Video Game Audio Assets (Your Team)

For our first cross-disciplinary project, we had worked on a video game entitled “Our Team” which was a solo game created by Anthony Sipos. Communication was achieved via google drive and gmail and it is also where the exchange of audio assets and brief information was given.

We had been given a brief to create both original compositions and audio assets for both the ingame diagetic and non diagetic aspects of the sound design. The brief was rather short but was concise enough to give us an overall feel of the world he wanted to achieve. We talked back and fourth to make sure both the audio we gave were coherent with the video game’s mis-en-scene.

Pre-Production Plan

Link to session folders

Link to Word Brief

Link to presentation

Firstly, we created a pre-production plan and allocated small tasks between the three of us. Since the development cycle of the game was rather short,we did not

Following the brief, each member was to tackle certain aspects of the game such as musical direction, sound fx and sound aesthetic.

Sound FX

For a majority of the sound fx, we had set out to use basic subtractive synthesis to achieve the sound we wanted.

For example here is the patch we used for our basic laser shooting sound. The sound is mainly powered using a simple sine oscillator which was from the is oscillated one octave up and pitched down via a short decay on envelope 2 to achieve a quick zappy sound. We had also inserted a long reverb to emulate the emptiness and vastness of space.


Another example is the sound of shields recharging. Since the laser sound was mostly triggered in the game since it was the main way of destroying ships, we explored more of the lower end aspect of the spectrum. The principals work the same as the laser sound but was pitched up via the attack instead of the decay and had started one octave below instead of dropping one octave down. The effect created a sound which would start from a low rumbling sub bass and would sweep to a higher octave.


For the other sound fx such as crash noises or warp gate initiation, the same principal also applied but we had changed the oscillators around and inserted automated with white noise to differentiate it with the other sounds we had already created.


For the foley we had rented the post suite and recorded some sounds using a total of 2 microphones both dynamic and condenser which can be seen in the production plan.

For recording techniques, we used a standard cardioid polar pattern with a mono input for all of our foley and sound effects. Since most of our sound fx were one shots and would be post processed in pro tools we did not use any analog consoles for our recordings.


For some of the recordings such as the wrench and bottle clangs, these were used in scenes of the game where the players upgraded their ships and so we utilized mainly mechanical noises as well as random foley sounds to recreate the sound of a workshop.


We had also used basic synthesis for some of the foley work and cross mixed them with other sounds we recorded from the studio. To achieve the engine sounds for the tracks they were a mixture of electrical hum leak we captured from a light bulb from the recording booth and also a mix of white noise and low-passed sine waves.


The sound FX and foley assets can be heard from here.



for the original soundtracks we set out to follow the brief that was given and explored different emotions and moods that would suit a particular scene. Since the game was set in space we explored the theme of emptiness and composed tracks with a lot of emphasis on long reverberant chords as well as the use of simple sine wave arpeggios to glue the game together. As with all the tracks we designed them modularly so that the game designer can cut them and loop them to what they specifically need and it won’t affect the progression of the s

We had originally compiled tracks that were in the same mis-en-scene from previous games and films that we had played in the past. The mood board of sound we compiled was essential in getting an early footing and also gave us direction on where we needed to go with the sound aesthetic. Anthony had also compiled a list of tracks in which the general sound direction of the game was headed and we combined both of his references and our references into one session.

Track 1: (Sadness)

For the first track, this piece was made to reflect a scene in the game where the main protagonist is stricken with grief over the death of his comrades and decides to go back to war to avenge his friends. Keeping with the theme of large reverberant sounds, we incorporated a sine wave arpeggio and a piano unison for the main melodic hook. As the progression goes on taiko drums, strings and a pad was added in and a phaser was post processed into the melodic tracks for a more interesting and drone sound.

Track 2: (Battle Scene)

For our battle music experimented with a harsher saw wave oscillator but still incorporating the same aesthetic coherency of low long pads and bright arpeggios. For the percussions we wanted to have a driving beat into the track and so we incorporated taiko drums into the track to emulate the sense of a war drum.

Track 3: (Main Menu)

The main menu music used the same coherency as the rest of the tracks but it has a more relaxed theme to it. Again with this track we used complex Arpeggiators to give it a futuristic feel as well as a long pad to glue the melodic content together.

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