Learn Game Audio Production

Next Start Date: Thursday, April 11th, 2024

Course Overview: Game Audio Production

In this course students explore effective sound design techniques for adaptive audio. Games mix between linear and interactive playback as the player moves between sequences – known as “cutscenes” and game play.  Students compose music, create sound design and dialog assets for implementation into the cutscenes and interactive portions of a game. Students work with audio as components for interactive playback and will explore various game engine sound implementation tools. 

Level 1

  • Introduction to the history and evolution of game audio.
  • Overview of the workflow and processes involved in game audio production.
  • Focus on recording and integrating dialog and Foley sounds into games.
  • Techniques for capturing and editing voiceovers and Foley effects.
  • Exploration of sound effect creation and manipulation techniques.
  • Specific attention to vehicle sounds and their implementation in games.
  • Creating and integrating background ambiences and music into games.
  • Understanding the role of music in enhancing the gaming experience.
  • Handling audio for in-game cinematics and cutscenes.
  • Ensuring seamless audio transitions between gameplay and cinematics.
  • Review and assessment of the first project, “Angry Bots.”
  • Introduction to Audiokinetics Wwise, middleware tool for game audio.
  • Learning the basics of Wwise for audio implementation.
  • Creating immersive soundscapes for games.
  • Understanding synchronization techniques for audio in games.
  • Techniques for creating spatial audio in games.
  • Understanding the flow of audio signals within a game engine.
  • Finalizing the audio mix for games.
  • Optimizing audio assets for performance and memory efficiency.
  • Review and assessment of the second project, “Cube.”
  • Introduction to Firelight Technologies FMOD, another middleware tool for game audio.
  • Learning the basics of FMOD for audio implementation.

Level 2

  • In-depth exploration of recording techniques for various audio elements.
  • Focus on creating and editing sound effects for games.
  • Review and assessment of the third project, “Nightmares.”
  • Learning to implement music using FMOD.
  • Focusing on basic music integration techniques.
  • In the final phase, students work on more complex projects that involve loops, layered audio, and smooth transitions

Discover The Making Of The Sound Track For The Xbox One Exclusive Title:

Discover the making of the soundtrack for “Sunset Overdrive” an award winning 3rd person shooter game, that involved 42 original compositions with 14 bands and artists from all over the USA. All co-written & produced by Pyramind founder, Greg Gordon.

Paul Mudra Audio Director Insomniac Games

Paul Mudra: Audio Director, Insomniac Games

“Thanks for all the great work on the music for the game Greg! It’s one of the best soundtracks I’ve ever worked on… I can’t get enough of it and listen to the tracks all the time!”

1-on-1 coaching

24/7 access to our extensive learning management system

group accountability

What some of our students say about the
benefits of their Pyramind experience
The relationships I gained through this school were incredible and vital. I got my internship opportunity with DoubleFine through Pyramind and was mentored by the award-winning Game Audio Director, Emily Ridgway. I also got to work beside one of the best sound designers, Brian Min, all under the roof of video game icon, Tim Schafer.. Now I’m the Audio Director!

Camden Stoddard

  • Audio Director at Doublefine Studios
  • Pyramind Alumni
What some of our students say about the
benefits of their Pyramind experience
“Some of the most important things I learned at Pyramind that I use the most are game audio implementation and game audio technology… I had started learning programing on my own to supplement the classes and that on top of the classes that taught me how to get started in Unity, how to put audio into a level and mix in game was really useful. Just after graduating, Pyramind got me an interview with Nick Gallant, Audio Director at Disney Interactive and that was my first job out of school”

Brennan Anderson

  • Senior Sound Designer Riot Games
  • Pyramind Alumni
What some of our students say about the
benefits of their Pyramind experience
I came to Pyramind because I’ve been a musician my whole life and I was always very intrigued by interactive music for games and I wanted to learn from the very best so I came here.

Joshua Gouzy

  • Audio Designer
  • Turn 10 Studios a Microsoft AAA Developer
  • Pyramind Alumni
What some of our students say about the
benefits of their Pyramind experience
Pyramind provided me a supportive environment to learn and participate with others that share my interest in game audio. Their excellent instructors helped inspire and focus my passion. Their frequent events related to music and games helped me to learn from and network with many important people in the game audio community.

Shawn Minoux

  • Principal Sound Designer at Blizzard Entertaiment
  • Pyramind Alumni

Ready to Enroll?

  • In person Training
  • Online Hybrid Option Available
  • 1 three hour session per week for 12 weeks
  • book Personal studio time each week
  • access to our extensive SFX Libraries, mics, recording rooms & Studios