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October 17, 2019
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Rob Bridgett's Blog   Expert Blogs

 

Rob Bridgett is a senior audio director based in Montreal, Canada. In 1993 he attended Derby University to study cinema and media, after which he was one of the first to graduate from the ‘Sound Design for the Moving Image’ Master’s degree programme at Bournemouth University in 1999.

Throughout his career, Bridgett has become a committed writer, speaker and advocate for the promotion of 'sound as design', with publications in a wide variety of journals, books and magazines. 

 

   NOTE: Blog entries awaiting initial Gamasutra approval.

Expert Blogs

Posted by Rob Bridgett on Wed, 19 Jun 2019 10:28:00 EDT in Audio
An optimistic opinion-piece of the possibilities for spatial audio in games.


Posted by Rob Bridgett on Wed, 11 Mar 2015 12:55:00 EDT in Audio, Serious, Indie, Smartphone/Tablet
An look at some of the adaptive, mix specific features we've developed for our new mobile game at CWF. I'll detail some of the unique challenges we faced in making a game aimed at children playing in a classroom environment... with headphones.


Posted by Rob Bridgett on Fri, 19 Dec 2014 01:27:00 EST in Audio, Console/PC, Serious, Indie, Social/Online, Smartphone/Tablet
'Quality' can be a tricky beast to pin down and define. For some, 'high-quality audio' is simply a technical term referring to sample rates & bit depths. However, quality is something that needs attending to long before a sound makes it out of speaker...


Posted by Rob Bridgett on Thu, 18 Dec 2014 03:55:00 EST in Audio, Console/PC, Serious, Indie, Social/Online, Smartphone/Tablet
Throwing down some high-level, transparent goals for a game audio department which can help build more resourceful and confident teams with an elevated view of what is in front of them.


Posted by Rob Bridgett on Thu, 25 Sep 2014 02:39:00 EDT in Audio, Console/PC, Indie, Smartphone/Tablet
Game sound in both middleware and proprietary engines is controlled and connected to the game by parameters, switches and states. Do parameters hold the key to how deeply integrated into the game your sound really is?


Posted by Rob Bridgett on Sat, 05 Apr 2014 06:53:00 EDT in Audio, Design, Production, Indie, Smartphone/Tablet
This is a brief post-mortem on how the development team at Clockwork Fox Studios approached sound in the pre-school math title Ė Zorbitís Math Adventure (iOS / Android).



Rob Bridgett's Comments

Comment In: [Blog - 03/11/2015 - 12:55]

Thanks David Yes, the compression ...

Thanks David Yes, the compression range does end up feeling quite subtle - plus the slew rate rate at which the parameter responds to changes in the mic input values in Wwise really helps to smooth things out so that the compressor isn 't just leaping around all over the ...

Comment In: [Feature - 07/03/2013 - 03:55]

Just re-reading this. r nI ...

Just re-reading this. r nI like the sense of the creator/engineer eventually becoming some sort of 'pilot ' of the whole experience. I think the speculative fiction you have conjured up either consciously or unconsciously blurs the line we currently have between game player and game creator, that is a ...

Comment In: [Blog - 10/28/2013 - 11:53]

Great read Tomasz r nI ...

Great read Tomasz r nI really enjoyed the game, and the sound design was a big part of the unique aesthetic experience. Your point and example about 'thinking not being a substitute for playing ' is well made too - I think the closer to the metal that audio can ...

Comment In: [News - 08/20/2013 - 07:08]

I agree. r nAll of ...

I agree. r nAll of those games you mentioned have done exactly what Cage talks about for the 'future ', and way more. Some have done away with conventional narratives entirely, they haven 't only revolutionized the look of the medium, but the business and production models, the way they ...

Comment In: [Feature - 08/16/2013 - 02:00]

Lots to think about here, ...

Lots to think about here, great piece r nAn interesting production difference between music and games is that, for the bigger titles at least, games take so much longer to create. I think this often means they always feel about 3-5 years out of step with the times all their ...

Comment In: [Feature - 06/20/2012 - 04:05]

Hi Jesse, r nWhen the ...

Hi Jesse, r nWhen the dialogue was recorded, everything that came out of the pre 's Manley Slam was, generally speaking, around the -23 range. Average -23 , some of the yelling stuff around -18 to -11. They all mix very well together dynamically though, so yes, 'mastered ' at ...