Blog homepage

Game Audio Job Skills - How to Get Hired as a Game Sound Designer

Game Audio / Interactive Audio / Sound Design

Game Sound Design Skills: An Analysis of 100 Game Sound Job Postings

 

What are video game companies looking for when they need to hire sound designers or composers? Clearly skills like having a great ear, being fluent in modern recording techniques and knowing your way around a DAW are essential. But what specific skills or software are they looking for, above and beyond traditional sound design or composition expertise? What skills will put your resume on the ‘short list’ of people when deciding who to interview and hire?

 

To answer that question, we analyzed game audio job postings over a 4 month period from April through July 2020, looking at close to 100 job descriptions. We made note of what they listed as required or preferred skills and tabulated the results.

 

The jobs listed were salaried, employee-positions at companies; they do not reflect freelance work, such as a freelance composer or contract sound designer. Freelance work makes up about half of all game audio work. Also, for the purposes of this analysis, we did not track game audio jobs that were mainly computer programming jobs: i.e. “Audio Programmer” or other positions that did not include creating audio content.

 

Just about every job posting listed standard sound design skills such as familiarity with a DAW, audio creation tools, recording techniques and the like. So, we left out skills like recording, mixing, etc. However, we did count references to “ProTools” and “Reaper,” which were by far the most frequently called out DAWs.

 

Most Common Job Titles

There is no standard lexicon for game audio jobs. The most common job listing was for Sound Designer/Game Audio Designer, including everything from “Junior Sound Designer” to “Expert Sound Designer.” The table below shows the breakdown of job title as a percentage of all the job postings analyzed.

 
 
 

Skills Analysis

 

Below are the most frequently used terms in the job listings we looked at. Each listing was scanned for terms identical or similar to those below. The scan included the entirety of the job posting: the ‘required’ and ‘preferred’ sections of the job skills area as well as introduction and job function description. As noted above, we are leaving out standard sound design skills, such as “DAW” “professional audio tools” and the like, focusing on those most specific to game audio design.

 

Experience 69%

Not unexpectedly, the most frequently listed requirement was experience. Companies are looking for someone who can hit the ground running and is familiar with what it is like to work on a game project. Of note, however, is that although almost 7 in 10 job descriptions said that “experience” was a qualification, only about half of those specifically mentioned “AAA” experience, 36% in total. (AAA is the term the game industry uses for large-budget, multi-year games such as Red Dead Redemption, GTA and the like.)

Several job listings also implied that education might be a substitute for experience, though not for “AAA” experience (see education, below)

 

Wwise: 63%

More than 6 in 10 game audio job descriptions specifically called out Wwise as a required or preferred skill for their applicants. Wwise is specialized game audio industry software that takes sound and music files that you make in your DAW and puts it into an interactive format that can be integrated into the game itself. Wwise is completely free for the sound designer/composer and can be downloaded from www.audiokinetic.com.

 

Find out more about how often Scripting, Unreal, Formal Education, ProTools, Reaper, FMOD, Music Composition, Unity and other skills show up in the full article found on GameSoundCon, with some final notes on what to keep in mind when approaching different sized companies. 

 

 

Brian Schmidt

Brian Schmidt

Brian Schmidt has been creating music, sound and technology for games since 1987. He is the Executive Director of GameSoundCon, Audio Director at Digital Dreams Ent. and Sr. Lecturer at DigiPen.

 @gamesound

Comments

Leave a Reply

Your email address will not be published.

More articles

Drichtel: How I used spatialized audio for immersive art performances

Immersive art could be viewed as inherently redundant in that the principle of art itself requires...

28.8.2018 - By Axel Hélie Fontaine

Behind the sounds of «11 – 11 : Memories Retold »

« 11-11 : Memories Retold » is a narrative game, set during WW1, following the story of two...

21.11.2018 - By Yoann Morvan

Designing the Interactive Ambient Sound System for Game of Thrones: Winter is Coming

Creating ambient sounds for a scene is just like setting up an aquarium. The aquarium design should...

26.11.2019 - By Chang Liu ( 刘畅 )

Lumote: Using Wwise to Drive In-Game Visual FX

Hello to everyone out there in Wwise user land! My name is Paul Ruskay and I am the Audio Director...

5.2.2020 - By Paul Ruskay

Hardcore Mecha: Sound Design (Part 1)

Hello everyone! I’m Jian’an Wang, a composer and audio designer from RocketPunch Games. For the...

19.2.2020 - By Jian'an Wang (王健安 )

Location-Based Entertainment, Irregular speaker setups & Wwise

Wwise has a reputation for being used in console and PC game development where the number of audio...

9.9.2020 - By Shawn Laptiste

More articles

Drichtel: How I used spatialized audio for immersive art performances

Immersive art could be viewed as inherently redundant in that the principle of art itself requires...

Behind the sounds of «11 – 11 : Memories Retold »

« 11-11 : Memories Retold » is a narrative game, set during WW1, following the story of two...

Designing the Interactive Ambient Sound System for Game of Thrones: Winter is Coming

Creating ambient sounds for a scene is just like setting up an aquarium. The aquarium design should...