The use of audio in computer games has always been a side interest of mine. Mobile platforms and mobile gaming are not mentioned in the call for the International Conference on Audio for Games that takes place in February 2-4 2011 at the British Academy of Film and Television Arts (BAFTA), London, UK. But I’m hoping that some mobile projects will be presented in the proposed topics, eg. in the topics “Spatialization and environment modeling”, “Fast and low bit-rate codecs” or “Online gaming”. The suggested session on the use of game audio in “Training and education” also looks promising. The deadline for submitting abstracts is September 24, 2010.
Call for submissions
After the success of the 35th International Conference in 2009, the Audio Engineering Society is pleased to announce its second conference dedicated to audio for games, to be held in 2011 February 2-4 at the British Academy of Film and Television Arts (BAFTA), London, UK. Current- and next-generation gaming platforms offer unprecedented levels of processing power specifically for audio. These changes facilitate a range of complex real-time audio architectures and DSP effects, offering creative possibilities never before seen in the areas of interactive sound design and music composition. Such developments in technology also present new challenges in audio programming, engineering and sound design, drawing on areas of multidisciplinary expertise that were not previously relevant.
This conference focuses on these new challenges, and will reflect on changes in the industry since the first conference in 2009, and bring together new and established professionals in the area of audio for games. The conference aims to reflect the needs and interests of all professionals working in or around the area of game audio, further the dialog between existing industry experts, create a forum for sharing techniques and technology, and help advance game audio on current and future platforms.
The three-day conference program is focussed around the dissemination and discussion of technical solutions and recommended practices. As well as the usual paper and poster sessions, the conference will also consist of demonstrations, panel discussions, tutorials, and workshops. This call for submissions invites contributions in all formats, and we encourage proposers to think beyond the usual conference paper/poster format. Gaming is by its very nature an interactive experience, and game development highly multi-disciplinary, and we would like the conference program to reflect this. We welcome submissions in all relevant areas, including, but not limited to:
- Spatial audio in games
- Mixing for unknown speaker configurations
- Upmix and downmix
- Spatialization and environment modeling
- Interactive reverb algorithms
- Interactive reverb algorithms
- Acoustic modeling and auralization
- Hybrid and parametric approaches to reverb simulation
- Real-time synthesis
- Synthesis architectures
- Granular synthesis
- Physical and spectral modelling
- Procedural audio
- Novel use of traditional synthesis techniques
- Audio codecs
- Real-time codecs and usage
- Seeking and looping in encoded bitstreams
- Codec quality
- Fast and low bit-rate codecs
- Audio distribution systems
- Future areas for standardization
- Loudspeaker layouts
- Recording and mix levels
- Scripting file formats
- Sound design, recording, and Foley
- Techniques and case studies
- Perception of interactive audio
- Nonrepetitive design
- Game music systems
- Interactive and generative music
- Nonlinear composition
- Online gaming
- Speech processing and analysis
- Pitch analysis in singing
- Mixing voice with game
- Voice management with multiple talkers
- Speech recognition and synthesis
- Training and education
- Audio in interactive training applications
- Game-audio course material and certification
All submissions should have a clear application in game audio or interactive audio. Content should reflect the engineering progress made and highlight relevant contributions or conclusions to attendees. We encourage multidisciplinary approaches to the area and an exploration of the interaction between sound designer and audio engineer.
Submissions may be in the following formats: paper (to be presented in the main sessions); poster or demonstration (to be presented in the poster sessions); tutorial, panel, or workshop proposals to be held in the main conference thread. Paper or poster proposals should consist of title, abstract (60 to 120 words), and precis (500 to 750 words) to be submitted online by September 24, 2010 at www.aes.org/41st_authors. Acceptance of papers will be determined by the 41st Conference review committee based on an assessment of the abstract and precis. Accepted authors will be notified by October 22, 2010. Complete manuscripts of a maximum of 10 pages (3000 words) must be submitted by November 19, 2010.
Tutorial, panel, or workshop proposals should be emailed directly to email@example.com. Proposals should include a title, abstract, session chair, and possible contributors. If accepted, these will also be included in the conference proceedings.
- Deadline for paper/poster proposals: 2010 September 24
- Accepted authors notified by: 2010 October 22
- Deadline for final manuscripts: 2010 November 19
A PDF of the call for submissions can be found here.
The paper submission site is now open – you can reach it here.