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      Download the Game Design and Indie Game Marketing Freebook   07/19/17

      GameDev.net and CRC Press have teamed up to bring a free ebook of content curated from top titles published by CRC Press. The freebook, Practices of Game Design & Indie Game Marketing, includes chapters from The Art of Game Design: A Book of Lenses, A Practical Guide to Indie Game Marketing, and An Architectural Approach to Level Design. The GameDev.net FreeBook is relevant to game designers, developers, and those interested in learning more about the challenges in game development. We know game development can be a tough discipline and business, so we picked several chapters from CRC Press titles that we thought would be of interest to you, the GameDev.net audience, in your journey to design, develop, and market your next game. The free ebook is available through CRC Press by clicking here. The Curated Books The Art of Game Design: A Book of Lenses, Second Edition, by Jesse Schell Presents 100+ sets of questions, or different lenses, for viewing a game’s design, encompassing diverse fields such as psychology, architecture, music, film, software engineering, theme park design, mathematics, anthropology, and more. Written by one of the world's top game designers, this book describes the deepest and most fundamental principles of game design, demonstrating how tactics used in board, card, and athletic games also work in video games. It provides practical instruction on creating world-class games that will be played again and again. View it here. A Practical Guide to Indie Game Marketing, by Joel Dreskin Marketing is an essential but too frequently overlooked or minimized component of the release plan for indie games. A Practical Guide to Indie Game Marketing provides you with the tools needed to build visibility and sell your indie games. With special focus on those developers with small budgets and limited staff and resources, this book is packed with tangible recommendations and techniques that you can put to use immediately. As a seasoned professional of the indie game arena, author Joel Dreskin gives you insight into practical, real-world experiences of marketing numerous successful games and also provides stories of the failures. View it here. An Architectural Approach to Level Design This is one of the first books to integrate architectural and spatial design theory with the field of level design. The book presents architectural techniques and theories for level designers to use in their own work. It connects architecture and level design in different ways that address the practical elements of how designers construct space and the experiential elements of how and why humans interact with this space. Throughout the text, readers learn skills for spatial layout, evoking emotion through gamespaces, and creating better levels through architectural theory. View it here. Learn more and download the ebook by clicking here. Did you know? GameDev.net and CRC Press also recently teamed up to bring GDNet+ Members up to a 20% discount on all CRC Press books. Learn more about this and other benefits here.

Henrythetrain

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  1. Im with soundcloud gang, I dont like the compression rates on youtube videos and I like that I can upload wavs straight to soundcloud
  2. [quote name='Tom Sloper' timestamp='1342707366' post='4960942'] 2. As Simon said, one standard practice is to use an hourly rate. The other is to use a per-piece rate (X dollars per minute of music, X dollars per sound effect, etc.). The rates Simon quoted you are extremely high for a novice to ask. Since you were expecting to do this work for free, you need to reply to "the gentleman" and ask him to make you an offer. He's asked you to name a figure first - your reply should be to ask him to name a figure. If you quote him 30 Euro per hour (which is very high for a novice), you might never hear back from him (he could just disappear on you). [/quote] I think this makes the most sense for my postion, thats the major concern for me at the moment (getting steady work from him) and as I was'nt expecting any money from this anyway it might be best for him to suggest a figure first Thanks for all the advice
  3. Hi guys, Bit of time since I was last here but was looking for advice from the Freelancers (past & present), how do you go about setting prices for your work on projects? are there certain factors that always come into play. I ask because I have been working for a gentleman doing sound for his Iphone game, I was under the impression it was unpaid but he contacted me yesterday and told me to estimate a figure for the work I have done I did no programing of audio into the game just sent him .Wav files, 4 sound effects and a small loop of menu music. This is my first time freelancing and basically trying to put a price on something I have created is what I'm finding tricky!
  4. I like putting songs I write through a visualizer it's a nice way to see what your music is doing. I often find when I'm solely listening back to a track I try [i]too[/i] hard to pick out things when i run it in a visualizer it helps me see the piece as a whole again not all the separate tracks
  5. I had made a note that after I finished reading the best of 2011 articles on the game-sites I use I was going to give the bastion soundtrack a listen, it had got so much positive attention that i was intrigued, anyways I bought it last night, and just think it is a such a fantastic piece of work I haven't even got round to playing bastion but that soundtrack stands up on its own. The production is superb and I love the folk setting with trip-hop background feel. One of the truly great soundtracks of last year.
  6. Fruity loops is a very powerful program with a surprising amount of depth, if your serious about creating music for games it is worth splashing out some cash also you'll find that once you start delving into the program there's a lot there for the price, as with anything the more time you put into FL the more you'll reap the rewards. eBay is worth having a look for cheap prices.
  7. Thanks for the tips, I will look to build on this and add more layers. Thank you
  8. Hi Guys, I'm at uni in the UK and the Blitz game academy open day's are coming up for students, I signed up and was given an audio brief. I completed it the other day I thought it would probably be a good idea to share with you guys get some critical feedback before I here back from Blitz. http://vimeo.com/34251345 The brief was game-play footage focusing on ambient sounds, spot effects and Foley placed suitable within the environment it was around 60% generated sounds to 40% sampled Thanks and Happy New Year to all on gamedev forum's
  9. Really Interesting Post, I especially enjoyed the brief they gave you for the sound " immense power striving to break free" That sounds like a fun sound to try and create!
  10. Thanks for the help and advice all very useful stuff!
  11. Hi guys I am a second year student studying audio and music technology, the course focus's a lot on recording, editing, and programming. We have a module called music for games (but not available till the third year). After our second year we can look at taking a year in industry, and I would love to find a placement with a games studio working in the audio team, im sure a junior position will feature small editing roles and i feel i have the right attributes for this. So i spent a lot of time reading up on game sound and making some trailers and show reel material. The reason i'm posting here is because my university's placement office has no idea about this industry and no similar stories of people who have tried this career path before, so looking on developer websites it seems you can only apply for roles at certain opportunity's, do you guys know when companies start looking for interns for there next year? I should say I'm a UK student however I will be looking abroad as well. America/Canada, I know its quite a broad question but I will be grateful for any help you can give Thanks
  12. [quote name='Moritz P.G. Katz' timestamp='1316256567' post='4862743'] For ricochets, I don't know an alternative to either using existing sounds or recording a heavy impact yourself with the mic at a close distance, e.g. with a pellet gun or slingshot stone/coin/nail/whatever hitting your desired material (stone/metal/wood). Try not to hurt yourself (or the mics) though! [/quote] Dangerous game this recording business isn't it. Thanks for the tips
  13. Hello all, I'm working away on my first show reel and my piece focus's on someone running away ( in first person) while being shot at, im just struggling at the moment with getting a nice sound for the bullet ricochet, I cant quite seem to get that really fast rush of air and "ping" sound working without it sounding really really cheesy if that makes sense. Ive been trying this part of my show reel with sounds from free SFX sites and manipulating them, not my own recordings, to show I can do both aspects. Trying to add emphasis on the mid to upper range of the sound to add that sense of danger but so far like I said just doesn't feel right. Any tips on how to make a nice bullet ricochet?
  14. Again thank you there's some really great advice here, espically for someone relatively new to the industry I look forward to putting it into practice! [quote]Here's a few review sites with AUDIO examples to hear the difference between portable recorders. [url="http://www.wingfieldaudio.com/portable-recorder-sound-samples.html"]SITE 1 - AUDIO EXAMPLES[/url] [url="http://www.wingfieldaudio.com/portable-recorder-noise.html#samples"]SITE 2 - AUDIO EXAMPLES[/url][/quote] These are a great help for deciding, lovely to hear some examples for myself. Thanks alot
  15. Thanks for all the advice, lots of options for me to choose, I think im going to get a portable recorder just as it seems like a useful thing to have for the future and then, if I need higher end equipment I will borrow condensor mics from uni