[{"data":1,"prerenderedAt":482},["ShallowReactive",2],{"$f2kcnne5bkxkbi":3},{"seo":4,"featuredLinks":7,"hero":29,"allTypes":32,"allArticles":57},{"title":5,"description":6,"image":6},"Unplugged",null,[8,18],{"label":9,"copy":10,"isNew":11,"url":12,"asset":13},"WARDOGS","Game Audio Interview with Sean Garavan and Albin Jansson",true,"https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=e9npQHRlF7M",{"data":14,"alt":17},{"src":15,"width":16,"height":16,"isVideo":11},"https:\u002F\u002Fserve.sweejstream.tv\u002Fmediaconvert\u002Fpublic\u002Fwebsitemedia\u002Farticles\u002Fwardogs_article.mp4",400,"",{"label":19,"copy":20,"isNew":21,"url":22,"asset":23},"Star Wars Battlefront","Ben Minto: “We put a sound in with one in a million chance of it playing”",false,"https:\u002F\u002Fheadlinerhub.com\u002Fben-minto-star-wars-battlefront-sound-design-we-put-a-sound-in-with-one-in-a-million-chance-of-it-playing.html",{"data":24,"alt":17},{"src":25,"fallbackSrc":6,"width":26,"height":26,"isVideo":21,"focalPoint":27},"\u002F189939\u002F1793111304-article-1.jpg",184,{"x":28,"y":28},0.5,{"title":30,"subtitle":31},"SJSG \u003Cstrong>Archive\u003C\u002Fstrong>","Tales from the team",[33,37,41,45,49,53],{"slug":34,"label":35,"colour":36},"article","Article","#00DB0F",{"slug":38,"label":39,"colour":40},"interview","Interview","#EA04FF",{"slug":42,"label":43,"colour":44},"podcast","Podcast","#FF4400",{"slug":46,"label":47,"colour":48},"talk","Talk","#4CBED8",{"slug":50,"label":51,"colour":52},"sweejtech","SweejTech","#006FFF",{"slug":54,"label":55,"colour":56},"sweet-justice","Sweet Justice","#FFAE00",[58,69,76,82,89,95,106,111,118,123,129,138,144,150,156,161,166,173,180,185,191,196,201,207,213,218,223,234,239,244,249,254,259,264,269,275,281,286,291,296,301,306,311,316,322,327,332,340,345,350,356,361,367,375,381,386,391,396,401,407,412,418,423,428,435,440,445,450,455,460,466,471,477],{"title":59,"year":60,"talkingHead":61,"format":62,"excerpt":63,"url":12,"asset":64,"types":68},"WARDOGS – Game Audio Interview with Sean Garavan and Albin Jansson","2026","Albin Jansson","Video Podcast","Albin and Bulkhead's Sean Garavan talk through WARDOGS' audio on the Audio Logs podcast, from UE5 HDR, 3D audio and SweejTech's tech to proximity chat, footsteps, mix states and why you can get hit before you hear the shot.",{"data":65,"alt":17},{"src":15,"width":66,"height":67,"isVideo":11},602,340,[38,42,50],{"title":70,"year":71,"talkingHead":61,"format":72,"excerpt":73,"url":74,"asset":6,"types":75},"Amplifying the Unreal Audio Engine With Extensions and Plugins | Unreal Fest Orlando 2025","2025","Video Talk","A SweejTech walk through the extension points in Unreal's audio engine, from MetaSounds nodes and the Builder API to bus effects and unit tests, using its own HDR, ambience and reverb tools as examples.","https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=3jIE6eo8t6A",[46,50],{"title":77,"year":71,"talkingHead":78,"format":47,"excerpt":79,"url":80,"asset":6,"types":81},"\"The Art of Creative Sound Design\" Michael Leaning, Senior Sound Designer, Sweet Justice Sound","Michael Leaning","Michael talks about the creative side of sound design and how he approaches it, at the Leeds game audio symposium.","https:\u002F\u002Fgameaudiosymposium.com\u002Fgas-2025",[46,54],{"title":83,"year":84,"talkingHead":85,"format":43,"excerpt":86,"url":87,"asset":6,"types":88},"Guess That Sound 2024: Sound Pro Smackdown","2024","Zachary Quarles","Twenty Thousand Hertz's annual mystery sound quiz, with three audio pros including Zach competing to name the sounds.","https:\u002F\u002Fwww.20k.org\u002Fepisodes\u002Fsound-pro-smackdown",[42],{"title":90,"year":91,"talkingHead":55,"format":34,"excerpt":92,"url":93,"asset":6,"types":94},"God of War Ragnarök: Behind The Epic Game Audio","2023","Santa Monica's sound leads break down Ragnarök's audio, with Sweet Justice credited for the Berserkers, Odin, Thor, Dreki and Wisps.","https:\u002F\u002Fwww.asoundeffect.com\u002Fgod-of-war-ragnarok-game-audio\u002F",[38,42],{"title":96,"year":91,"talkingHead":55,"format":38,"excerpt":97,"url":98,"asset":99,"types":105},"Behind the Sounds of Electric Dreams \u002F Inside Unreal","Epic's livestream with the Sweet Justice audio team on the Electric Dreams demo, covering ambience, vehicles, MetaSounds and convolution reverb, with a Q&A.","https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=0ZcOpaZqMqo",{"data":100,"alt":17},{"src":101,"fallbackSrc":6,"width":102,"height":103,"isVideo":21,"focalPoint":104},"\u002F189939\u002F1793111360-article-4.jpg",464,262,{"x":28,"y":28},[38,42],{"title":107,"year":91,"talkingHead":61,"format":72,"excerpt":108,"url":109,"asset":6,"types":110},"Building the Audio Inspector: How To Create a Great Workflow Using Data-Oriented User Experience | Unreal Fest 2023","A SweejTech talk on building an Unreal editor tool that only shows the audio data you actually need, and what that means for workflow.","https:\u002F\u002Fdev.epicgames.com\u002Fcommunity\u002Flearning\u002Ftalks-and-demos\u002F5LYZ\u002Funreal-engine-building-the-audio-inspector-how-to-create-a-great-workflow-using-data-oriented-user-experience-unreal-fest-2023",[46,50],{"title":112,"year":91,"talkingHead":113,"format":114,"excerpt":115,"url":116,"asset":6,"types":117},"Game Audio Mixing Insights to Improve Your Mixing Performance - Chapter by Ben Minto","Ben Minto","chapter","Alex Riviere's book on mixing for games, drawing on audio directors including Ben for advice on planning, bussing, dynamics and spatial audio.","https:\u002F\u002Fwww.routledge.com\u002FGame-Audio-Mixing-Insights-to-Improve-Your-Mixing-Performance\u002FRiviere\u002Fp\u002Fbook\u002F9781032397351",[34],{"title":119,"year":91,"talkingHead":113,"format":47,"excerpt":120,"url":121,"asset":6,"types":122},"Sound Design Panel","Ben sits on the GAS 2023 sound design panel at Leeds Beckett alongside leads from Frontier, PlayStation, Pitstop and Rare.","https:\u002F\u002Fgameaudiosymposium.com\u002Fgas-2023",[46,54],{"title":124,"year":91,"talkingHead":113,"format":125,"excerpt":126,"url":127,"asset":6,"types":128},"As Battlefield 1943 shuts down, DICE looks back on its scrappy, console-exclusive classic","retro","As EA delists Battlefield 1943, Ben and two DICE leads recall making a small, quick console spin-off while the studio rebuilt Battlefield.","https:\u002F\u002Fwww.gamesradar.com\u002Fas-battlefield-1943-shuts-down-dice-looks-back-on-its-scrappy-console-exclusive-classic\u002F",[34],{"title":130,"year":91,"talkingHead":55,"format":35,"excerpt":131,"url":132,"asset":133,"types":137},"MPSE Wavelength – Traversing the Sonic Universe of Sweet Justice","MPSE's Wavelength magazine profiles the studio, its people and how it approaches sound across games and cinematics.","https:\u002F\u002Fdigital.copcomm.com\u002Fi\u002F1490686-spring-2023\u002F39?",{"data":134,"alt":17},{"src":135,"fallbackSrc":6,"width":102,"height":103,"isVideo":21,"focalPoint":136},"\u002F189939\u002F1793523797-sj-magazine-cover-med-169.jpg",{"x":28,"y":28},[34,54],{"title":139,"year":140,"talkingHead":113,"format":34,"excerpt":141,"url":142,"asset":6,"types":143},"DICE At The Opera","2022","A Royal Swedish Opera concert marking DICE's 30th birthday, with the Royal Court Orchestra playing Battlefield, Battlefront and Mirror's Edge music.","https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20220813055314\u002Fhttps:\u002F\u002Fwww.operan.se\u002Fforestallningar\u002Fdice-at-the-opera\u002F",[34],{"title":145,"year":140,"talkingHead":113,"format":146,"excerpt":147,"url":148,"asset":6,"types":149},"The Mix Room E53: Ben Minto","Audio","Ben talks Star Wars Battlefront sound, his game audio pet hates, immersive formats and why he mixes on Genelecs, on Headliner's Mix Room podcast.","https:\u002F\u002Fpodcasts.apple.com\u002Fgb\u002Fpodcast\u002Fthe-mix-room-e53-ben-minto\u002Fid1506382905?i=1000589996002",[42],{"title":151,"year":140,"talkingHead":152,"format":72,"excerpt":153,"url":154,"asset":6,"types":155},"Weapon Sound Design With Unreal Engine Audio | GameSoundCon 2022","Gustav Rathsman","Gustav's GameSoundCon talk on building realistic weapon systems in MetaSounds and using Lyra and Unreal Audio to vary large weapon sets procedurally.","https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=LRlWd_m7q6U&t=833s",[46,50],{"title":157,"year":140,"talkingHead":113,"format":125,"excerpt":158,"url":159,"asset":6,"types":160},"All guns blazing - A deep dive into the production of Criterion’s Black, and its cancelled sequel","Long feature on how Criterion made Black in nine months and why its sequel died, with Ben on the gunfire and PS2 memory tricks.","https:\u002F\u002Fburlybirdmedia.com\u002Farchive\u002Fcriterionsblackfeature",[34],{"title":162,"year":140,"talkingHead":113,"format":125,"excerpt":163,"url":164,"asset":6,"types":165},"The Sound Design of Mirror's Edge (ft. Solar Fields) | SiG","A video essay pulling apart Mirror's Edge's footsteps, breathing, guns and ambience, with composer Solar Fields on the stem based music.","https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=1u1hXoo_Brw",[42],{"title":167,"year":140,"talkingHead":113,"format":125,"excerpt":168,"url":22,"asset":169,"types":172},"Ben Minto on Star Wars Battlefront’s sound design: “We put a sound in with one in a million chance of it playing”","Ben on working from Skywalker Sound's original Star Wars recordings for Battlefront, a Chewbacca easter egg, Atmos, AI's likely effect on game audio, and his move to Sweet Justice.",{"data":170,"alt":17},{"src":25,"fallbackSrc":6,"width":102,"height":103,"isVideo":21,"focalPoint":171},{"x":28,"y":28},[34],{"title":174,"year":175,"talkingHead":176,"format":47,"excerpt":177,"url":178,"asset":6,"types":179},"The three best and worst technical audio systems from The Ascent (John Tennant and Joe Thom)","2021","Joe Thom & John Tennant","A write up of Develop's Audio Day including Joe and John on The Ascent's Wwise setup, micro stories for background life and one shot area stingers.","https:\u002F\u002Fwww.thesoundarchitect.co.uk\u002Fdevelop-2021-audio-day\u002F",[46,54],{"title":181,"year":175,"talkingHead":55,"format":35,"excerpt":182,"url":183,"asset":6,"types":184},"Meet Sweet Justice: the external sound team bringing audio excellence to Fortnite, Halo, Star Wars and Demon's Souls","A studio profile covering how Sweet Justice works as an outsourced sound team across Fortnite, Halo, Star Wars and Demon's Souls.","https:\u002F\u002Fwww.gamesindustry.biz\u002Fmeet-sweet-justice-the-external-sound-team-bringing-audio-excellence-to-fortnite-halo-star-wars-and-demons-souls",[34,54],{"title":186,"year":175,"talkingHead":187,"format":35,"excerpt":188,"url":189,"asset":6,"types":190},"Creating The Ascent’s Cyberpunked Sound","Samuel Justice, Joe Thom, Stefan Rutherford, Csaba Wagner & John Tennant","The Sweet Justice team on building The Ascent's crowded city, gritty weapons, horde mixing and UE4 performance limits across platforms.","https:\u002F\u002Fwww.asoundeffect.com\u002Fthe-ascent-game-audio\u002F",[34],{"title":192,"year":175,"talkingHead":113,"format":35,"excerpt":193,"url":194,"asset":6,"types":195},"More Realities","Ben covers his route from fluid dynamics into audio, the split between creative and technical sound designers, and what makes a sound library useful.","https:\u002F\u002Fpole.se\u002Fmore-realities\u002F",[34],{"title":197,"year":175,"talkingHead":113,"format":114,"excerpt":198,"url":199,"asset":6,"types":200},"Music Production - A Manual for Producers, Composers, Arrangers, and Students - Interview with Ben Minto","Michael Zager provides students with a comprehensive overview of music production, touching on topics such as studio technologies, compositions, coaching, arranging, and marketing and advertising. This third edition features new interviews with eminent industry professionals and updated information on current trends, including video game music.","https:\u002F\u002Fwww.amazon.com\u002F-\u002Fen\u002FMusic-Production-Producers-Composers-Arrangers\u002Fdp\u002F1538128500",[34],{"title":202,"year":203,"talkingHead":113,"format":125,"excerpt":204,"url":205,"asset":6,"types":206},"From Battlefield to Star Wars – a great interview with EA DICE Audio Director Ben Minto","2020","John Broomhall's video interview with Ben looking back on 13 years at DICE and what kept the studio's audio winning awards.","https:\u002F\u002Fasoundeffect.com\u002Fgame-audio-ben-minto",[38,46],{"title":208,"year":209,"talkingHead":113,"format":125,"excerpt":210,"url":211,"asset":6,"types":212},"Interview with Boom Library & DICE Audio","2018","Ben, Bence Pajor and Andreas Almström on recording real military explosions at an old Soviet base with Boom Library for Battlefield V.","https:\u002F\u002Fwww.boomlibrary.com\u002Fblog\u002Finterview-dice\u002F",[34,38],{"title":214,"year":209,"talkingHead":113,"format":125,"excerpt":215,"url":216,"asset":6,"types":217},"Star Wars Battlefront II: 'We wanted a John Williams-esque score that felt like the original film trilogy'","Ben explains how Battlefront II's John Williams style score was briefed, approved by Lucasfilm, and implemented to loop and crossfade in play.","https:\u002F\u002Fwww.audiomediainternational.com\u002Ffeature\u002Fgame-audio-star-wars-battlefront-ii",[34],{"title":219,"year":209,"talkingHead":85,"format":125,"excerpt":220,"url":221,"asset":6,"types":222},"Killer Instinct – A Postmortem on Accessibility | Zachary Quarles","Zach's conference talk version of the Killer Instinct accessibility postmortem, walking through the audio choices that helped blind players.","https:\u002F\u002Fyoutu.be\u002F8asyhhyvdQQ?si=9mibT6pBDUaTG4Hf",[46],{"title":224,"year":225,"talkingHead":226,"format":34,"excerpt":227,"url":228,"asset":229,"types":233},"Behind the delightfully vintage sound of ‘Cuphead’","2017","Samuel Justice","Sam explains how Sweet Justice gave Cuphead its 1930s cartoon feel, from pot and bathtub recordings to a heavy vintage mastering chain in the mix.","https:\u002F\u002Fwww.asoundeffect.com\u002Fcuphead-sound\u002F",{"data":230,"alt":17},{"src":231,"fallbackSrc":6,"width":102,"height":103,"isVideo":21,"focalPoint":232},"\u002F189939\u002F1793362395-cupheadarticle.jpg",{"x":28,"y":28},[34,54],{"title":235,"year":225,"talkingHead":85,"format":125,"excerpt":236,"url":237,"asset":6,"types":238},"Postmortem: Greater accessibility through audio in Killer Instinct","Zach on how Killer Instinct's panning, per character sound sets and ducking let blind players follow fights, and what they ran out of time for.","https:\u002F\u002Fwww.gamedeveloper.com\u002Faudio\u002Fpostmortem-greater-accessibility-through-audio-in-i-killer-instinct-i-",[38,42],{"title":240,"year":225,"talkingHead":85,"format":125,"excerpt":241,"url":242,"asset":6,"types":243},"Level Up: How video games tell an immersive story through sound","Twenty Thousand Hertz looks at how music, effects and voice are layered into game soundscapes, and how sound alone can guide blind players.","https:\u002F\u002Fwww.20k.org\u002Fepisodes\u002Flevelup",[38,54],{"title":245,"year":225,"talkingHead":113,"format":125,"excerpt":246,"url":247,"asset":6,"types":248},"SONONEWS December 2017","Ben explains how DICE uses the Sonosax SX-R4+ for field recording and why high sample rates and preamp headroom matter to them.","https:\u002F\u002Fsonosax.ch\u002Fsononews-december-2017\u002F",[34],{"title":250,"year":225,"talkingHead":113,"format":125,"excerpt":251,"url":252,"asset":6,"types":253},"How Star Wars Battlefront II’s stellar sound was made","Ben, Nathaniel Daw and Olivier Asselin explain how DICE, Criterion and Motive split Battlefront II's audio and shared one Frostbite patch system.","https:\u002F\u002Fwww.asoundeffect.com\u002Fstar-wars-battlefront-2-sound\u002F",[34],{"title":255,"year":225,"talkingHead":113,"format":125,"excerpt":256,"url":257,"asset":6,"types":258},"“Burnout” – a sound design retrospective with Ben Minto","Ben looks back over the Burnout series, covering engine synthesis, the boost and crash systems, and how the music was handled.","https:\u002F\u002Fdesigningsound.org\u002F2017\u002F08\u002F31\u002Fburnout-a-sound-design-retrospective-with-ben-minto\u002F",[34],{"title":260,"year":225,"talkingHead":226,"format":47,"excerpt":261,"url":262,"asset":6,"types":263},"How to create outstanding audio for cinematics – a Q&A with Samuel Justice","Sam on how Sweet Justice runs cinematic and trailer jobs, from intake templates and stem wrangling to cutting sounds that don't earn their place.","https:\u002F\u002Fwww.asoundeffect.com\u002Fcinematic-sound-design\u002F",[38,46,54],{"title":265,"year":225,"talkingHead":113,"format":125,"excerpt":266,"url":267,"asset":6,"types":268},"The Future Of Game Audio – with Ben Minto","Ben on where game audio is heading, covering object based mixing, VR, propagation and keeping huge asset libraries manageable with modular systems.","https:\u002F\u002Fwww.asoundeffect.com\u002Fgame-audio-future-ben-minto\u002F",[34],{"title":270,"year":225,"talkingHead":271,"format":62,"excerpt":272,"url":273,"asset":6,"types":274},"Sound Designer Csaba Wagner - Pensado's Place","Csaba Wagner","Csaba talks to Dave Pensado about how he got into sound design for games and film, and how newcomers should break in.","https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=PKcRsM-qPDw",[42],{"title":276,"year":277,"talkingHead":85,"format":125,"excerpt":278,"url":279,"asset":6,"types":280},"How 8-Bit sounds became iconic","2016","How the limits of early console sound chips forced the tricks that made 8-bit music and effects so recognisable, through to today's chiptune scene.","https:\u002F\u002Fwww.20k.org\u002Fepisodes\u002F8-bit",[34,38,42],{"title":282,"year":277,"talkingHead":113,"format":125,"excerpt":283,"url":284,"asset":6,"types":285},"The Sound of Star Wars Battlefront","SoundWorks Collection podcast with Ben and DICE sound designers on building Battlefront's sound a year after launch, including the Rogue One expansion.","https:\u002F\u002Fsoundworkscollection.com\u002Fpost\u002Fthe-sound-of-star-wars-battlefront",[34,38,42],{"title":287,"year":277,"talkingHead":113,"format":125,"excerpt":288,"url":289,"asset":6,"types":290},"EA DICE – Ben Minto [Sound Director]","Ben answers Speakhertz's questions about how DICE's audio team is run and what the sound director's job involves day to day.","https:\u002F\u002Fspeakhertz.com\u002F8731\u002Finterview-ea-dice-ben-minto-sound-director",[34],{"title":292,"year":277,"talkingHead":113,"format":125,"excerpt":293,"url":294,"asset":6,"types":295},"Dolby Atmos may make you a better gamer – here’s why","A reviewer plays Battlefield 1 in Atmos at a London studio and Ben explains why object based mixing forced DICE to work out new techniques.","https:\u002F\u002Fwww.trustedreviews.com\u002Fnews\u002Fdolby-atmos-gaming-2952345",[34],{"title":297,"year":277,"talkingHead":113,"format":125,"excerpt":298,"url":299,"asset":6,"types":300},"Sound Thinking: CDPR, Supermassive, DICE and Coldwood reveal how to perfect your audio design","Ben and audio leads from CDPR, Supermassive and Coldwood share advice on consistency, budgeting audio, talking to other departments and 3D sound.","https:\u002F\u002Fmcvuk.com\u002Fdevelopment-news\u002Fsound-thinking-cdpr-supermassive-dice-and-coldwood-reveal-how-to-perfect-your-audio-design\u002F",[34],{"title":302,"year":277,"talkingHead":85,"format":125,"excerpt":303,"url":304,"asset":6,"types":305},"Game Audio Guide: How to write a (game-changing) audio design document today","Zach sets out a three part audio design doc of pillars, a target reference and short per feature specs that survive changing productions.","https:\u002F\u002Fwww.asoundeffect.com\u002Fgame-audio-design-document\u002F",[34],{"title":307,"year":277,"talkingHead":113,"format":125,"excerpt":308,"url":309,"asset":6,"types":310},"Sounds of Star Wars Battlefront: Part III","Ben describes voicing Battlefront's X-wing astromech droids with a modular synth patch and weeks of recordings of his baby son's babbling.","https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20160306134006\u002Fhttp:\u002F\u002Fstarwars.ea.com\u002Fstarwars\u002Fbattlefront\u002Fnews\u002Fsounds-of-star-wars-battlefront-part-3",[34],{"title":312,"year":277,"talkingHead":152,"format":125,"excerpt":313,"url":314,"asset":6,"types":315},"Sounds of Star Wars Battlefront: Part II","Gustav explains how Battlefront's personal and squad shields were built from an accidental feedback loop, an ARP 2600, plastic tubes and bent plexiglas.","https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20160316045239\u002Fhttp:\u002F\u002Fstarwars.ea.com\u002Fstarwars\u002Fbattlefront\u002Fnews\u002Fsounds-of-star-wars-battlefront-part-2",[34],{"title":317,"year":318,"talkingHead":113,"format":125,"excerpt":319,"url":320,"asset":6,"types":321},"Unsung Heroes: Sound Design","2015","A hobbyist gaming blog's feature on sound designers as the overlooked craft behind games, with Ben as its DICE example.","https:\u002F\u002Fgeekfolk.blogspot.com\u002F2015\u002F06\u002Funsung-heroes-sound-design.html",[38,42,50],{"title":323,"year":318,"talkingHead":113,"format":125,"excerpt":324,"url":325,"asset":6,"types":326},"Heard About: Star Wars Battlefront","Ben tells John Broomhall how DICE adapted the films' third person sound effects for first person play using original stems and analogue synths.","https:\u002F\u002Fmcvuk.com\u002Fdevelopment-news\u002Fheard-about-star-wars-battlefront\u002F",[34],{"title":328,"year":318,"talkingHead":113,"format":125,"excerpt":329,"url":330,"asset":6,"types":331},"Game Audio: The sound of 'Star Wars: Battlefront'","Ben describes working from Skywalker Ranch stems, recording Icelandic lava fields and moving Frostbite to object audio for Battlefront's Atmos mix.","https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20170103174912\u002Fhttp:\u002F\u002Fwww.audiomediainternational.com\u002Frecording\u002Fgame-audio-the-sound-of-star-wars-battlefront\u002F05092",[34],{"title":333,"year":318,"talkingHead":113,"format":125,"excerpt":334,"url":335,"asset":336,"types":339},"Star Wars Battlefront and the art of retro sound design","Ben and David Jegutidse explain how DICE rebuilt Battlefront's sound from original film stems and matched the handmade feel of the 1977 trilogy.","https:\u002F\u002Fwww.theverge.com\u002F2015\u002F11\u002F17\u002F9749334\u002Fstar-wars-battlefront-sound-design-effects-ea-dice",{"data":337,"alt":17},{"src":25,"fallbackSrc":6,"width":102,"height":103,"isVideo":21,"focalPoint":338},{"x":28,"y":28},[34],{"title":341,"year":318,"talkingHead":226,"format":35,"excerpt":342,"url":343,"asset":6,"types":344},"SOMA Behind the Sound","Sam breaks down SOMA's sound, from the room size system and location recorded footsteps to hydrophone underwater textures and binaural dialogue.","https:\u002F\u002Ffrictionalgames.com\u002F2015-09-soma-behind-the-sound\u002F",[34],{"title":346,"year":318,"talkingHead":113,"format":125,"excerpt":347,"url":348,"asset":6,"types":349},"Creating the Sounds of Star Wars™ Battlefront™","Ben explains how DICE built Hoth and Tatooine ambiences from wind and wildlife recorded in Sweden, Norway and the films' original locations.","https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20150726034844\u002Fhttp:\u002F\u002Fstarwars.ea.com\u002Fstarwars\u002Fbattlefront\u002Fnews\u002Fcreating-the-sounds-of-star-wars-battlefront",[34],{"title":351,"year":318,"talkingHead":352,"format":35,"excerpt":353,"url":354,"asset":6,"types":355},"Interview: Sweet Justice","Chris Sweetman & Samuel Justice","Chris and Sam explain why they started a UK game audio studio, how a small team handles big workloads, and what students should put in a portfolio.","https:\u002F\u002Fdesigningsound.org\u002F2015\u002F01\u002F06\u002Finterview-sweet-justice\u002F",[34,38,54],{"title":357,"year":318,"talkingHead":113,"format":125,"excerpt":358,"url":359,"asset":6,"types":360},"The reality paradox: Authenticity, fidelity, and the real in Battlefield 4","The Reality Paradox: Authenticity, fidelity and the real in Battlefield 4\nRichard Stevens and Dave Raybould, with additional contributions from Ben Minto, Audio Director\nBattlefield 4.","https:\u002F\u002Feprints.leedsbeckett.ac.uk\u002Fid\u002Feprint\u002F2216\u002F1\u002FThe%20Reality%20Paradox_AuthorPrepublication.pdf",[38],{"title":362,"year":363,"talkingHead":113,"format":125,"excerpt":364,"url":365,"asset":6,"types":366},"SoundWorks Collection Interview Series - Ben Minto of EA DICE Studio","2014","A 44 minute podcast where Ben talks through leading DICE's Stockholm sound team and his work on Black, Burnout, Battlefield and Mirror's Edge.","https:\u002F\u002Fsoundworkscollection.com\u002Fpost\u002Fsoundworks-collection-interview-series-ben-minto-of-ea-dice-studio",[38,42],{"title":368,"year":363,"talkingHead":113,"format":125,"excerpt":369,"url":370,"asset":371,"types":374},"… Mr. President!!! … (Gen 3 Helicopter Implementation in Frostbite\u002FBattlefield 4)","Ben and Bence Pajor break down how Battlefield 4's helicopters were built in Frostbite, from shared patches and distance layers to passbys and cockpit views.","https:\u002F\u002Fdesigningsound.org\u002F2014\u002F07\u002Fmr-president-gen-3-helicopter-implementation-in-frostbitebattlefield-4\u002F",{"data":372,"alt":17},{"src":101,"fallbackSrc":6,"width":102,"height":103,"isVideo":21,"focalPoint":373},{"x":28,"y":28},[34],{"title":376,"year":363,"talkingHead":377,"format":35,"excerpt":378,"url":379,"asset":6,"types":380},"Interview: Chris Sweetman and Interesting Interiors","Chris Sweetman","Chris talks about his Interesting Interiors ambience library, recording on the fly with portable kit, and why he still rates analogue tape.","https:\u002F\u002Fdesigningsound.org\u002F2014\u002F05\u002F19\u002Finterview-chris-sweetman-and-interesting-interiors\u002F",[34,38],{"title":382,"year":363,"talkingHead":113,"format":125,"excerpt":383,"url":384,"asset":6,"types":385},"The Rise and Rise of Game Audio","John Broomhall's round table on game audio's growth, with Ben arguing small teams can now match AAA and explaining why specialist roles exist.","https:\u002F\u002Fissuu.com\u002Falchemedia\u002Fdocs\u002Fat-app-10_issuu\u002F30",[34],{"title":387,"year":363,"talkingHead":113,"format":125,"excerpt":388,"url":389,"asset":6,"types":390},"Game Audio Podcast – Episode #43 – GDC14 – V – Grand Theft Glass","Last day GDC 2014 morning standup where Ben and a crowd of audio folk chew over the GTA V and Last of Us talks and the GANG awards.","https:\u002F\u002Fwww.gameaudiopodcast.com\u002F?p=736",[42],{"title":392,"year":363,"talkingHead":377,"format":35,"excerpt":393,"url":394,"asset":6,"types":395},"Interview with Professional Sound Designer, Chris Sweetman","Chris runs through his career from film post to Black and Brink, and gives practical advice on reels, middleware and getting into game audio.","https:\u002F\u002Fwww.thesoundarchitect.co.uk\u002Fchrissweetmaninterview\u002F",[34,38],{"title":397,"year":363,"talkingHead":113,"format":125,"excerpt":398,"url":399,"asset":6,"types":400},"Heard About: Battlefield 4","Ben tells John Broomhall how Battlefield 4 pulled foley out of the HDR mix and let storm audio drive visuals and camera shake.","https:\u002F\u002Fmcvuk.com\u002Fdevelopment-news\u002Fheard-about-battlefield-4\u002F",[34],{"title":402,"year":403,"talkingHead":113,"format":125,"excerpt":404,"url":405,"asset":6,"types":406},"The Road to Battlefield 4: Sounds of the Battlefield","2013","DICE blog on Battlefield 4 audio, from readable battlefields and new water recordings to Frostbite's real time mixing of over a million files.","https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20131122014201\u002Fhttps:\u002F\u002Fwww.battlefield.com\u002Fuk\u002Fbattlefield-4\u002Fnews\u002Froad-to-bf4-sounds-of-the-battlefield",[34],{"title":408,"year":403,"talkingHead":113,"format":125,"excerpt":409,"url":410,"asset":6,"types":411},"How audio wizards are shaping the sound of the next generation of PC games","PCWorld asks studio sound teams how new console hardware and PC audio tech will change the way next generation games are mixed.","https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20170730075405\u002Fhttp:\u002F\u002Fwww.pcworld.com:80\u002Farticle\u002F2040839\u002Fhow-audio-wizards-are-shaping-the-sound-of-the-next-generation-of-pc-games.html",[34],{"title":413,"year":414,"talkingHead":113,"format":125,"excerpt":415,"url":416,"asset":6,"types":417},"Game Audio Podcast #20 – Wildeye","2012","Ben, Mari and fellow recordists talk through a Wildeye wildlife field recording course in Sweden with hosts Damian and Anton.","https:\u002F\u002Fwww.gameaudiopodcast.com\u002F?p=476",[42],{"title":419,"year":414,"talkingHead":113,"format":125,"excerpt":420,"url":421,"asset":6,"types":422},"Trinity of Battlefield: Bad Company 2 Audio","Ben explains how one bass trombone note became Bad Company 2's mountain theme, the Yamino Buki superweapon and the EA, DICE and Frostbite logo stings.","https:\u002F\u002Fwww.filmsoundsweden.se\u002Fwordpress\u002Findex.php\u002F2012\u002F06\u002F10\u002Ftrinity-of-battlefieldbad-company-2-audio\u002F",[34],{"title":424,"year":414,"talkingHead":113,"format":125,"excerpt":425,"url":426,"asset":6,"types":427},"Shooting for a Third Hit","Ben and Stefan Strandberg explain Battlefield 3's approach of believability over polish, real gun recordings, HDR mixing and sound culling in Frostbite 2.","https:\u002F\u002Fwww.audiotechnology.com\u002Ffeatures\u002Fshooting-for-a-third-hit",[34],{"title":429,"year":430,"talkingHead":431,"format":125,"excerpt":432,"url":433,"asset":6,"types":434},"Four Guns West – GDC 2011","2011","Ben Minto & Chris Sweetman","Chuck Russom's write up of the GDC 2011 panel where Ben, Chris, Chuck and Charles Maynes compare how they record and design weapons.","https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20160404201027\u002Fhttp:\u002F\u002Fwww.chuckrussom.com\u002Fgame-audio\u002Ffour-guns-west-gdc-2011\u002F",[34,42,46],{"title":436,"year":430,"talkingHead":377,"format":125,"excerpt":437,"url":438,"asset":6,"types":439},"Sound Byte: Meet the Audio Director of Brink","Chris describes giving Brink's two factions their own sonic identities, desert weapon recording, Shepperton foley and keeping firefights readable with HDR mixing.","https:\u002F\u002Fwww.gamespot.com\u002Farticles\u002Fsound-byte-meet-the-audio-director-of-brink\u002F1100-6312560\u002F",[34],{"title":441,"year":430,"talkingHead":113,"format":125,"excerpt":442,"url":443,"asset":6,"types":444},"EA DICE PKM Gun Recording Microphone Type, Position & Pre Amp Comparison","Side by side listening test from a DICE PKM session comparing microphone types, placements and preamps on the same machine gun bursts.","https:\u002F\u002Fvimeo.com\u002F20869893",[],{"title":446,"year":430,"talkingHead":113,"format":125,"excerpt":447,"url":448,"asset":6,"types":449},"Ben Minto on Game Sound Design","Ben on how he got into game audio, what a sound designer's day actually involves, DICE's HDR mixing, and the Waves tools he leans on.","https:\u002F\u002Fwww.waves.com\u002Fben-minto-on-game-sound-design",[34],{"title":451,"year":430,"talkingHead":377,"format":125,"excerpt":452,"url":453,"asset":6,"types":454},"Brink Developer Interview on the science behind Sound Design","Chris explains how Brink keeps gunfire readable with many players shooting, using per faction weapon sets, distance samples and granular bursts.","https:\u002F\u002Fwww.criticalhit.net\u002Fgaming\u002Fbrink-developer-interview-on-the-science-behind-sound-design\u002F",[34,38],{"title":456,"year":430,"talkingHead":113,"format":125,"excerpt":457,"url":458,"asset":6,"types":459},"From Battlezone to Battlefield: Immersion, Sound and Computer Games: An Interview with Ben Minto","An academic journal interview in which Ben traces game sound from early arcade cabinets to Battlefield and discusses what immersion actually means.","https:\u002F\u002Fwww.academia.edu\u002F646985\u002FFrom_Battlezone_to_Battlefield_Immersion_Sound_and_Computer_Games_An_Interview_with_Ben_Minto",[38],{"title":461,"year":462,"talkingHead":113,"format":125,"excerpt":463,"url":464,"asset":6,"types":465},"Battlefield 1943 Recording Session at Abbey Road Studios","2009","A look inside the Abbey Road Studio 2 session where Battlefield 1943's orchestral score was recorded ahead of the game's July 2009 release.","https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20090601064710\u002Fhttp:\u002F\u002Fwww.music4games.net\u002FFeatures_Display.aspx?id=350",[34],{"title":467,"year":462,"talkingHead":113,"format":125,"excerpt":468,"url":469,"asset":6,"types":470},"Ben Minto Unplugged","John Broomhall profiles Ben, from fixing synths to DICE, and his view that a sound should serve the feeling rather than realism.","https:\u002F\u002Fmcvuk.com\u002Fdevelopment-news\u002Fben-minto-unplugged\u002F",[34],{"title":472,"year":473,"talkingHead":113,"format":125,"excerpt":474,"url":475,"asset":6,"types":476},"Black in the USSR","2006","A page from Criterion's original Black website on the game's Eastern European setting and research.","https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20070822215233\u002Fhttp:\u002F\u002Fwww.criteriongames.com:80\u002Fblack\u002Fussr\u002F",[34],{"title":478,"year":473,"talkingHead":377,"format":125,"excerpt":479,"url":480,"asset":6,"types":481},"A Choir of Guns","Weapon sounds are arguably the most important element in the audio soundscape of the first person shooter. Your connection to the virtual world, the weapon spends most—if not all—the game experience on screen and its sound is directly proportional to the excitement the player experiences.\n\nHere, Chris Sweetman tells us about his involvement in creating the award-winning weapon audio for Black.","https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20071016152701\u002Fhttp:\u002F\u002Fcriteriongames.com\u002Fblack\u002Faudio\u002F",[34],1794318260411]