The Complete Guide to Game Audio: For Composers, Musicians, Sound Designers, Game Developers

It is hard to imagine a more complete text on video game music scoring. Not only was I struck by the book's comprehensive treatment of topics on composing music for video games, but I was also impressed with its visual appeal and the clarity of the author's explanations. The author begins with an overview of the issues involved in a career producing game music and then discusses the important skill sets and tools for composing game music, along with setting up a personal music studio (including surround sound). Next he considers the business of composing for video games and how to market one's work, create effective demos, and network with others. This leads to negotiating the deals with game developers, including the issue of agreements and contracts, as well as collaborating effectively with developers. The author discusses in great detail game music varieties, compositional approaches to video game music, recording, sound effects and sound design, and editing and mastering musical tracks, as well as all the relevant issues in music production. Next, there is a lot of information about game platforms and the nature of music and audio for these various formats. There is even a chapter addressed to the game developer, which does not lack for substantive information.Two appendices round off the volume--one on obtaining the help and resources you need to succeed as a video game composer, and the other on the various awards available to game composers. Interspersed throughout the text are insets called "Composer at Work," featuring short but valuable interviews with various game composers, and "Tools of the Trade," which are descriptions by different composers of the specific hardware and software they use in their studio. A DVD is included containing various audio samples and demos that were produced by the author and two dozen other composers, along with contract documents and information on surround sound for games.The text is presented with great clarity and is written in an approachable and interesting writing style and is highly informative, with excellent and salient illustrations. The author presents a lot of sound advice from one very experienced and conversant in the industry. Occasionally the author describes some very interesting personal experiences, such as a fascinating one where he was involved in a rather surreal contract negotiation--entertaining to read, but certainly not to have to go through. This book may very well become the standard volume for video game music, if it has not already, for I cannot think of any relevant or related topic that has been omitted or unsatisfactorily treated. Indeed it would be hard to imagine a topic related to video game scoring that is not discussed. Of course, one can probe even deeper into such areas as sound design and audio production with additional resources, but the author nevertheless covers the topics quite thoroughly.The book may be read straight through, or digested a chapter at a time, and it can serve as an excellent reference tool. In any case, it will be a valuable companion for any composer who wishes to pursue a career in video game scoring, or is already working as a game composer. If you want to understand how the world of video game scoring works, this book is the answer. All that remains is for the composer to be willing to exert the effort, develop one's creativity, and pursue it with tenacity, armed with a full understanding of what it takes to become a successful video game composer.

This book focuses more on the business side of game audio. If you are looking for a 'how to' guide for composing and sound design, this is not the book for you.However, for anyone interested in making a living by creating game audio content, this is a must read. Everything from networking, pricing your services, to standard contracts are covered. Of particular interest were the interviews throughout the book. Some more famous personalities, such as 'The Fat man' were interviewed, as well as some lesser known composers and sound designers. Some of them list what gear and software they use. I was surprised at both the spartan and the over the top set ups that some of these guys have.The disc that comes with the book has some very useful content. Perhaps the best was the demos provided. If you are serious about composing, listen to these demos, they will give you an idea of what skill level you will need if you want to get any jobs.Just a side note, at the end of the book Aaron suggests that you send him an email. I did, and got an encouraging response back from him. So he isn't just pretending to be a nice guy in the book, he really is!

Mr. Marks uses an informative yet casual tone to keep you both interested and grinning as you turn from page to page. The information contained in this book is incredibly detailed and he gives a practical basis for all situations you could find yourself in, as well as some anecdotes, examples, and fun along the way. If only text books read like this...This book is definitely for someone who is interested in game audio of any level, regardless of if it's for the indie game or the AAA industry. It's best geared towards someone hoping to make a possible career out of music and sound for games and interested in learning what opportunities are available, as well as what the environment, pricing, and sorts of equipment in the industry are standard (although with the way technology is going, the tech part is getting outdated rapidly).

This book was not for me. I'm a student for Game and Simulation Programming looking for good a good introduction to the basics of Game Audio. The author has targeted this book directly at audio engineers who already have a good head start and want to market themselves to game developers as contractors. The majority of the material is about making money, and in fact it seems the author can not pass a topic without some reference to getting paid. As I read through most of the book, the material that I would have found useful was lost in a mess of anecdotes and rambling about the plights that composers have.I rated it 2 stars because the writing was long winded, difficult to read, repetitious, incomplete, and poorly organized. This was not what I was expecting from a "complete guide".

This book details everything from the very beginning of game audio in the 70s to today, it gives you history lessons, tips and tricks, software to recommend, has audio creator interviews and tons of cool things about game audio. I bought this for a game course I was taking and I did learn ALOT about game audio, it was also nice seeing how audio has changed from the 8 bit era to today.

Aaron Marks touches on all of the key elements necessary to get started in the Game industry today. He makes a point to talk to you as a friend and guide you through the necessary steps to get you to where you need to be. I'm a novice Sound Designer and I can honestly say, that this book has been a really good guide so far. Thank you, Aaron!

This book has surprisingly little information in it for its size. Most of the chapters read like they are trying to use as many words as possible to say everything so they can stretch the book out. The information itself is mostly common sense information. Unfortunately I had to get it from class, and I'm sure that is the only reason it sells decently. Very little that we did in the course actually came from the book. It was more or less busy work to read the thing.

:-)

This is a very motivational book, focusing on the business end of game audio design as much as on studio planning, gear considerations, and sales. If you expect a how-to-make-a-monster-sound-type guide to sound design, there may be better alternatives in the field, like Ric Viers' sound effects bible. Nonetheless, for a person who is seriously considering a career in game audio in general and who wants general knowledge of all fields of the trade, this is a smart first read.The book is well structured and describes well the ever so growing need for professionals in game audio design. Chapter two therefore starts with the primary skills to succeed as attitude and business sense. From my personal experience, I would very much agree.I liked the testimonials of contemporary sound designers, but they are more a feature than a source for content. Still, it was a pretty nice personal touch.What I found to be really well thought through was the bidding, pricing, and finding and getting the job sections. If I would have had half that information when starting up our audio production company in Frankfurt it would have made things quite a bit smoother.The contract section really does focus on the US system, as the continental European legal systems are less case law and more written law oriented. As a result, not as many variables exist, therefore newcomers, with a little legal assistance, can start quite safely into creative fields, as opposed to very individual deals in the states. Still, a very good starting point for your own pricing and financial thoughts.The structures within developer and publishing companies are well described, so you know who to get in touch with and what to ask.However, audio production aspects covered in the back are covered as a tertiary aspect, therefore in this sense other publications may be preferable.For a film sound guy, knowing the specifics of gaming platforms and their limits and strengths were a must know item.Overall, I think this is a very reputable book to get a glimpse and understand the general tone and style of the industry. If it weren't for the "complete guide" aspiration, which in terms of audio production, sound design, and Foley it isn't, it would be a five star read.

I thought this book was on game audio, how to do it, models, examples, how to work with fmod, wwise, pro-tools etc.but it's more of the usual rubbish writing about the author and his/hers friends in sound design, what they think and shoulder padding all the time. So much filling material, not really serious, mainly just material on how people in the industry think, but now how they work or how engines work and stuff like that, which is what I'd expect from a book on this subject. not a book on people, but a book on a craft.waste of time in reading, and if I could choose, I'd return the book and get another one.

Sehr ausführliches Werk. Es wird nicht nur die musikalische Seite behandelt sondern auch technische (natürlich, das ist hier ja unumgänglich) und auch die wirtschaftliche.