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The Complete Guide to Game Audio: For Composers, Musicians, Sound Designers, and Game Developers
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- ISBN-101578200830
- ISBN-13978-1578200832
- PublisherFocal Press
- Publication dateOctober 1, 2001
- LanguageEnglish
- Dimensions7.25 x 1 x 9.25 inches
- Print length318 pages
Editorial Reviews
Review
"Aaron is truly a game audio expert and a great teacher." -- Jack Buser, computer and game initiative engineer, Dolby Laboratories
"An exhaustive and indispensable resource for game audio from initial concept to cashing the royalty checks." -- Jennifer Olsen, senior editor, Game Developer magazine
"I'm in awe at the amount and caliber of the content! Bravo!" -- - Dave Miner, Canada
"Somebody gag this guy! He's giving away all our secrets!" -- Chance Thomas, game composer and president, HUGEsound
"You've written a great book that has completely shown me the light. -- - Jonathan Brickley
I actually had tears in my eyes a couple of times, I think this book is what I needed." -- - Adam DiTroia
About the Author
Product details
- Publisher : Focal Press (October 1, 2001)
- Language : English
- Paperback : 318 pages
- ISBN-10 : 1578200830
- ISBN-13 : 978-1578200832
- Item Weight : 1.65 pounds
- Dimensions : 7.25 x 1 x 9.25 inches
- Best Sellers Rank: #6,916,327 in Books (See Top 100 in Books)
- #359 in Speech & Audio Processing
- #858 in TV & Video Engineering
- #1,258 in Computer & Video Game Design
- Customer Reviews:
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About the author

Best known as the author of The Complete Guide to Game Audio, Aaron Marks is not only an outspoken advocate of great audio in games, he is also an accomplished composer, sound designer, field recordist, voice over artist and owner of On Your Mark Music Productions based near San Diego, California. In addition, he is the lead author of the book, Game Audio Development, and is part of the audio production faculty at The Art Institute of California – San Diego. Some of his game credits include Operation Flashpoint: Dragon Rising, Tom Clancy’s ENDWAR, The Settlers II – 10th Anniversary, The Settlers Traditions Edition, bittosHD and numerous video slot machines around the country. He divides his time between his love for all things audio, his family and their menagerie of farm animals.
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All in all, this book bolsters Marks' credentials as a professional musician and businessman, and comes highly recommended to anyone interested in getting some excellent and no doubt hard-earned advice.
I have no doubt that, if you are looking for the information which is in this book it is good. The presentation is longwinded and very centered around the author rather than the topic itself it seems. At times, the book seems to lose all relevance to the audio industry. The interview with established video game artists are interesting, however I didn't find in them anything that I hadn't learned by playing around for a hours with recording techniques.
In conclusion, there are better books on the market in all regards except for the video game audio industry notes. For that I have found no better source, however it is wrapped in information which I already know, and that I found nearly impossible to sit through.
though it does not cover all game audio format used for games (ie: mods for shareware games), it's still an excellent book with infos on what to charge for your work, what to do to get started.
Let's take a closer look at the title - The Complete Guide to Game Audio: For Composers, Musicians, Sound Designers, and Game Developers.
For composers - yes. For musicians - yes. For sound designers - yes.
For DEVELOPERS - NO! I am a DSP Engineer with extensive MATLAB programming experience and I'm looking for a book that will help me develop audio applications in C++.
There is NOTHING here for the developer. Chapters 4,5,6 deal with finding jobs and landing a contract. What the Hell? I'm sure there are people that need that kind of advice - but when this is the title of your book, I expect job hunting to be appendix C.
The rest of the book is for musicians. Being a musician myself, and with some experience of studio production, I found the material to be alright. Nothing that really made me hang on to this book.
Pg. 289 0f 300 is where the developer bit starts. And it offers absolutely nothing, but more of the same general information contained in the preceding pages.
In short, this book is short on specifics and has a rather misleading title.
BE SURE TO READ THE CONTENTS THOROUGHLY BEFORE YOU PURCHASE IT. And if you still want it, I have it for sale in the Amazon Marketplace
If you already work in audio and are looking for a new source of clients then this book will help you prepare to tackle a new market.
If you make games and want to ensure that you will get the best from your audio staff then read this text. It will shed light on what is expected of you and what you can expect from composers and sound designers working in games.
BUY IT NOW!
LAX
