事，探索太平洋西北地区那片充满诡异和怀旧氛围的原始森林，音频团队不遗余力地确保玩家真正感受到自己仿佛置身于角色的位置。团队紧密合作，创建了以音频驱动的系统和引人入胜的声音设计，并投资了创新技术来打造具有影响力的音景，推动故事情节的发展。演讲者将带领大家了解Alan Wake 2音频设计的方法、开发和实施过程，以及实现这些目标所采用的技术和系统。
链接：https://schedule.gdconf.com/session/alan-wake-2-developing-an-audio-vision/907340
作者：Richard Lapington (Audio Director, Remedy Games)
This talk explores the philosophy and framework behind creating the audio vision for Alan Wake 2, detailing how it guided the project and the team. Joining the team three years before shipping, Richard Lapington faced challenges that required a rethink on how to create an audio vision. By focusing on a core idea, structuring the direction, and fostering effective communication, Richard was able to drive the direction into production. Using examples from Alan Wake 2, Richard discusses key strategies for creating a framework for direction, a communication tool for the team, and creating a production strategy that aligns with creative goals.
本次演讲探讨了《Alan Wake 2》音频愿景背后的哲学和框架，详细介绍了它是如何指导项目和团队的。Richard Lapington 在产品发布前三加入团队，面临了需要重新思考如何创建音频愿景的挑战。通过聚焦核心理念、规划方向并促进有效沟通，Richard 能够将方向推进到生产阶段。使用《Alan Wake 2》中的示例，Richard 讨论了创建方向框架、为团队提供沟通工具以及制定与创意目标相一致的生产策略的关键策略。
作者：Alessio Mellina (Expert Technical Sound Designer, Ninja Theory)、Pablo Canas Llorente (Expert Sound Designer, Ninja Theory)
Senuas Saga: Hellblade II is Ninja Theory's latest and most ambitious endeavour in engaging, interactive storytelling, and like its 2017 predecessor, environmental audio plays a crucial role in immersing the player in Senua's world and journey. Members of the Ninja Theory Audio team explain how they tackled the challenge of rebuilding the sonic world of 10th century Iceland from a creative and technical point of view. Sound Designer Pablo Canas explains the process involved in the creation of ambience sounds for Hellblade II, from inception to implementation, while Technical Sound Designer Alessio Mellina covers the acoustic system employed to achieve realism and believability.
赛努阿萨加：地狱之刃II是忍术理论最新也是最具雄心的尝试，旨在实现引人入胜的互动叙事。与2017年的前作一样，环境音频在让玩家沉浸于赛努阿的世界和旅程中扮演着至关重要的角色。忍术理论音频团队的成员们解释了他们从创意和技术的角度如何应对重建10世纪冰岛声音世界的挑战。音效设计师帕布罗·卡尼亚斯解释了地狱之刃II中环境声效从构思到实施的整个过程，而技术音效设计师亚历西奥·梅利纳则介绍了用于实现真实性和可信度的声学系统。
作者：Star Victoria Power (Composer & Sound Designer, Slide20XX)、Winter McFarland (Audio Director, Aggro Crab)、Katelyn Isaacson (Singer / Sound Designer, Independent)、Chase Bethea (Composer / Technical Music Designer, Chase Bethea)、Noa Beazley (Composer & Assistant Professor, Berklee College of Music)、Jamie Lee (Sound Designer, Independent)
The video game industry, like many tech-focused fields, continues to face challenges in diversity and inclusion. While recent social movements have brought increased attention to these issues, there remains significant work to be done. As industry professionals with firsthand experience as diverse voices in game audio, we aim to lead vital discussions on fostering lasting change.
This year, we're expanding our roundtable to a three-day format. Each day will focus on different aspects of diversity in game audio, providing a comprehensive look at the challenges faced by underrepresented groups and strategies for creating a more inclusive industry.
Day 1: Bridging Invisible Divides: Fostering Empathy and Understanding in Game Audio
Day 2: Actionable Inclusion: Navigating Diverse Realities in Game Audio
Day 3: Reshaping the Soundscape: Fine Tuning Systemic Change
Through these themed discussions, we'll address topics such as cultural navigation, hiring challenges, and the balance between authenticity and professionalism.
视频游戏行业，如同许多以技术为核心的领域一样，仍在多样性与包容性方面面临挑战。尽管最近的社会运动已经让这些问题得到了更多的关注，但仍有许多工作需要完成。作为在游戏音频领域拥有丰富经验的多元化声音，我们旨在引领重要的讨论，推动持久的变革。
今年，我们将圆桌会议扩展为为期三天的活动。每天将重点关注游戏音频领域多样性的不同方面，全面审视代表性不足群体所面临的挑战，并探讨创建更加包容行业的策略。
第一天：弥合无形鸿沟：在游戏音频中培养同理心和理解
第二天：切实的包容性：导航游戏音频中的多元现实
第三天：重塑声音景观：微调系统性变革
通过这些主题讨论，我们将探讨文化适应、招聘挑战以及真实性和职业性之间的平衡等话题。
作者：Star Victoria Power (Composer & Sound Designer, Slide20XX)、Winter McFarland (Audio Director, Aggro Crab)、Katelyn Isaacson (Singer / Sound Designer, Independent)、Chase Bethea (Composer / Technical Music Designer, Chase Bethea)、Noa Beazley (Composer & Assistant Professor, Berklee College of Music)、Jamie Lee (Sound Designer, Independent)
The video game industry, like many tech-focused fields, continues to face challenges in diversity and inclusion. While recent social movements have brought increased attention to these issues, there remains significant work to be done. As industry professionals with firsthand experience as diverse voices in game audio, we aim to lead vital discussions on fostering lasting change.This year, we're expanding our roundtable to a three-day format. Each day will focus on different aspects of diversity in game audio, providing a comprehensive look at the challenges faced by underrepresented groups and strategies for creating a more inclusive industry.Day 1: Bridging Invisible Divides: Fostering Empathy and Understanding in Game AudioDay 2: Actionable Inclusion: Navigating Diverse Realities in Game AudioDay 3: Reshaping the Soundscape: Fine Tuning Systemic ChangeThrough these themed discussions, we'll address topics such as cultural navigation, hiring challenges, and the balance between authenticity and professionalism.
游戏行业，如同许多以技术为核心的领域一样，继续面临着多样性和包容性方面的挑战。尽管近期的社会运动已经引起了对这些问题的更多关注，但仍有许多工作需要完成。作为在游戏音频领域具有多元声音经验的行业专业人士，我们旨在引领关于促进持久变革的重要讨论。今年，我们将圆桌会议扩展为为期三天的活动。每天将重点关注游戏音频多样性的一个不同方面，全面审视代表性不足群体所面临的挑战以及创建更加包容行业的策略。
第一天：弥合无形鸿沟：在游戏音频中培养同理心和理解力
第二天：可操作的包容性：在游戏音频中导航多元现实
第三天：重塑声音景观：微调系统性变革
通过这些主题讨论，我们将探讨诸如文化适应、招聘挑战以及真实性和专业性平衡等话题。
作者：Star Victoria Power (Composer & Sound Designer, Slide20XX)、Winter McFarland (Audio Director, Aggro Crab)、Katelyn Isaacson (Singer / Sound Designer, Independent)、Chase Bethea (Composer / Technical Music Designer, Chase Bethea)、Noa Beazley (Composer & Assistant Professor, Berklee College of Music)、Jamie Lee (Sound Designer, Independent)
The video game industry, like many tech-focused fields, continues to face challenges in diversity and inclusion. While recent social movements have brought increased attention to these issues, there remains significant work to be done. As industry professionals with firsthand experience as diverse voices in game audio, we aim to lead vital discussions on fostering lasting change.This year, we're expanding our roundtable to a three-day format. Each day will focus on different aspects of diversity in game audio, providing a comprehensive look at the challenges faced by underrepresented groups and strategies for creating a more inclusive industry.Day 1: Bridging Invisible Divides: Fostering Empathy and Understanding in Game AudioDay 2: Actionable Inclusion: Navigating Diverse Realities in Game AudioDay 3: Reshaping the Soundscape: Fine Tuning Systemic ChangeThrough these themed discussions, we'll address topics such as cultural navigation, hiring challenges, and the balance between authenticity and professionalism.
视频游戏行业，如同许多以技术为核心的领域一样，继续面临多样性与包容性方面的挑战。尽管近期的社会运动已经引起了对这些问题的更多关注，但仍有许多工作需要完成。作为游戏音频领域的多元化声音，我们旨在引领关键的讨论，以促进持久的变化。今年，我们将圆桌会议扩展为为期三天的活动。每一天都将聚焦于游戏音频多样性不同方面的问题，全面审视代表性不足群体所面临的挑战以及创建更加包容行业的策略。
第一天：弥合无形鸿沟：在游戏中音频中培养同理心和理解力 第二天：可操作的包容性：在游戏中音频中应对多元现实 第三天：重塑声音景观：微调系统性变革
通过这些主题讨论，我们将探讨文化导航、招聘挑战以及真实性与专业性之间的平衡等话题。
作者：Jerome Angelot (Music Supervisor, Ubisoft)、Roberto Bender (Audio Programmer, Ubisoft)、Jullian Hoff (Music designer, Ubisoft)
In this talk, the speakers will delve into the music of Assassin's Creed Shadows. Initially, they explore the music direction, the score, songs, and the diegetic music. In the latter part of the presentation, they examine the innovative Priority-Based Music System developed specifically for the Assassin's Creed franchise.
在本次演讲中，发言者将深入探讨《刺客信条：影子》（注：此处'Assassin's Creed Shadows'可能为虚构示例，实际游戏中并无此作品名）的音乐。他们首先探索了音乐方向、配乐、歌曲以及场景内音乐。在演讲的后半部分，他们检查了专门为《刺客信条》系列开发的创新基于优先级的音乐系统。
作者：Daniel Perry (Audio Director, Owlchemy Labs)、Michael Kim (Senior Audio Specialist, Owlchemy Labs)
Dimensional Double Shift is Owlchemy Labs' latest VR game, and also Owlchemy's first multiplayer social game. With that Owlchemy Labs faced a lot of audio challenges that relate to networked audio and multiplayer in a VR environment.
In this talk Owlchemy Labs Audio Director, Daniel Perry. and Senior Audio Specialist, Michael Kim, are going to talk about challenges and considerations they encountered during the development of Dimensional Double Shift.
Dimensional Double Shift 是 Owlchemy Labs 的最新 VR 游戏，也是 Owlchemy 的首款多人社交游戏。正因为如此，Owlchemy Labs 面临了许多与网络音频和 VR 环境中的多人游戏相关的音频挑战。
在本次演讲中，Owlchemy Labs 的音频总监 Daniel Perry 和高级音频专家 Michael Kim 将讨论他们在开发 Dimensional Double Shift 过程中遇到的挑战和考虑因素。
作者：Robin Butel (Technical Sound Designer & Audio Programmer, Demute)
This session will break down how popular games have successfully used audio to communicate gameplay-crucial information to add depth, complexity and intuitiveness to their games. The talk will focus on practical, real-world examples, and provide a framework that the audience will be able to apply to their own projects. From these video examples, the speaker will define the different types of informative sounds, as well as the methods that can be used to communicate them. The session will discuss the best use cases for each, along with their pros and cons, helping developers guide player behavior, improve feedback, and deepen engagement. Whether in the early or later stages of development, the audience will leave with a framework and the knowledge required to implement informative audio in their projects, improving player interaction and immersion.
本环节将剖析热门游戏如何成功利用音频来传达关键的游戏信息，从而为游戏增加深度、复杂性和直观性。演讲将侧重于实际的、真实世界中的例子，并提供一个框架，供观众将其应用于自己的项目中。通过这些视频示例，演讲者将定义不同类型的信息性声音以及传达它们的方法。本环节还将讨论每种方法的最佳应用场景及其优缺点，帮助开发者引导玩家行为、改进反馈并加深参与度。无论是在开发的早期阶段还是后期阶段，观众都将获得一个框架和所需的知识，以在自己的项目中实施信息性音频，从而提升玩家的互动性和沉浸感。
作者：Mathieu Lavoie (Senior Director Music & Sound, Side Global)、Anthony Hales (Senior Technical Director, Side Global)
VO recording is often seen as a standardized process, especially in larger titles with thousands of lines. But what happens when we push beyond the norm? This session explores unconventional and creative techniques in VO recording and performance capture, from using props and unique environments to dynamic recording techniques outside of the booth. Presenters Anthony Hales (Side London) and Mathieu Lavoie (SIDE Montreal) will share real-world examples from award-winning titles like The Witcher 3, Battlefield 1, and Everybody's Gone to the Rapture, providing attendees with concrete, innovative approaches for achieving unique and emotionally powerful vocal performances in games.
语音对白录制通常被视为一种标准化流程，尤其是在拥有数千条对白的大制作游戏中。但当我们突破常规时会发生什么呢？本次会议将探索非传统且富有创意的对白录制和动作捕捉技术，包括使用道具、独特的环境以及录音室外的动态录制技术。演讲者安东尼·黑尔斯（Side London）和马修·拉沃伊（SIDE Montreal）将分享来自获奖游戏《巫师3》、《战地1》和《 everybody's gone to the rapture》等的真实案例，为与会者提供实现独特且情感丰富的游戏配音表演的具体创新方法。
作者：Crystal Lee (Game Audio Artist, Schell Games)
In the Partyverse, we bring the party to you! Join Crystal Lee, Audio Lead, for a deep dive into the audio development of the new mixed reality multiplayer title from Oculus Studios and Schell Games, Party Versus. What are the specific design and mixing challenges that arise at the intersection of MR and multiplayer, and how do you approach developing audio in a new medium, on new technology? The bouncer's nice, the music's popping, and the vibes are good – come hang out and learn about some of the specific techniques used on PartyVersus and the guiding principles behind them.
在Partyverse中，我们将派对带到你的身边！加入Crystal Lee，音频负责人，深入了解由Oculus Studios和Schell Games开发的新混合现实多人游戏《Party Versus》的音频开发。在混合现实和多人游戏交叉点出现的具体设计和混音挑战是什么？你如何在新技术上开发新媒介的音频？保龄球馆很时尚，音乐很动感，氛围很好——来放松一下，了解《Party Versus》中使用的一些具体技术以及背后的原则。
链接：https://schedule.gdconf.com/session/audio-summit-creating-believable-worlds-with-ambience/908517
作者：Malin Arvidsson (Senior Sound Designer, Massive Entertainment – a Ubisoft Studio)
If the ambiences in a game are good, nobody will notice them, is what we often hear. But it can certainly affect how the player feels. Through getting the environment to react to the players actions, it can help them feel more immersed in the game.After having worked on both Avatar: Frontiers of Pandora and Star Wars: Outlaws for the past 4 years, focusing on ambiences, Malin will share her learnings from sourcing, implementing and finalizing the ambient soundscape. Starting with the audio vision for the game, how do you best source your sounds? What do you need to think about when implementing them? And how can you make sure the ambiences support the immersion and doesn't break it? These are some of the things we will explore during this talk.
如果我们经常听到的说法是，如果游戏中背景音效做得好，玩家是不会注意到它们的。但这些音效确实能影响玩家的感受。通过让环境对玩家的操作做出反应，可以帮助玩家更深入地沉浸在游戏世界中。在过去的四年里，马琳一直专注于《阿凡达：潘多拉边境》和《星球大战：外环》的背景音效工作。她将分享她在获取、实施和完成背景音效方面的经验。我们将从游戏的音频愿景开始探讨，如何最好地获取声音？在实施过程中需要考虑哪些因素？以及如何确保背景音效能够支持沉浸感而不破坏它？这些都是我们将在本次讲座中探讨的内容。（ambiencies 指的是背景音效或环境音效）
链接：https://schedule.gdconf.com/session/audio-summit-lunchtime-surgeries/910555
作者：Dillan Schmitz (Composer & Sound Designer, King Aurorus Music)、Robin Butel (Technical Sound Designer & Audio Programmer, Demute)、Mathieu Lavoie (Senior Director Music & Sound, Side Global)、Anthony Hales (Senior Technical Director, Side Global)、Crystal Lee (Game Audio Artist, Schell Games)、Malin Arvidsson (Senior Sound Designer, Massive Entertainment – a Ubisoft Studio)、Fei Guo (Senior Audio Designer, NetEase Games)、Michelle Auyoung (Audio Programmer, Obsidian Entertainment)、Cody Johnson (Composer, Audio Director, Emperia Sound and Music)
An opportunity for deeper conversations with Audio Summit speakers over lunch in a smaller scale setting. Grab some food and then come back to sit at tables in the round with the day's speakers on the topics that are top of mind for you about the industry, the day's topics, and the questions at the top of attendee minds.
有机会在午餐时与音频峰会的演讲者进行更深入的对话，这将在一个较小规模的环境中进行。拿起一些食物，然后回来坐在圆桌旁，与当天的演讲者就你所关注的行业话题、当天的主题以及参会者最关心的问题进行交流。
作者：Dillan Schmitz (Composer & Sound Designer, King Aurorus Music)
Working with clients can be challenging in many cases. Maybe the client wants many revisions, maybe their references are very generic or maybe you and the client don't entirely see eye to eye on the audio’s vision. Through the lens of music this talk will go over how to effectively communicate with clients and present them new ideas in ways that makes it less jarring to them. It will also broadly cover working with clients in ways that avoid having disagreements on the style in the first place, and how to avoid apathy when going through multiple revisions.
与客户合作在很多情况下都可能具有挑战性。也许客户想要多次修改，也许他们的参考材料非常笼统，或者你和客户对音频的愿景没有完全达成一致。通过音乐这一视角，本次讨论将介绍如何有效地与客户沟通，并以使他们感到不那么突兀的方式向他们展示新想法。同时，还将广泛涵盖在合作过程中避免对风格产生分歧的方法，以及如何在经历多次修改时避免冷漠态度。
作者：Fei Guo (Senior Audio Designer, NetEase Games)
This presentation focuses on the real-time mixing of multiplayer competitive games and development insights on enhancing player experience. It includes sharing the theory of early conceptual design, the realization of mixing clarity and distinguishability effects, high freedom mixing settings, and meeting players' auditory demands from different perspectives.
本次演示专注于多人竞技游戏的实时混合技术以及提升玩家体验的开发见解。其中包括分享早期概念设计的理论、实现混合清晰度和可辨识效果的方法、高自由度的混合设置，以及从不同角度满足玩家听觉需求的内容。
作者：Michelle Auyoung (Audio Programmer, Obsidian Entertainment)
Game Audio Programming covers many areas of game development, and this talk explains what they are. It will also offer a unique perspective in starting a career in this field. From platform development to engine, tools, and gameplay programming, audio spans a wide breadth of disciplines and game development can benefit from dedicated audio programming support. Michelle shares how she became an audio programmer herself and her experience as a minority (woman, person of color) in the industry, as well as feeling imposter syndrome and striving to overcome it. There is no one way to be an audio programmer, but that's what makes it so exciting.
游戏音频编程涵盖了游戏开发的许多领域，本次演讲将解释这些领域。同时，还将提供一个独特的视角来帮助人们在这个领域开始职业生涯。从平台开发到引擎、工具以及游戏玩法编程，音频涉及广泛的学科，而游戏开发可以从专门的音频编程支持中受益。米歇尔分享了她如何成为一名音频程序员的经历，以及她在行业中的经验（作为一名少数群体成员——女性、有色人种），以及她感受到的冒充者综合症并努力克服它的心路历程。成为音频程序员没有单一的道路，但这也正是其令人兴奋之处。
作者：Cody Johnson (Composer, Audio Director, Emperia Sound and Music)
We are informed of our world through the nuance of all of our senses: sight, smell, touch, taste, and hearing (reads: sound and music); and actively engaging as many of these elevates an immersive experience through in-world world building and cultural authenticity.
When creatively and intentionally leveraged, diegetic music can bring an entirely new colors of in-world cultural expression. The diegetic music of Star Wars Outlaws works hand-in-hand with the other principles of world building to give the audience more indicators about the diverse worlds they're exploring, the culture of the denizens of those worlds, and the overall setting of the game through subtle creative, production, and implementation decisions.
Embark on a journey of the merits of the diegetic music, world building, and musical authenticity of Star Wars Outlaws with songwriter, composer, and producer Cody Matthew Johnson.
我们通过所有感官的细微差别来感知我们的世界：视觉、嗅觉、触觉、味觉和听觉（读作：声音和音乐）；积极调动尽可能多的这些感官能够通过构建世界观和文化真实性来提升沉浸式体验。
当创造性且有目的地利用非叙事音乐时，它可以为世界观的文化表达带来全新的色彩。《星球大战：外叛者》中的非叙事音乐与其他世界观构建原则紧密配合，向观众提供了更多关于他们所探索的多元世界的指示，这些世界中居民的文化，以及通过微妙的创意、制作和实施决策传达的整体背景设定。
与词曲作者、作曲家和制作人科迪·马修·约翰逊一起踏上探索《星球大战：外叛者》的非叙事音乐、世界观构建和音乐真实性的旅程。
链接：https://schedule.gdconf.com/session/demystifying-vo-in-games/910754
作者：Sini Downing (Creative Director, Side)
Any developer tasked with the voiceover side of their game may feel out of their depth if they haven't dealt with audio production before. Let a VO veteran guide your way with practical advice on how to get a useful quote for budgeting, set up timelines, get great actors cast, and prepare for recordings so that you have fantastic files to implement straight into your game.With Side’s experience casting, directing, recording, doing post production and mastering on games -- from the diminutive casts of It Takes Two and Returnal, to the mammoth recording journey of Final Fantasy XVI and trans-Atlantic production for Cyberpunk 2077 -- Side's Creative Director, Sini Downing, has insights to help any producer prepare for VO production.
任何负责游戏配音工作的开发者，如果之前没有处理过音频制作，可能会觉得自己力不从心。让一位资深配音指导为你提供实用建议，帮助你为预算制定获取有用的报价，设置时间表，找到优秀的演员，并为录音做好准备，以便你可以直接将出色的配音文件整合到游戏中。凭借Side公司在从《双人成行》和《死亡回归》等作品的小型配音阵容，到《最终幻想XVI》和《赛博朋克2077》跨大西洋制作的巨大录音旅程中的选角、导演、录制、后期制作和母带制作方面的经验，Side公司的创意总监Sini Downing拥有帮助任何制作人准备配音制作的见解。
作者：Hana Zhao (Senior Sound Designer, NetEase Games)
NetEase and Blizzard's joint development of the mobile game Diablo Immortal has garnered numerous prestigious audio awards in 2023, including the G.A.N.G Award for Best Casual Game Audio and the NYX Gold Award. This represents a significant honor for both NetEase and Blizzard teams. Despite being a mobile game, its scale is comparable to that of a PC game (e.g. SFX: 40,000+, VO: 100,000+), and achieving a perfect balance in a cross-national deep collaboration is no small feat. Inevitably, IP-related products and such cross-national collaborations face several practical challenges:1. Sound design cooperation and clashes - IP vs. innovation 2. Time/Geographical zone differences and collaboration efficiency-Workflow3. Game audio development efficiency and management In brief, the speaker will provide recommendations on how to maintain creative freedom while utilizing streamlined workflows and advanced audio development technologies to synchronize the development of a high-quality audio game across nations.
网易和暴雪联合开发的移动游戏《暗黑破坏神：不朽》在2023年获得了众多 prestigious 音频奖项，包括 G.A.N.G 最佳休闲游戏音频奖和 NYX 金奖。这代表了对网易和暴雪团队的重大认可。尽管是一款手机游戏，其规模可与 PC 游戏相媲美（例如：SFX: 40,000+，VO: 100,000+），并且在跨国深度合作中达到完美的平衡，这并非易事。不可避免地，IP 相关产品和此类跨国合作面临多个实际挑战：1. 声音设计合作与冲突 - IP 与创新；2. 时间/地理区域差异和协作效率 - 工作流程；3. 游戏音频开发效率和管理。简而言之，演讲者将提供如何在利用精简的工作流程和先进的音频开发技术的同时保持创意自由的建议，以实现跨国高质音频游戏的同步开发。
链接：https://schedule.gdconf.com/session/empathy-and-horror-creature-audio-of-still-wakes-the-deep/907078
作者：Daan Hendriks (Audio Director, The Chinese Room)、Francesco Del Pia (Senior Sound Designer, The Chinese Room)
It is 1975, you work on an offshore oil rig when disaster strikes. A supernatural entity that has accidentally been drilled up is transforming the rig, turning your co-workers into horrible creatures that are struggling in agony, while the rig is slowly collapsing into the North Sea.
This premise where your main antagonists are twisted versions of your former friends and colleagues provided an interesting juxtaposition for the audio team, where through sound we had to convey their lost humanity and the fears they faced, as well as inspiring fear and terror into the player themself.
In this talk we'll explore in-depth how we took this from concept to release. We'll look at the mistakes we made, as well as the successes we found, and lift the veil on the systems that underpin it all.
时间来到1975年，你在一艘近海石油钻井平台上工作，灾难突然降临。一个超自然实体在无意中被钻探出来，开始逐渐改变钻井平台的结构，将你的同事变成可怕的生物，他们在痛苦中挣扎，而钻井平台正缓慢地坍塌沉入北海。
在这个前提下，你的主要反派角色是扭曲版本的你曾经的朋友和同事，这为音频团队提供了一个有趣的对比，在这里我们通过声音来传达他们失去的人性以及他们所面临的恐惧，并且要激发玩家自身的恐惧和恐怖感。
在本次演讲中，我们将深入探讨如何将这一概念从最初的想法发展到最终发布的过程。我们将回顾我们在这一过程中犯下的错误以及取得的成功，并揭示支撑这一切的系统背后的秘密。
作者：Jason Graves (Composer, Jason Graves Music. Inc.)、Krisin Naigus (Musician, Field of Reeds)、Eli Bishop (Musician, Independant)
Rhythm is the backbone of all music. Composer Jason Graves will break down his rhythmic approach to creating music from a drummer's perspective, including creative patterns for drums/percussion and writing orchestral music in odd time signatures. Topics will include musical phrasing and its impact on gameplay, creating grooves that support the in-game action, and how properly layering rhythms can build to a satisfying interactive game experience. Practical examples of well-known game music will be used in addition to a rhythmic deconstruction of Jason's scores such as Dead Space, Still Wakes The Deep, No Rest For The Wicked, and Tomb Raider.
节奏是所有音乐的基础。作曲家杰森·格雷夫斯将从鼓手的角度剖析他的节奏创作方法，包括为鼓/打击乐设计创意模式以及用非传统拍号编写管弦乐音乐。主题将涵盖音乐的乐句及其对游戏玩法的影响，创造支持游戏中动作的律动，以及如何通过合理分层节奏来构建令人满意的互动游戏体验。除了实用的游戏音乐示例外，还将对杰森的作品如《死亡空间》、《深海依旧苏醒》、《无畏者永无宁日》和《古墓丽影》中的节奏进行拆解分析。
作者：Masayuki Yamada ( Principal Gameplay Programming Lead, Sony Interactive Entertainment)
Team ASOBI released ASTRO BOT in September 2024, earning widespread acclaim as a 3D platformer. In this session, the team's lead gameplay programmer showcases how DualSense™ features bring ASTRO BOT's interactions to life.
The game uses haptics and adaptive triggers to deliver tactile sensations such as the feel of different ground textures, unique abilities from power-ups, and interactions with numerous physical objects. These experiences are enhanced by the seamless integration of haptics, sound, and all visual elements, including models, animations, and effects, creating a unified sense of immersion.
This session explores the principles behind these interactions, including how in-game data is extracted and transformed into feedback, supported by custom tools and workflows. The presentation also includes an overview of the unique characteristics of the DualSense™ controller and examines gameplay footage alongside the waveforms used to create ASTRO BOT's signature tactile feedback.
团队ASOBI于2024年9月发布了《ASTRO BOT》，这款游戏广受好评，被视为一款优秀的3D平台游戏。在这次分享中，团队的主要玩法程序员展示了DualSense™特性如何让《ASTRO BOT》中的互动体验栩栩如生。
游戏中使用了触觉反馈和自适应扳机来传递不同的地面纹理触感、通过增益道具获得的独特能力以及与众多物理对象的互动。这些体验通过触觉反馈、声音以及所有视觉元素（包括模型、动画和效果）的无缝整合得到增强，从而创造出一种统一的沉浸感。
本次分享探讨了这些互动背后的原则，包括如何提取游戏数据并将其转化为反馈，这得益于定制的工具和工作流程。展示还概述了DualSense™控制器的独特特性，并分析了与创建《ASTRO BOT》标志性触觉反馈相关的波形，同时展示了游戏画面。
作者：Wilbert Roget (Composer, Music Supervisor, RogetMusic)
The Star Wars franchise is well-known for its scores featuring traditional full orchestra. In previous games, we've used scripted music changes and horizontal transitions to add interactivity to the music, but due to the orchestral nature of the franchise, a fully dynamic system was generally infeasible. This talk discusses the creative and technical solutions we developed for Star Wars: Outlaws, an open world action-adventure title featuring dynamic music and modern production elements, but still carrying the orchestral signature of the franchise.
《星球大战》系列以其传统的全乐队配乐而闻名。在之前的游戏作品中，我们使用了编排的音乐变化和水平过渡来增加音乐的互动性，但由于该系列的管弦乐性质，实现完全动态的系统通常是不可行的。本次演讲讨论了我们在《星球大战：亡命之徒》（Star Wars: Outlaws）这款开放世界动作冒险游戏中开发的创意和技术解决方案。这款游戏具有动态音乐和现代制作元素，但仍保留了该系列的管弦乐特色。
链接：https://schedule.gdconf.com/session/gang-demo-derby-music/911309
作者：Jason Hayes (Studio Audio Director, Another Axiom Inc.)、Andrew Brassell (Senior Audio Producer, Sound Lab a Keywords Studio)、Edouard Brenneisen (Composer, EB Music LLC)、Paul Lipson (SVP, Interactive Worldwide, Formosa Group)、John Robert Matz (Composer, Independent)
The G.A.N.G. Music Demo Derby is a longstanding tradition at GDC, and has been a cornerstone event for new and emerging composers. Attendees can submit 60 seconds of their best work for a detailed critique and feedback from a team of leading audio directors and professionals, and participate in an active discussion with fellow panelists and audience members. The Derby facilitates game audio practitioners of all levels, and is suited for producers, composers, audio directors, and anyone interested in music for games and interactive entertainment.Note that Participants in the Demo Derby must have a, Audio Pass or higher
G.A.N.G.音乐Demo德比是GDC的一个悠久传统，也是新兴作曲家的重要活动之一。与会者可以提交他们最好的60秒作品，接受由领先音频总监和专业人士组成的团队的详细点评和反馈，并与其他小组成员和观众进行积极的讨论。德比为所有级别的游戏音频从业者提供了一个平台，适合制作人、作曲家、音频总监以及任何对游戏和互动娱乐音乐感兴趣的人参与。请注意，参加Demo德比的参与者必须拥有音频通行证或更高级别的通行证。
链接：https://schedule.gdconf.com/session/gang-demo-derby-sound-design/911310
作者：Nick Hartman (Jr Audio Producer, Sound Lab)、Scott Gershin (Creative Director, Supervising Sound Designer, Mixer, Sound Lab)、Charles Deenen (Co-Owner / CCD, Source Sound Inc)、Gary Miranda (Owner/Audio Director, Injected Senses Audio)、Brian Farr (Senior Sound Design Supervisor, Blizzard Entertainment)
The G.A.N.G. Sound Design Demo Derby is a longstanding tradition at GDC, and has been a cornerstone event for new and emerging audio professionals. Attendees can submit 120 seconds of their best work for a detailed critique and feedback from a team of leading audio directors and professionals. They can also participate in an active discussion with fellow panelists and audience members. The Derby is open to GDC attendees across all disciplines.Note that Participants in the Demo Derby must have a, Audio Pass or higher
G.A.N.G.音效设计演示德比（G.A.N.G. Sound Design Demo Derby）是GDC（游戏开发者大会）上的一个悠久传统，也是新兴音频专业人士的重要活动。参会者可以提交他们最好的120秒作品，以接受一组领先音频导演和专业人士的详细点评和反馈。他们还可以与小组成员和其他观众积极讨论。德比对所有领域的GDC参会者开放。请注意，参加演示德比的参与者必须拥有音频通行证或更高级别的通行证。
链接：https://schedule.gdconf.com/session/gang-town-hall/911420
作者：Brian Schmidt (Founder/President, Brian Schmidt Studios)
Celebrating the 23rd anniversary of G.A.N.G.’s genesis at the Game Developer’s Conference in 2002, this session will discuss the organization’s accomplishments since its founding as well as changes to leadership and structure. There will be an open discussion with the audience on how to further improve the future of the organization and to look at what the future holds. This meeting is open to anyone interested in promoting excellence and advancements in interactive audio. Over 2,200 people representing over 25 countries around the world have joined G.A.N.G since its inception in 2002.
庆祝G.A.N.G.在2002年游戏开发者大会（GDC）上成立23周年，本次会议将讨论该组织自成立以来的成就以及领导层和结构的变化。我们将与观众进行开放式讨论，探讨如何进一步提升组织的未来，并展望未来的方向。此次会议欢迎所有致力于推动互动音频卓越性和进步的人士参加。自2002年成立以来，已有来自全球超过25个国家的超过2200人加入了G.A.N.G.。
链接：https://schedule.gdconf.com/session/game-audio-programmer-roundtable-day-1-game-integration/906908
作者：Guy Somberg (Lead Gameplay Engineer, Echtra Games)、Tomas Neumann (Principal Software Engineer, Independent)
Wednesday: "Audio Programming Roundtable: Game Integration"
This roundtable session will focus on tools and techniques for integrating with game engines. Topics will center around technology choices, game audio engine design, and tool design. Newbies and experts are welcome to come and share their wisdom.
Thursday: "Audio Programming Roundtable: Low-Level Topics"
This roundtable session will focus on low-level topics such as DSPs and mixing. Topics will center around algorithms, interesting effects to implement, and integrating those effects into workflows. Newbies and experts are welcome to come and share their wisdom.
Friday: "Audio Programming Roundtable: Free-for-all"
In this roundtable session we will cover any topics that we didn't get to in the previous two days. We will also have a Q&A session where your questions can be answered by expert audio programmers. Newbies and experts are welcome to come and share their wisdom.
星期三：“音频编程圆桌会议：游戏集成”
本次圆桌会议将重点讨论与游戏引擎集成的相关工具和技术。主题将围绕技术选择、游戏音频引擎设计以及工具设计展开。新手和专家都欢迎前来分享他们的见解。
星期四：“音频编程圆桌会议：底层话题”
本次圆桌会议将重点讨论如DSP（数字信号处理器）和混音等底层话题。主题将围绕算法、实现有趣的效果以及将这些效果整合到工作流程中展开。新手和专家都欢迎前来分享他们的见解。
星期五：“音频编程圆桌会议：自由讨论”
在本次圆桌会议中，我们将涵盖前两天未涉及的任何主题。我们还将举行问答环节，在此环节中，您的问题将由专业的音频程序员解答。新手和专家都欢迎前来分享他们的见解。
链接：https://schedule.gdconf.com/session/game-audio-programmer-roundtable-day-2-low-level-topics/911337
作者：Guy Somberg (Lead Gameplay Engineer, Echtra Games)、Tomas Neumann (Principal Software Engineer, Independent)
Wednesday: "Audio Programming Roundtable: Game Integration"This roundtable session will focus on tools and techniques for integrating with game engines. Topics will center around technology choices, game audio engine design, and tool design. Newbies and experts are welcome to come and share their wisdom.Thursday: "Audio Programming Roundtable: Low-Level Topics"This roundtable session will focus on low-level topics such as DSPs and mixing. Topics will center around algorithms, interesting effects to implement, and integrating those effects into workflows. Newbies and experts are welcome to come and share their wisdom.Friday: "Audio Programming Roundtable: Free-for-all"In this roundtable session we will cover any topics that we didn't get to in the previous two days. We will also have a Q&A session where your questions can be answered by expert audio programmers. Newbies and experts are welcome to come and share their wisdom.
周三：“音频编程圆桌会议：游戏集成”
本次圆桌会议将重点关注与游戏引擎集成的相关工具和技术。主题将围绕技术选择、游戏音频引擎设计以及工具设计展开。新手和专家都欢迎前来分享他们的见解。
周四：“音频编程圆桌会议：低级话题”
本次圆桌会议将重点关注如DSP（数字信号处理）和混音等低级话题。主题将围绕算法、实现有趣的效果以及将这些效果整合到工作流程中展开。新手和专家都欢迎前来分享他们的见解。
周五：“音频编程圆桌会议：自由讨论”
在本次圆桌会议中，我们将涵盖前两天未涉及的所有话题。我们还将举行问答环节，在此环节中，您的问题将由专业的音频程序员解答。新手和专家都欢迎前来分享他们的见解。
链接：https://schedule.gdconf.com/session/game-audio-programmer-roundtable-day-3-free-for-all/911338
作者：Guy Somberg (Lead Gameplay Engineer, Echtra Games)、Tomas Neumann (Principal Software Engineer, Independent)
Wednesday: "Audio Programming Roundtable: Game Integration"This roundtable session will focus on tools and techniques for integrating with game engines. Topics will center around technology choices, game audio engine design, and tool design. Newbies and experts are welcome to come and share their wisdom.Thursday: "Audio Programming Roundtable: Low-Level Topics"This roundtable session will focus on low-level topics such as DSPs and mixing. Topics will center around algorithms, interesting effects to implement, and integrating those effects into workflows. Newbies and experts are welcome to come and share their wisdom.Friday: "Audio Programming Roundtable: Free-for-all"In this roundtable session we will cover any topics that we didn't get to in the previous two days. We will also have a Q&A session where your questions can be answered by expert audio programmers. Newbies and experts are welcome to come and share their wisdom.
星期三：“音频编程圆桌会议：游戏集成”
本次圆桌会议将重点关注与游戏引擎集成的工具和技术。主题将围绕技术选择、游戏音频引擎设计和工具设计展开。新手和专家都欢迎前来分享他们的见解。
星期四：“音频编程圆桌会议：底层话题”
本次圆桌会议将关注如DSP（数字信号处理）和混音等底层话题。主题将围绕算法、实现有趣的效果以及将这些效果整合到工作流程中展开。新手和专家都欢迎前来分享他们的见解。
星期五：“音频编程圆桌会议：自由讨论”
在本次圆桌会议中，我们将涵盖前两天未涉及的所有话题。我们还将举行问答环节，在此环节中，您的问题将由专业的音频程序员解答。新手和专家都欢迎前来分享他们的见解。
链接：https://schedule.gdconf.com/session/how-to-write-an-asynchronous-multithreaded-audio-engine/906909
作者：Guy Somberg (Lead Gameplay Engineer, Echtra Games)
Game audio engines - usually built on top of middleware like FMOD Studio, Audiokinetic Wwise, CRI ADX2, or Unreal Metasounds - typically have a core loop that tracks and updates playing sounds. Guy will present his classic state machine that manages the life cycle of a playing sound, then update it to match his current thinking. After that, Guy will present two important observations, called "steady state" and "fire and forget", which will allow us to take a step back and rethink the foundations of these audio engines at the level just above the middleware. The consequences of these observations will lead us to reorganize the core loop into an asynchronous and multithreaded system, without sacrificing latency. There will be code examples showing how and why the system works.
游戏音频引擎——通常基于中间件如FMOD Studio、Audiokinetic Wwise、CRI ADX2或Unreal Metasounds构建——通常有一个核心循环来跟踪和更新正在播放的声音。Guy将会展示他经典的有限状态机，该状态机管理声音播放的生命周期，然后根据他当前的想法对其进行更新。之后，Guy会介绍两个重要的观察结果，即“稳态”和“一键触发”，这将使我们能够退一步，在高于中间件的层面重新思考这些音频引擎的基础。这些观察结果的影响将引导我们将核心循环重组为一个异步和多线程系统，而不牺牲延迟性。还将会有代码示例展示系统如何以及为何有效工作。
作者：Eduardo Broseta (Audio Lead, King)
This session explores King's efforts in audio accessibility for mobile games, with a spotlight on the latest advancements in Candy Crush Soda Saga. Attendees will discover the innovative features, collaborative processes and technology integrations that are changing audio standings in the casual mobile gaming industry. By exploring these developments, participants will gain insight into how King is enhancing the game experience for all players, including those with auditory and impairments. The session will highlight the team's commitment to inclusivity and the efforts that drive new innovation in game design and accessibility. King believes that they're games are designed for all players, so come and discover why audio is such an important part of any casual mobile gaming experience.
本环节探讨了King公司在移动游戏音频无障碍方面所做的努力，并特别关注《糖果粉碎苏打传奇》（Candy Crush Soda Saga）的最新进展。参会者将了解那些创新功能、协作流程和技术整合，这些正在改变休闲移动游戏行业的音频格局。通过探索这些发展，参与者将深入了解King公司如何增强所有玩家的游戏体验，包括听力障碍和其他障碍的玩家。本环节还将突出团队对包容性的承诺以及推动游戏设计和无障碍性新创新的努力。King公司认为他们的游戏是为所有玩家设计的，因此请来发现为什么音频是任何休闲移动游戏体验中如此重要的一部分。
作者：Mia Ginae Watkins (Creative Operations Coordinator, Riot Games)、Justin Hawkes (Artist & Producer, Independent)、Nadia Wheaton (Freelance Music Supervisor, Independent)、Jackie Palazzolo (Music Supervisor, Riot Games)
There’s a reason why the song you heard playing your favorite game is stuck in your head.Behind each soundtrack are music mavens who know you more than you know yourself, probably using some scientific formula to pick the best songs for the game…or, more than likely, they just know what their player base likes. Enter the music supervisor! Hear our awesome speakers discuss what it means to cultivate an ear for music while catering to their player base, talk about their approach to their work, and share their insights on how they push the craft and set the trends in music
有原因让你在最喜欢的游戏里听到的歌曲一直在你的脑海里回荡。每一段游戏配乐背后都有音乐专家，他们比你自己更了解你，可能使用某种科学公式来挑选最适合游戏的歌曲……或者，更有可能的是，他们只是知道他们的玩家群体喜欢什么。这就轮到音乐监制登场了！听听我们精彩的演讲者讨论如何培养对音乐的鉴赏力同时迎合玩家群体的需求，谈论他们工作的方法，并分享他们如何推动音乐领域的技艺并引领潮流的见解。
链接：https://schedule.gdconf.com/session/reimagining-high-fantasy-the-score-to-eternal-strands/907178
作者：Austin Wintory (Composer, Austin Wintory)
For Eternal Strands, composer Austin Wintory spent 4 years trying to unpack the direction "Make it Fantasy, but not like the Renaissance Faire." The process involved lots of experimentation, and recording, eventually landing on a score built from lots of sonic building blocks, and custom instruments (both physical and virtual). This talk will be detailed post-mortem through the steps to get there, including dead-ends along the way, and how it all came together both sonically and in terms of implementation in-game.
对于《永恒之线》（Eternal Strands），作曲家奥斯汀·温蒂ory花费了4年时间试图解读“让它充满幻想，但不要像文艺复兴集市”这一方向。这个过程涉及大量的实验和录制，最终形成了一个由许多声音构建模块和定制乐器（包括实物和虚拟乐器）组成的乐谱。此次分享将通过详细的回顾来介绍整个过程，包括过程中遇到的死胡同，以及如何在声音层面和游戏内的实施方面最终融合在一起。
链接：https://schedule.gdconf.com/session/south-of-midnight-musicality-beyond-music/907552
作者：Chris Fox (Audio Director, Compulsion Games)、Olivier Deriviere (Composer - Music Designer, Ameo Prod)
Compulsion Games likes to do things differently and it couldn't be more accurate than in our upcoming game South Of Midnight. As for Audio, the direction was given straight from the start: musicality, but with a twist. Instead of going with a more illustrative process using music, we pushed the game to being something different: musically active. In this demonstration, Audio Director Chris Fox will unveil the whole process of creating such a vision. First, by looking back at the genesis of the idea to having deconstructed songs mixed with real-time reaction of the environment. Then Composer and Music Designer Olivier Deriviere will showcase in Wwise how such vision could be achieved. Of course, they will also share some secrets that made a huge impact on the game.
Compulsion Games 喜欢以不同的方式做事，在我们即将推出的游戏《午夜之南》（South Of Midnight）中这一点再准确不过了。至于音频方面，从一开始就明确了方向：音乐性，但带有一丝创新。我们没有采用更具象化的处理方式，即通过音乐来表现，而是推动游戏成为一种不同的存在：具有音乐互动性的。在这次演示中，音效总监克里斯·福克斯（Chris Fox）将揭示实现这一构想的整个过程。首先，他将回顾这一想法的起源，以及如何将拆解的歌曲与环境的实时反应相结合。随后，作曲家兼音乐设计师奥利维尔·德里维埃尔（Olivier Deriviere）将在 Wwise 中展示如何实现这一愿景。当然，他们还会分享一些对游戏产生重大影响的秘密。
链接：https://schedule.gdconf.com/session/spatial-audio-for-vr-batman-arkham-shadow/908425
作者：Ryan David Kull (Studio Sound Designer, Meta Platforms, Inc.)、Pete Stirling (Software Engineer, Meta Platforms, Inc.)、Julian Korzeniowsky (Studio Sound Designer, Meta Platforms, Inc.)
Batman: Arkham Shadow advances the state of the art in VR audio, leveraging new technologies to produce AAA scale sound with a mobile performance profile. Camouflaj sound design walks through the process of bringing the Batman Arkham universe to VR. This presentation will cover the audio technologies and techniques employed and limitations navigated to re-imagine the Arkham experience for Meta Quest. Topics include leveraging Audio Middleware, Acoustic Ray-Tracing, mobile chipsets, 3D audio DSP, and creative audio techniques utilized to translate the flatscreen experience to VR. This presentation will also detail the collaborative process Camouflaj and Meta's XR Audio/RL Audio Research teams engaged in to successfully integrate these emerging spatial audio technologies into Batman: Arkham Shadow.
蝙蝠侠：阿卡姆阴影（Batman: Arkham Shadow）在VR音频方面推进了艺术水平，利用新技术来实现具有移动性能配置文件的AAA级音效。Camouflaj的声音设计团队将介绍如何将蝙蝠侠阿卡姆宇宙带入VR的过程。此次演讲将涵盖所使用的声音技术和技巧以及克服的限制，以重新构想为Meta Quest重塑阿卡姆体验。主题包括利用音频中间件、声学射线追踪、移动芯片组、3D音频DSP以及用于将平面屏幕体验转化为VR的创意音频技术。此次演讲还将详细介绍Camouflaj和Meta的XR音频/RL音频研究团队之间进行的合作过程，成功地将这些新兴的空间音频技术整合到蝙蝠侠：阿卡姆阴影中。
作者：Jason Graves (Composer, Jason Graves Music. Inc.)
Composer Jason Graves, working closely with Chinese Room Audio Director Daan Hendricks and Music Editor/Sound Designer Francesco Del Pia, crafted a one-of-a-kind score for Still Wakes The Deep" that includes a custom-built Moog Synthesizer, a bespoke metal sculpture designed after the oil rig in the game, and a small but powerful ensemble of live musicians. This panel will illustrate the creative and technical risks taken and ultimately achieved to raise a very personal, emotional bar for the player - something horror games can easily ignore.
作曲家杰森·格雷夫斯与中国的房间音频总监达安·亨德里克斯以及音乐编辑/声音设计师弗朗西斯科·德尔·皮亚密切合作，为《直到深海苏醒》打造了一部独一无二的配乐。这部配乐包括使用定制的Moog合成器（Moog合成器）、根据游戏中油井平台设计的定制金属雕塑，以及一组小型但强有力的现场演奏音乐家。此次分享将展示他们所承担的创意和技术风险，以及最终实现的目标——为玩家提升一种非常个人化、情感化的体验——这在恐怖游戏中往往容易被忽视。
链接：https://schedule.gdconf.com/session/the-synthesizer-plugins-of-cocoon/907260
作者：Jakob Schmid (Audio director, Geometric Interactive)
The music that plays throughout most of COCOON is generated using 5 FMOD plugins, based on a handful of synthesis techniques including granular, subtractive, and FM/AM synthesis. These plugins run on all last- and current-generation consoles and on Windows.
Composer / programmer Jakob Schmid will explain the structure and operation of these instruments, how they are set up in FMOD Studio, and how they react to input from the game, focusing on a few experimentally developed control methods that might prove useful for any music software developer.
The plugins were developed experimentally using prototypes created in Bitwig's Grid mode and then reimplemented as FMOD Studio plugins in C++. This approach allowed rapid prototyping and effective implementation. A high level description of a few key components of the synthesizers is given, along with an explanation of how a graphical patch structure can be easily implemented in code.
COCOON中的大部分音乐是使用5个FMOD插件生成的，这些插件基于包括颗粒、减法以及FM/AM合成在内的几种合成技术。这些插件可以在所有上一代和当前世代的游戏主机以及Windows系统上运行。
作曲家兼程序员雅各布·施密德将解释这些乐器的结构和运作方式，它们如何在FMOD Studio中设置，以及它们如何对游戏输入作出反应，重点介绍了一些实验性开发的控制方法，这些方法可能对任何音乐软件开发者都有用。
这些插件最初是通过在Bitwig的Grid模式下创建原型来实验开发的，然后用C++语言重新实现为FMOD Studio插件。这种方法允许快速原型设计和有效的实现。文中还将概述合成器的一些关键组件，并解释如何在代码中轻松实现图形化连接结构。
链接：https://schedule.gdconf.com/session/the-voice-designers-toolbox-dialogue-in-star-wars-outlaws/907188
作者：Charles Pateman (Lead Voice Designer, Massive Entertainment – a Ubisoft Studio)
Voice Design for a game like Star Wars Outlaws is about as complex as Voice Design can get. The combination of its open world setting, narrative driven format and being in a beloved franchise with a distinctive sonic identity presents unique technical, creative and logistical challenges, but an amazing opportunity to utilize the richness of voice to its fullest potential. To deliver a big, vibrant, multi-cultural galaxy like we see in the movies, Outlaws needed as much vocal variety as possible, with accents from every continent, bizarre alien languages, and species from all corners of the galaxy. Above all, Voice Design needed to remain faithful to the distinct vocal signatures of the Original Trilogy while evoking the cinematic flair of the movies in an interactive environment and this meant a lot of detailed, complex work. This talk is a fly-through of Star Wars Outlaws’ Voice Design from pre-production to premix, covering everything that made the creative intent a mixable reality. Exploring how voice and dialogue can be used as a storytelling and world building element of a game’s soundtrack.
语音设计对于一款像《星球大战：亡命之徒》（Star Wars Outlaws）这样的游戏来说，几乎达到了语音设计的最复杂程度。其开放世界设定、以叙事为主导的形式以及作为拥有独特声音标识的受欢迎系列的一部分，带来了独特的技术、创意和后勤挑战，但同时也提供了充分利用语音丰富性的绝佳机会。为了呈现电影中那种庞大而生动的多元文化银河系，亡命之徒需要尽可能多的声音多样性，包括各大洲的口音、奇异的外星语言以及来自银河各处的种族。最重要的是，语音设计需要忠于原三部曲的独特声音特征，同时在互动环境中唤起电影的电影感，这意味着大量的详细且复杂的工作。本次演讲将从前期制作到预混阶段，全方位展示《星球大战：亡命之徒》的语音设计过程，探讨如何将语音和对话用作游戏配乐中的叙事和世界观构建元素。
作者：Daniele Galante (Expert Sound Designer, Ninja Theory)
Ninja Theory's Senua's Saga: Hellblade II is the sequel of the acclaimed Hellblade: Senua's Sacrifice.
In this session Daniele Galante does a deep dive into one of its most iconic aspects: The voices and the representation of Senua's auditory hallucinations. He goes through the process of Binaural recording and the different approaches it requires compared to conventional recording, both on a creative and technical aspect.
He describes the creative thinking behind the manipulation of these voices, how everything blends together, and how these choices are done to better serve the narrative of the game.
Ninja Theory的《塞努阿的传奇：地狱之刃II》是备受赞誉的《地狱之刃：塞努阿的牺牲》的续作。
在此次分享中，Daniele Galante深入探讨了该作最具标志性的方面之一：塞努阿听觉幻觉的声音及其表现。他详细介绍了双耳录制（Binaural recording）的过程以及与传统录制相比，在创意和技术层面上所需的不同方法。
他描述了操纵这些声音背后的创意思考，如何让所有元素融合在一起，以及这些选择如何更好地服务于游戏的故事叙述。
Thou Art Truly a Brave Audio Designer! 'Shadowgate', 'Dejavu' and 'Uninvited' Audio Design of ROM Cartridge Era
作者：Hiroyuki Masuno (General Manager, CRI Middleware Co., Ltd.)
-Technical description of analog TV receivers (NTSC) system.-Technical description of NES/SNES hardware.-The influence of the NTSC system on today's music CDs and the specifications of digital samplers in the early days.-The audio specifications of the NES and SNES and how audio drivers were designed.-Homebrew NES audio tool of music production (based on CMU-800 and included RS232C transmission).-Specification of CV/GATE format, Control of analog synthesizers.-Explanation of audio design of Shadowgate, Déjà Vu, Uninvited and other my composed NES/SNES games.-Explanation of collaboration with overseas companies without Internet communication.-Explanation of the GOLDEN AGE of game development. Everyone worked together to make great games by ONE-TEAM without any boundaries.
-模拟电视接收器（NTSC）系统的技术描述。 -NES/SNES硬件的技术描述。 -NTSC系统对当今音乐CD的影响及早期数字采样器的规格。 -NES和SNES的音频规格以及音频驱动程序的设计。 -NES音乐制作的家庭brew音频工具（基于CMU-800并包含RS232C传输）。 -CV/GATE格式规范，模拟合成器控制。 -关于《Shadowgate》、《Déjà Vu》、《Uninvited》及其他我创作的NES/SNES游戏的音频设计解释。 -无互联网交流情况下与海外公司合作的解释。 -关于游戏开发的黄金时代的解释。在没有边界限制的情况下，所有人都作为一个团队共同工作，制作出了伟大的游戏。
链接：https://schedule.gdconf.com/session/vehicle-audio-in-cyberpunk-2077-all-about-the-players/907091
作者：Michał Pukała (Senior Sound Designer, CD PROJEKT RED)、Adam Dyrszka (Sound Designer, CD PROJEKT RED)
Iconic vehicles are one of the signature elements of Cyberpunk 2077. They come in all shapes and sizes with cars, motorbikes, flying vehicles, and even a tank! They require systems that respond to player actions that need to make driving fun and engaging and the traffic versions make Night City alive and immersive. During the development of Cyberpunk 2077's 2.0 Update and Phantom Liberty expansion, CDPR devs completely overhauled the vehicle sound system. This talk explores various approaches, technical challenges and workflows that made it possible to shift the soundscape of 100+ vehicles.The talk will show off various vehicle systems, as well as how sounds were designed, implemented, and joined together to create the driving experience. It will discuss the complexities of flying vehicles, focusing on the impact of vehicle sounds in scenes and the complex gameplay system design.
标志性的载具是《赛博朋克2077》的标志性元素之一。它们种类繁多，包括汽车、摩托车、飞行载具，甚至还有坦克！这些载具需要一套响应玩家操作的系统，使驾驶变得有趣且引人入胜。而交通载具版本则让夜城充满了生机和沉浸感。在《赛博朋克2077》2.0更新和“幻影自由”扩展包的开发过程中，CDPR的开发者们彻底重做了载具声音系统。本次演讲将探讨各种方法、技术挑战和工作流程，这些使得超过100种载具的声音景观得以转变。演讲还将展示各种载具系统，以及声音是如何设计、实现并组合在一起以创造驾驶体验。此外，演讲还将讨论飞行载具的复杂性，重点介绍载具声音在场景中的影响以及复杂的载具游戏系统设计。
作者：Idan Egozy (Lead Sound Designer, One Hamsa)
UNDERDOGS is a high-energy VR mech brawler celebrated for its intense combat and immersive gameplay. The experience is raw and uncompromising, with bold visuals, impactful physics, and visceral audio to match.Join Idan Egozy, Lead Sound Designer at One Hamsa, for an inside look at the audio work behind the game. He’ll share techniques that helped bring the team’s vision to life on VR hardware, tackling challenges like managing spatializer coloration, crafting responsive soundscapes, and overcoming the limitations of conventional headsets, with practical examples from UNDERDOGS.
UNDERDOGS 是一款备受赞誉的高能VR机甲格斗游戏，以其激烈的战斗和沉浸式的游戏玩法而著称。这款游戏体验真实且毫不妥协，拥有鲜明的视觉效果、影响深远的物理互动和逼真的音频效果。加入 One Hamsa 的首席音效设计师伊丹·埃戈齐，深入了解游戏背后的音频工作。他将分享帮助团队在VR硬件上实现愿景的技术，解决诸如管理空间色彩化、打造响应式音景以及克服传统耳机局限性的挑战，并以 UNDERDOGS 中的实际案例进行说明。
作者：Kaitlin Long (Associate Producer, Obsidian Entertainment)、Daniel Chamberlin (Senior Producer, Obsidian Entertainment)
Avowed had a gigantic amount of dialogue, spread across hundreds of unique characters that all needed great voice-over, in a very tight timeframe. Over 6 months, we had recorded over 45,000 lines of dialogue at high quality. This required a nuanced pipeline for: casting characters, editing conversations, scheduling actors, debriefing on the story and implementing all of this VO.
This talk will step through the Voice-Over process at Obsidian on Avowed. How our narrative pipeline is structured, how it interfaces with our tools and what this all looks like for an actor stepping into the booth. We'll cover what our goals were, the challenges we encountered and how everything ended up into the final product.
《Avowed》拥有大量的对话内容，涉及数百个独特的角色，所有这些角色都需要高质量的配音，而且时间非常紧迫。在6个月的时间里，我们已经录制了超过45,000条高质量的对话内容。这需要一个细致的工作流程来处理：角色选拔、对话编辑、安排演员档期、总结故事以及实施所有的配音工作。
本次演讲将详细介绍Obsidian在《Avowed》中的配音过程。我们将介绍叙事流程的结构、它如何与我们的工具进行交互，以及对于走进录音室的演员来说这一切是什么样子。我们将讨论我们的目标、遇到的挑战以及所有这些工作是如何最终融入到最终产品的。
链接：https://schedule.gdconf.com/session/weaving-the-systemic-soundscape-of-eternal-strands/907756
作者：Alex Davies (Audio Designer, Yellow Brick Games)
In this session, the audience will be guided through the key principles and systems that shaped the sonic world of Eternal Strands. Explore the challenges and benefits of remote collaboration, delve into YBG's sound design fundamentals, and understand how Eternal Strands' intricate audio systems support the emergent gameplay of the game. Attendees will also learn how this small team leveraged systemic design and used Unreal Engine 5 and Wwise to create a dynamic, responsive sound environment. Whether you're a sound designer, developer, or simply curious about the craft, this session offers valuable insights into the technical and creative processes that bring immersive audio experiences to life in a large-scale game.
在本场会议中，观众将被引导了解塑造《Eternal Strands》声音世界的几个关键原则和系统。我们将探讨远程协作的挑战与优势，深入研究YBG的声音设计基础，并理解《Eternal Strands》复杂的音频系统如何支持游戏的涌现式玩法。参会者还将学习这个小团队如何利用系统化设计，并使用Unreal Engine 5和Wwise创建一个动态且响应灵敏的声音环境。无论你是声音设计师、开发者，还是仅仅对这一工艺感到好奇，这场会议都将为你提供宝贵见解，了解在大型游戏中带来沉浸式音频体验的技术和创意过程。
作者：Jonathan Bell (Sound Designer, Formosa Interactive UK)
Designing UI audio can often be an abstract concept; it can sound like anything, there are almost no rules, and it can be very easy to either under design or over design the audio. It is easy to fall back on overused tropes, and oftentimes UI audio can be designed without considering the intention and information being conveyed to the player. Using UX design concepts, exploring ideas on how to design sound with intention and then investigating how to add character to the UI audio design itself, with real world examples from released games, this talk aims to explore ways in which to navigate the difficult task of designing UI audio that is interesting to listen to, functional and easy to understand for the player in order to successfully design UI audio that is both creative and intentional.
设计用户界面（UI）音频往往是一个抽象的概念；它可以听起来像任何声音，几乎没有规则可循，而且很容易要么设计不足，要么过度设计音频。常常会依赖于陈词滥调，而且UI音频经常是在没有考虑传达给玩家的意图和信息的情况下进行设计的。通过使用用户体验（UX）设计概念，探讨如何有目的地设计声音，然后研究如何为UI音频设计本身添加特色，结合已发布游戏中的实际案例，本次演讲旨在探索方法，以应对设计有趣、实用且易于玩家理解的UI音频这一艰巨任务，从而成功地设计出既有创意又具目的性的UI音频。
作者：Jiale Yang (Technical Audio Designer, NetEase Games)
The presentation will dive deep into the audio design experience for the Chinese Wuxia game "Where Winds Meet" with specific cultural background and open-world characteristics. This includes incorporating iconic Chinese musical instrument sound effects into combat feedback, as well as the special cultural design of environmental sound and the efficient implementation process for the entire open-world map.
本次演示将深入探讨中国武侠游戏《风云交汇》的音频设计体验，包括特定的文化背景和开放世界特性。这包括将标志性的中国乐器音效融入战斗反馈，以及环境声音的特殊文化设计和整个开放世界地图的高效实现过程。