RACING GAME SOUND STUDY: The sound and fury of driving is often abstracted from the realistic simulation going on under-thehood in order to make a more compelling and fun drivin experience. Pg. 44

INTRO: This is #GameAudio The unique intersection of disciplines in game development responsible for supporting, extending, and capitalizing on the potential of systems and story in collaboration with the entire team. Pg. 1

VIDEO GAME BINGE WEEKEND: "If you could do anything and get paid for it, what would it be?" My answer was more than a little abstract, and I said "Make weird noises" Pg. 38

OUR INTERACTIVE AUDIO FUTURE: Each person moves lockstep in time with the heartbeat of the city; like a million tracks of kick drum mixed below the threshold of hearing, but undeniably propelling each step. Pg. 68

CONCLUSIONS FROM GDC 2006 REPRISE: 2. I REMEMBER YOU FROM LAST YEAR, AND OTHER STORIES I OVERHEARD: People want to feel secure that you’ll be around for the long haul. #GameAudioGDC Pg. 100

4 GOLDEN RULES FOR TECHNICAL SOUND DESIGN: 3. COLLABORATOR CO-CONSPIRITORS: Finding ways to foster communication and creative solutions between people can only lead to a more refined and informed experience. Pg. 189

IMPLEMENTATION GREATS #5: This included subtly shifting, randomized background ambience w/ randomly placed elements as a solution to static looping soundscapes and presented a way out of the locked-loop confinements of last gen. Pg. 146

CREATING SOUND 3×5 INTERVIEW: Q) Please state, in exactly five words, your interest in #GameAudio: A) Noise, Parametric, Dynamic, Experimental, Unknown Pg. 123

KNOWING A THING OR TWO: Soon, your advocacy for #GameAudio has boosted your teammates’ expectations from a “few well-placed sounds” to a “breathing environment of sonic density.” Pg. 13

CONTENT IS KING: Support I've witnessed between sound professionals during online exchanges has constantly reinforced the beauty that exists between people who all have a profound respect for one another. Pg. 28

THE ROLE OF TECHNICAL SOUND DESIGNERS: The need for dedicated #GameAudio programmers is definitely growing as we continue to scale in meeting the demands of quality during the current generation. Pg. 119

BEEP DOCUMENTARY: It’s usually pretty fundamental to the role of the technical sound designer to be working directly with the content creators, as you’re building the system. Pg. 146

INTRO: It's my hope that these writings serve as a sign-post marking where #GameAudio has come from and as an inspiration for where interactive audio is to go in the future. Pg. 1

WWISE [HDR] AUDIO ADVENTURE: The availability of tools that can be used to design sounds that fit gameplay is a recipe for a bright future in what's to come. Pg. 87

BEEP DOCUMENTARY: So for me it’s the joy of discovery, as I’m kind of taking this journey with the game or with the system, because once the sound content goes into it, it’s like the paint on the canvas. Pg. 147

GAME AUDIO LONDON 2013: Sure, I like pulling off cool tricks and supporting sound and dynamics in games...but it's the people that make these tiny victories so much better. Pg. 77

DEATH OF AN AUDIO ENGINE: At the end of the day, it’s the talent, not the tools, that makes a great game. #GameAudio Pg. 35

RACING GAME SOUND STUDY: The earliest racing game engine sounds used the simulated vehicle RPM parameter to drive the pitch of a square wave. Pg. 51

CROSSING THE TWO-WAY STREET: However, there lies a magical place somewhere between content creation and tool-side implementation, where the flow of #GameAudio is fed back into the game in a two-way street of communication. Pg. 19

WORLD GAME AUDIO GROUPS: Like the ripples in a pond, our voices vibrate air in a magical dance of unseen consequence. #GameAudio Pg. 217