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Contenido proporcionado por Jordan Blackman. Todo el contenido del podcast, incluidos episodios, gráficos y descripciones de podcast, lo carga y proporciona directamente Jordan Blackman o su socio de plataforma de podcast. Si cree que alguien está utilizando su trabajo protegido por derechos de autor sin su permiso, puede seguir el proceso descrito aquí https://es.player.fm/legal.
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How to Become (or work with) a AAA Game Composer, with Michael Bross

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Manage episode 278297749 series 2828037
Contenido proporcionado por Jordan Blackman. Todo el contenido del podcast, incluidos episodios, gráficos y descripciones de podcast, lo carga y proporciona directamente Jordan Blackman o su socio de plataforma de podcast. Si cree que alguien está utilizando su trabajo protegido por derechos de autor sin su permiso, puede seguir el proceso descrito aquí https://es.player.fm/legal.

In this episode:

Jordan interviews AAA audio composer and sound designer Michael Bross, known for his work on games like Ratchet & Clank, Counter Strike, Oddworld, XCOM 2, Simpsons: Tapped Out, World of Tanks, Arena of Valor, and more. Michael shares insights on breaking into the game industry as a composer, what he looks for when hiring new talent, and when audio teams should be brought into the game development process. He also shares the importance of early audio integration in game development, his unique approach to concept composition, and how to get the best out of working with audio teams.

Topics covered:

  • Michael’s journey into the game industry and breaking into audio for AAA games
  • What Michael looks for when hiring new composers and sound designers
  • How early in the process to involve audio in game development
  • The role of audio in live service games (LiveOps) and how it has changed
  • The value of concept composition and creating music early in the design process
  • Tips for producers and developers to get the most from their audio teams
  • How LiveOps have changed the way audio is integrated into games

For more game industry tips:


Timestamps:

[02:53] Michael’s early career: From songwriter to game composer at Paragon Software

[06:18] The transition from small studios to AAA titles like Ratchet and Clank

[09:44] What Michael looks for in new composers and sound designers

[12:12] Concept composition: Creating music early to set the tone for game development

[16:15] Working with non-musical teams: How to give emotional direction to composers

[19:53] Balancing cinematic scores with gameplay

[23:03] How live operations (LiveOps) have changed the audio development process

[28:52] Challenges in VR audio development, including Edge of Nowhere

[34:20] Michael’s thoughts on audio’s role in evolving game genres and technologies


Resources & media mentioned in this episode:

Learn more about Michael Bross:


Games & companies mentioned:

  • Ratchet & Clank (Insomniac Games)
  • Counter-Strike (Valve)
  • Oddworld series (Oddworld Inhabitants)
  • XCOM 2 (Firaxis Games)
  • Simpsons: Tapped Out (EA Mobile)
  • World of Tanks (Wargaming)
  • Arena of Valor (TiMi Studio Group)
  • Edge of Nowhere (Insomniac Games)
  • Lord of the Fallen (Deck13 Interactive)
  • World of Warcraft (Blizzard Entertainment)

  continue reading

34 episodios

Artwork
iconCompartir
 
Manage episode 278297749 series 2828037
Contenido proporcionado por Jordan Blackman. Todo el contenido del podcast, incluidos episodios, gráficos y descripciones de podcast, lo carga y proporciona directamente Jordan Blackman o su socio de plataforma de podcast. Si cree que alguien está utilizando su trabajo protegido por derechos de autor sin su permiso, puede seguir el proceso descrito aquí https://es.player.fm/legal.

In this episode:

Jordan interviews AAA audio composer and sound designer Michael Bross, known for his work on games like Ratchet & Clank, Counter Strike, Oddworld, XCOM 2, Simpsons: Tapped Out, World of Tanks, Arena of Valor, and more. Michael shares insights on breaking into the game industry as a composer, what he looks for when hiring new talent, and when audio teams should be brought into the game development process. He also shares the importance of early audio integration in game development, his unique approach to concept composition, and how to get the best out of working with audio teams.

Topics covered:

  • Michael’s journey into the game industry and breaking into audio for AAA games
  • What Michael looks for when hiring new composers and sound designers
  • How early in the process to involve audio in game development
  • The role of audio in live service games (LiveOps) and how it has changed
  • The value of concept composition and creating music early in the design process
  • Tips for producers and developers to get the most from their audio teams
  • How LiveOps have changed the way audio is integrated into games

For more game industry tips:


Timestamps:

[02:53] Michael’s early career: From songwriter to game composer at Paragon Software

[06:18] The transition from small studios to AAA titles like Ratchet and Clank

[09:44] What Michael looks for in new composers and sound designers

[12:12] Concept composition: Creating music early to set the tone for game development

[16:15] Working with non-musical teams: How to give emotional direction to composers

[19:53] Balancing cinematic scores with gameplay

[23:03] How live operations (LiveOps) have changed the audio development process

[28:52] Challenges in VR audio development, including Edge of Nowhere

[34:20] Michael’s thoughts on audio’s role in evolving game genres and technologies


Resources & media mentioned in this episode:

Learn more about Michael Bross:


Games & companies mentioned:

  • Ratchet & Clank (Insomniac Games)
  • Counter-Strike (Valve)
  • Oddworld series (Oddworld Inhabitants)
  • XCOM 2 (Firaxis Games)
  • Simpsons: Tapped Out (EA Mobile)
  • World of Tanks (Wargaming)
  • Arena of Valor (TiMi Studio Group)
  • Edge of Nowhere (Insomniac Games)
  • Lord of the Fallen (Deck13 Interactive)
  • World of Warcraft (Blizzard Entertainment)

  continue reading

34 episodios

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