ABSTRACT
When developing software, finding a more generic solution to a problem takes time and manpower, which of course are considered a risk to production and are therefore avoided. This results in specially tailored solutions for the issues that arise in each product. For audio, this often ends up
CONTENTS 9.1 Preamble 163 9.2 Why Sound Designers Should Rather Be Named Audio Designers 164 9.3 Role of an Audio Designer 165 9.4 Why Audio Design Should Be Part of Your Production
from Day One 166 9.5 Why You Need to Define the Audio Terminology 169 9.6 Why You Need to Document Pipelines, Workflows, Tools,
and Best Practices 172 9.7 Why Organizing Audio as a Centralized Department Is Beneficial 174 9.8 Conclusion 175
meaning completely different workflows, pipelines, procedures, and design tools-all of which require the audio designer to pretty much start from scratch with every new project. Furthermore, the game industry is undergoing constant change, and it is difficult to predict if “something” will be the next industry changing trend or if it is just a flash in the pan. The only solution to this unpredictable situation is granularity-that is, the goal to build a flexible set of tools that are constantly able to update, evolve, and adapt to the needs of various projects and in their different stages of production.
