{"product_id":"focal-press-the-game-audio-strategy-guide-a-practical-course","title":"Focal Press The Game Audio Strategy Guide: A Practical Course","description":"\u003cdiv\u003e\n \u003ch2\u003eFocal Press 9781138498341 Overview\u003c\/h2\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n \u003cdiv\u003e\n  \u003cdiv\u003e\n   \u003cdiv\u003e\n    \u003cp\u003e\u003cb\u003eThe Game Audio Strategy Guide: A Practical Course\u003c\/b\u003e from \u003cb\u003eFocal Press\u003c\/b\u003e is a comprehensive text designed to turn both novices and experienced audio designers into technical game audio pros. Providing both a theoretical foundation and practical insights, The Game Audio Strategy Guide offers a thorough look at the tools and methods needed to create industry-quality music and sound design for games.\u003c\/p\u003e\n    \u003cp\u003eThe text is supported by an extensive companion website, featuring numerous practical tutorials and exercises, which allows the reader to gain hands-on experience creating and implementing audio assets for games. The Game Audio Strategy Guide is the essential manual for anyone interested in creating audio for games, inside or outside the classroom.\u003c\/p\u003e\n   \u003c\/div\u003e\n  \u003c\/div\u003e\n \u003c\/div\u003e\n \u003cdiv\u003e\n  \u003cdiv\u003e\n   \u003cdiv\u003e\n    \u003cdiv\u003e\n     \u003cdiv\u003e\n      \u003cdiv\u003e\n       Table of Contents\n      \u003c\/div\u003e\n     \u003c\/div\u003e\n     \u003cdiv\u003e\n      \u003cdiv\u003e\n       Foreword\n       \u003cbr\u003e Preface\n       \u003cbr\u003e Acknowledgements\n       \u003cbr\u003e INTRODUCTION\n       \u003cp\u003e\u003c\/p\u003e\n       \u003cp\u003e1. Getting Started\u003c\/p\u003e\n       \u003cp\u003eOur Goals for this Textbook\u003cbr\u003e Overview and Learning Outcomes\u003cbr\u003e Who Should Read this Book?\u003cbr\u003e How to Use this Book\u003cbr\u003e Requisite Knowledge\u003cbr\u003e Theoretical Framework\u003cbr\u003e Practical Framework, A.K.A. Companion Website (Sound Lab)?\u003cbr\u003e Visiting Artist's Tips\u003cbr\u003e Key Terms\u003cbr\u003e Further Reading\u003cbr\u003e Game Audio\u003cbr\u003e Game Development Roles Defined\u003cbr\u003e Essential Soft Skills and Tools For Game Audio\u003cbr\u003e Production Cycle and Planning\u003cbr\u003e Research\u003cbr\u003e Making Use of Downtime\u003c\/p\u003e\n       \u003cp\u003ePART I\u003cbr\u003e Sound Design\u003c\/p\u003e\n       \u003cp\u003e2. The Basics of Nonlinear Sound Design\u003cbr\u003e What is Nonlinear Sound Design?\u003cbr\u003e The Sound Design Process\u003cbr\u003e Challenges in Nonlinear Sound Design\u003cbr\u003e Exploring Immersion and Interactivity\u003cbr\u003e Essential Skills for Sound Designers\u003c\/p\u003e\n       \u003cp\u003e3. Designing Sound\u003cbr\u003e Dynamic Audio\u003cbr\u003e Sound Effects\u003cbr\u003e The Function of Sound in Games\u003cbr\u003e Designing the Sonic Palette\u003cbr\u003e Choosing the Right Source for Your Sonic Palette\u003cbr\u003e Sourcing Audio from Libraries\u003cbr\u003e Sourcing Sounds through Synthesis\u003cbr\u003e Sourcing Audio through Studio and Field Recording\u003cbr\u003e Field Recording\u003cbr\u003e Microphone Choice and Placement\u003cbr\u003e Performing Sound with Props\u003cbr\u003e Location Scouting and Preparation\u003cbr\u003e Designing Sound Effects\u003cbr\u003e Sound Design Techniques\u003cbr\u003e Effects Processing as a Sound Design Tool\u003cbr\u003e Putting It All Together\u003c\/p\u003e\n       \u003cp\u003e4. Voice Production\u003cbr\u003e Dialogue vs. Voice-Over\u003c\/p\u003e\n       \u003cp\u003e\u003cbr\u003e PART II\u003cbr\u003e Music\u003c\/p\u003e\n       \u003cp\u003e5. The Basics of Nonlinear Music\u003cbr\u003e What is Nonlinear Music?\u003cbr\u003e Challenges of Nonlinear Music Writing\u003cbr\u003e Essential Skills for the Game Composer\u003cbr\u003e Exploring Music as an Immersive Tool\u003cbr\u003e Diegetic vs. Non-Diegetic Music\u003cbr\u003e Production Cycle and Planning\u003cbr\u003e Working with a Team\u003cbr\u003e Platforms and Delivery\u003c\/p\u003e\n       \u003cp\u003e6. Composing Music\u003cbr\u003e Generating Musical Ideas and the Creative Cycle\u003cbr\u003e Starting Points for Musical Composition\u003cbr\u003e Composing Game Music\u003cbr\u003e Form and Structure in Game Music\u003c\/p\u003e\n       \u003cp\u003e7. Arranging and Orchestration for Games\u003cbr\u003e Genre and Style Considerations\u003cbr\u003e Foundations of Musical Texture in Games\u003cbr\u003e Arranging and Orchestrating Using Samples\u003cbr\u003e Templates\u003cbr\u003e Template Planning\u003cbr\u003e The Orchestral Instruments\u003cbr\u003e Writing for String Samples\u003cbr\u003e Writing for Woodwind and Brass Samples\u003cbr\u003e Writing for Choir Samples\u003cbr\u003e Writing for Percussion Samples\u003cbr\u003e Writing for Full Sampled Orchestra\u003cbr\u003e Advanced Orchestration and Arranging for Live Ensembles\u003cbr\u003e Working with Synthetic Timbres\u003cbr\u003e Other Styles of Arranging in Game Music\u003c\/p\u003e\n       \u003cp\u003ePART III\u003cbr\u003e Implementation\u003c\/p\u003e\n       \u003cp\u003e8. Audio Implementation\u003cbr\u003e Implementation Basics\u003cbr\u003e Dialogue Systems\u003cbr\u003e Dynamic Mix Systems\u003cbr\u003e Resource Management and Performance Optimization\u003cbr\u003e Testing, Debugging, and QA\u003c\/p\u003e\n       \u003cp\u003e9. Music Implementation\u003cbr\u003e Approaching Implementation\u003cbr\u003e Arranging and Orchestration as Implementation\u003cbr\u003e Advanced Vertical Techniques\u003cbr\u003e Advanced Horizontal Techniques\u003cbr\u003e Adding Randomness and Variation\u003cbr\u003e Composing Complex Adaptive Systems Using Middleware\u003cbr\u003e Aesthetic Creativity and Composing Outside the Box\u003cbr\u003e Tools for Experimentation\u003cbr\u003e Pure Data\u003cbr\u003e Simplicity vs. Complexity in Game Music\u003c\/p\u003e\n       \u003cp\u003ePART IV\u003cbr\u003e Business and Networking\u003c\/p\u003e\n       \u003cp\u003e10. The Business of Games, Part I: What Do We Do Now?\u003cbr\u003e Career Development: Overview and Philosophy\u003cbr\u003e Selecting Tangible Goals\u003cbr\u003e The Pyramid of Sustainability\u003cbr\u003e Career Paths in Game Audio\u003c\/p\u003e\n       \u003cp\u003e11. The Business of Games, Part II: Gigs, Gigs, Gigs!\u003cbr\u003e Networking and Creating Value\u003cbr\u003e Demonstrating Value\u003cbr\u003e Finding Work\u003cbr\u003e Business and Price Considerations\u003cbr\u003e The Final Bid\u003cbr\u003e Navigating Contracts\u003c\/p\u003e\n       \u003cp\u003e12. Your Game Audio Strategy Guide\u003cbr\u003e Audio Creator as Game Developer\u003c\/p\u003e\n       \u003cp\u003eIndex\u003c\/p\u003e\n      \u003c\/div\u003e\n     \u003c\/div\u003e\n    \u003c\/div\u003e\n   \u003c\/div\u003e\n   \u003cdiv\u003e\n    \u003cdiv\u003e\n     \u003cdiv\u003e\n      \u003cdiv\u003e\n       About the Authors\n      \u003c\/div\u003e\n     \u003c\/div\u003e\n     \u003cdiv\u003e\n      \u003cdiv\u003e\n       Gina Zdanowicz is an accomplished audio designer for games, film, TV, new realities, and podcasts. A graduate from Berklee College of Music with a degree in Music Synthesis, Gina honed her skills in game audio by working in house with game developers and founding her own independent sound studio, Serial Lab Sound. Gina has worked on over 100 video game and interactive titles and her work with Nickelodeon (TV) has been nominated for two Daytime Emmy awards. In addition to her career as an audio designer, Gina is a game audio course author and instructor at Berklee Online, a tutor at Thinkspace Education, and a lecturer at universities such as NYU and conferences around the world like GDC. Follow Gina at: www.seriallab.com\n       \u003cbr\u003e \n       \u003cbr\u003e Spencer Bambrick is a composer for games, film, and the concert stage. His recent work includes BestLuck (2018, PC, Mobile), Block Party (Emmy-Nominated Nick Jr. Series of Animated Shorts), and additional music for Paladins (Hi-Rez Studios). Spencer is the Game Audio Network Guild Northeast Regional Director and he has presented at GameSoundCon (2018, 2017), PAX Dev (2016), and MAGFest (2015). He is currently pursuing his doctorate in Music Composition at The University of Hartford (The Hartt School), studying interactive music, game technology, and social activism.\n      \u003c\/div\u003e\n     \u003c\/div\u003e\n    \u003c\/div\u003e\n   \u003c\/div\u003e\n  \u003c\/div\u003e\n \u003c\/div\u003e\n \u003cdiv\u003e\n  \u003cdiv\u003e\n   \u003ch4\u003eIn the Box\u003c\/h4\u003e\n   \u003cul\u003e\n    \u003cli\u003e\u003cspan\u003eFocal Press The Game Audio Strategy Guide: A Practical Course\u003c\/span\u003e\u003c\/li\u003e\n   \u003c\/ul\u003e\n  \u003c\/div\u003e\n \u003c\/div\u003e\n \u003cdiv\u003e\u003c\/div\u003e\n \u003cul\u003e\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n \u003cdiv\u003e\n  \u003cdiv\u003e\n   \u003cdiv\u003e\n    \u003cdiv\u003e\n     \u003cdiv\u003e\n      \u003ch2\u003eFocal Press 9781138498341 Specs\u003c\/h2\u003e\n     \u003c\/div\u003e\n     \u003cdiv\u003e\n      \u003ctable\u003e\n       \u003ctbody\u003e\n        \u003ctr\u003e\n         \u003ctd\u003eAuthor\u003c\/td\u003e\n         \u003ctd\u003e\n          \u003cdiv\u003e\n           \u003cspan\u003eGina Zdanowicz, Spencer Bambrick\u003c\/span\u003e\n          \u003c\/div\u003e\n\u003c\/td\u003e\n        \u003c\/tr\u003e\n        \u003ctr\u003e\n         \u003ctd\u003ePublisher\u003c\/td\u003e\n         \u003ctd\u003e\n          \u003cdiv\u003e\n           \u003cspan\u003eFocal Press\u003c\/span\u003e\n          \u003c\/div\u003e\n\u003c\/td\u003e\n        \u003c\/tr\u003e\n        \u003ctr\u003e\n         \u003ctd\u003ePublication Date\u003c\/td\u003e\n         \u003ctd\u003e\n          \u003cdiv\u003e\n           \u003cspan\u003eDecember 17, 2019\u003c\/span\u003e\n          \u003c\/div\u003e\n\u003c\/td\u003e\n        \u003c\/tr\u003e\n        \u003ctr\u003e\n         \u003ctd\u003eEdition\u003c\/td\u003e\n         \u003ctd\u003e\n          \u003cdiv\u003e\n           \u003cspan\u003e1st\u003c\/span\u003e\n          \u003c\/div\u003e\n\u003c\/td\u003e\n        \u003c\/tr\u003e\n        \u003ctr\u003e\n         \u003ctd\u003eISBN Number\u003c\/td\u003e\n         \u003ctd\u003e\n          \u003cdiv\u003e\n           \u003cspan\u003e9781138498341\u003c\/span\u003e\n          \u003c\/div\u003e\n\u003c\/td\u003e\n        \u003c\/tr\u003e\n        \u003ctr\u003e\n         \u003ctd\u003eNumber of Pages\u003c\/td\u003e\n         \u003ctd\u003e\n          \u003cdiv\u003e\n           \u003cspan\u003e416\u003c\/span\u003e\n          \u003c\/div\u003e\n\u003c\/td\u003e\n        \u003c\/tr\u003e\n        \u003ctr\u003e\n         \u003ctd\u003eCover Type\u003c\/td\u003e\n         \u003ctd\u003e\n          \u003cdiv\u003e\n           \u003cspan\u003eSoft\u003c\/span\u003e\n          \u003c\/div\u003e\n\u003c\/td\u003e\n        \u003c\/tr\u003e\n        \u003ctr\u003e\n         \u003ctd\u003eIllustrations\u003c\/td\u003e\n         \u003ctd\u003e\n          \u003cdiv\u003e\n           \u003cspan\u003e32 Black \u0026amp; White Illustrations\u003c\/span\u003e\n          \u003c\/div\u003e\n\u003c\/td\u003e\n        \u003c\/tr\u003e\n       \u003c\/tbody\u003e\n      \u003c\/table\u003e\n     \u003c\/div\u003e\n    \u003c\/div\u003e\n   \u003c\/div\u003e\n  \u003c\/div\u003e\n \u003c\/div\u003e\n\u003c\/div\u003e\u003cbr\u003eAll product and company names are trademarks™ or registered® trademarks of their respective holders. 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