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Along with 'being in the music business', working on computer games has to be top of the career wish-list for any kid who doesn't see himself as the next David Beckham.
Dave Ranyard is lucky enough to work in computer games and music as well. He recently became Audio Manager of Sony Computer Entertainment Europe's new recording facility. This is based at SCEE's central London HQ in Great Marlborough Street. Just round the corner from GearBox Soho, which supplied and installed the equipment, the studios work exclusively on sound for Sony Playstation games.
Sadly for young wannabes, you'll need more than lighting-fast reactions and a PS2 if you want to work on the world's most popular games. "I've got a degree in computer science and a PHd in artificial intelligence," Ranyard reveals. "But also, I've been in bands. I used to be signed to China Records in a band called Supercharger. I'm now signed to Bolshe Records in a band called Silver Box."
Last year the team at SCEE developed and released a PS2 game called This Is Football 2002, The Playstation game currently in development is The Getaway, a gangster-themed game set in London. Set for release later in the year, the game will have a music score by Andrew Hale. Sessions are being transferred between Hale and the Sony facility using the Pro Tools' Internet-based DigiStudio.
Meanwhile, a Sony motion and audio capture facility in Perivale is recording on a GearBox-supplied Tascam MX2424 and Yamaha 01V combination, before shipping the drives back to the main Soho studios.
"We have recently opened four rooms: one main control room, two edit rooms and live/vocal room," Ranyard continues. "The two edit rooms have Pro Tools MIX systems — one has a Yamaha 02R, the other has an 01V — and they both have Genelec 1029A monitors. The main room has a Pro Tools MIX3 system coupled with a Control24 and a Genelec 1030A 5.1 surround system."
According to Ranyard, working on a Playstation game has some similarities to sound for film. But the interactive nature of the medium means that effects need to be placed in the soundfield using mathematical modelling, rather than simply positioning by ear.
"You have different constraints compared to film because the final result on film is static," Ranyard explains. "Even if it's a 5.1 mix, it's not going to change, whereas when you're making a video game, you making sounds that are going to be triggered depending on the players' reactions. So it's a lot more dynamic."
Sony gave the contract to supply and install the equipment to GearBox. Ranyard thought GearBox would be a good choice — and not just because they were nearby.
"One of the reasons I thought GearBox were a good idea is because they hire as well. That means they have got very good backup facilities," says Ranyard. "If anything has gone down, we've had a replacement in an hour or two, which is great. We have very hard deadlines. If we have to get something together for a show in the States that's starting on Tuesday, we have to finish it by Sunday night, for instance. So it can be critical if something goes down.
"Added to that is the advice you get from GearBox," Ranyard concludes. "We've been advised on occasions not to buy the most expensive products, but to buy the most appropriate. Once you see that, you have more trust in the people you're dealing with. We've dealt with GearBox for about a year now.It's been a good service."
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Sony Computer Entertainment