Excellent new audio jobs at DoubleDown, Gearbox Québec, Gameloft, CD Projekt RED, and Aloft Studio

By February 7, 2017Audio Jobs
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We came across 5 interesting jobs from DoubleDown, Gearbox Québec, Gameloft, CD Projekt RED, and Aloft Studio – and they’re looking for a Contract Audio Specialist, Senior Audio Designer, Sound Designer, and Composers.

We also noticed an opening for a Composer/Sound Designer at MassiveMusic, a Sound Designer at Platinum Games, and a Senior Dialogue Engineer at Sega in their Total War department. Good luck with your applications!

Contract Audio Specialist (Mobile/Social Games)
Company: DoubleDown Interactive/IGT
Location: Seattle, WA, USA
Job description

DoubleDown Interactive is a social and mobile game company located in Seattle, WA. Known for our fun and collaborative culture, we’re a group of talented software engineers, game designers, artists, producers, marketers, analytical experts, and more. We move quickly and innovate constantly to deliver exciting online game experiences to players around the world. Our DoubleDown Casino product offers free-to-play, authentic casino-style entertainment to more than six million players monthly. Casino enthusiasts and social gamers alike love our games. As a subsidiary of International Game Technology (NYSE: IGT), we benefit from the expertise and resources of the world’s leading gaming technology company. We’re DoubleDown Interactive and we need more stellar people like you to join our team!

Responsibilities:
We are seeking an experienced Audio Specialist, skilled at working in the Unity environment, to provide approximately 6 months of service as a Contractor to own the audio experience in mobile games at Double Down Interactive. The position will consist of taking existing audio assets and implementing them in mobile games according to the specification. This is a contract position.

In this position you will:
• Own the audio experience in mobile apps
• Work extensively in the Unity editor
• Work extensively in Perforce
• Access specific sound assets within the editor and attach them to the correct UI element or event to create the appropriate in-game sound experience
• Audit provided audio assets by comparing them to reference material and working creatively to resolve any deficiencies
• Test your work on local builds and on device
• Fix any bugs found related to audio implementation
• Work with Dev, Art, Audio and Production to resolve any issues encountered during implementation
• Work with the Audio creative staff to drive the quality of the audio experience to the best level possible
• Work independently to solve problems in the most efficient manner possible

First year goals:
• To be discussed with leader

Qualifications:
• Strong competence in the Unity editor in general, with specialist knowledge in implementing audio for mobile games.
• Knowledge of audio best practices used in mobile app development
• Previous experience as part of a mobile app development team
• Self-managing
• Great communication skills
• Strong attention to detail
• Complex technical comprehension

Desired skills:
• Experienced with iOS app development via Unity
• Prior experience creating and maintaining sound hooks within Unity

Special requirements needed:
• Security Investigation

Keys to success:
• Drive results to achieve high-quality work results regardless of work complexity.
• Build collaborative relationships both internally and externally
• Decision making to identify and understand situations; identify opportunities to proactively resolve
• Personal energy to proactively address situations and adopt a positive approach; resilience in front of change and obstacles
• Self-leadership to continuously learn and develop oneself
• Foster innovation

An Equal Opportunity Employer:
• Minority/Female/Disabled/Veteran

Senior Audio Designer
Company: Gearbox Studio Québec
Location: Québec City, QC, Canada
Job description

Gearbox Software—award-winning, independent developer of interactive entertainment hits Borderlands, Brothers In Arms, and Battleborn—is looking for an Audio Designer for its Quebec City studio! Located in beautiful Quebec City, our studio is a short walk away from the the city’s most vibrant districts, bars, restaurants, parks and coffee shops. We love to create and play games. We reward teammates based on merit and offer a comprehensive health benefits package, generous RRSP matching, flexible time-off, training and numerous other perks.

Responsibilities:
• Create high-quality sound effects and audio elements and implement them within game engine
• Help establish the project’s production/integration pipelines
• Collaborate with other departments to establish audio asset list (Narrative, gameplay, UI, etc.)
• Gather the team’s feedback on the audio experience
• Collaborate with external designers

Qualifications:
• 5+ years of experience as an audio or sound designer in the industry
• Shipped at least 2 multiplatform titles
• Experience with Nuendo or similar specialized audio software
• Experience with Wwise
• Experience with UE4 is an advantage
• Excellent team leadership and interpersonal skills
• Proven ability to tackle complex problems; can adapt and troubleshoot
• Enthusiastic, positive, team-oriented
• Ability to work under tight deadlines and in a high stress environment

To apply for this position, please send resume and cover letter to emplois@gearboxsoftware.com.

Sound Designer
Company: Gameloft
Location: Beijing, China
Job description

We are currently seeking a Sound Designer to join our Audio team. From the beginning of your adventure with us, you will be tasked with creating the entire sound aspect of games under the supervision of the Audio Director.

Qualifications:
• Minimum of 3 to 5 years professional experience in Sound Design in the video game industry. Demos will be requested
• A diploma in Sound Design is an asset
• The ideal candidate is expected to have many years’ experience playing video games on consoles and have acquired a good understanding of current sound quality standards
• Moreover, the ideal candidate should be a team player; have a strong sense of creativity, analysis and synthesis; be hard-working; have effective interpersonal skills; and have strong organizational skills
• The ideal candidate must also be able to easily create and understand sound environments of video games
• Extensive knowledge of Windows audio software (Pro Tools, Reaperr, Soundminer, SVN, etc.) and audio editors (Sound Forge, WaveLab, Audition, etc.), as well as web tools such as Confluence and JIRA. Must also have an expert knowledge of the most common VST plugins necessary for editing and mixing audio
• Complete understanding of technical limitations (audio optimisation, memory, etc.) related to sounds and audio formats used in the industry
• Understanding and good command of several audio engines (middleware such as FMOD and Wwise.)
• Skilled at recording (sound effects/recording in the field), creating and editing original sounds in different formats
• Good knowledge of sound effects libraries available on the market
• Able to manage large databases (lists of sounds) clearly and logically
• Very good communicator, both verbal and written

Required application materials:
• In order for your application to be considered, please send your portfolio or samples of your work (demos, animations, images, websites, etc.) and a cover letter. Please indicate the address of your website or portfolio if you have one.

Why join Gameloft:
• Because you want to be part of an exceptional experience within a company that is constantly growing!
• Because you want to work with talented people who are industry pioneers!
• Because you want to join a global company and meet great people around the world from all walks of life.
• Or, just because you’re looking for a great place to work!

*Please note that this position does not involve composing music.

Composer
Company: CD Projekt RED
Location: Warsaw, Poland
Job description

We are looking for a talented composer who will join our Warsaw team in-house and will be responsible for creating and implementing music in Gwent and Cyberpunk2077. If you produce music that might fit into the game and leave gamers with the best musical experience possible, apply!

Responsibilities:
• The whole process of creation and implementing music in two our games: Gwent and Cyberpunk2077
• Cooperation with the main composer; you will act as his main support

Qualifications:
• Proficient in composing, arranging and producing music in variety of styles (both acoustic and electronic genres)
• Familiar with music implementation techniques
• Familiar with modern music creation equipment, software, libraries and recording techniques
• At least 3 years of experience in creating music (ideally for the gamedev industry)
• Works well in a team environment, fast learner
• Ability to easily communicate in English
• Nice to have: knowledge of Wwise and music degree

We offer you:
• A modern and relaxed studio atmosphere with cutting-edge technologies
• A chance to work in an international environment in a booming industry
• A competitive salary and project based bonuses
• Private health care & MultiSport card
• From 20 to to 26 days of paid vacation per year
• An exciting chance to work on one of the most acclaimed role-playing games
• A step by step assistance and ‘Relocation Package’ for foreigners willing to establish in Poland
• Polish lessons for foreign employees

Composer
Company: Aloft Studio
Location: Remote
Job description

Welcome all! Aloft Studio has a position and budget open for an experienced composer, for our Hazelnut Bastille project: http://www.aloftstudios.net/hazelnutbastille. The description of the work, its history, and its creators is available on our press kit page: http://www.aloftstudios.net/hazelnutbastillepress.

The actual technical parameters of these tracks:
The entire project is very much rooted in a 16-bit aesthetic, and pains are being taken to ensure that the visuals, mechanics, and structure of the work feel authentic to this period. The music would naturally follow this spirit. We intend for the music to be written as though for the audio chipset Sony made for the SNES and later (with only very small modifications) for their PSX console. This chipset supported 8-note polyphony. The actual voices were a combination of native synthesizing oscillators, and a sample bank soundfont. In those days, the entire soundfont was quite small. Chrono Cross‘ soundfont is 600kb, and features about 70 instrument samples. The sample quality normally ends up sounding a lot like Midi soundfonts do today, which some would take to be a negative, but in a way their synthetic timbre gives them a strange purity too. Another major quality of music from this era is its incredibly charming economy. I feel that many game music arrangements today are much too large, and feature too many instruments. The listener, rather than being able to pick out the fundamental harmonic voices, and follow the path of individual instruments, is buried in a wall of orchestral sound. The max 8-voice polyphony constraint stops this from even being a possibility. The SNES composer must write a focused and clear arrangement, with a clear focus on the qualities of individual instruments and their dynamics and vibrato.

The stylistic goals of the tracks:
The most direct references for our soundtrack, in terms of medium, song structure, character, mood, harmonic complexity, and content are the “JRPG” soundtracks of the early-to-mid ’90s. Notable examples would include Chrono Cross and Secret of Mana, and lesser known works such as Terranigma. The things which stand out about these works, and make up the associations with JRPG soundtracks as a concept are: their necessary economy of simultaneous instruments; the often sweet, saccharine quality a lot of them have; the simplicity and centrality of their melodies and basic harmonies; the tendency for the melodies to be well within human singing range, and to thus feel quite lyrical (and also heavily memorable); and finally the “foreground” nature of the soundtrack, which engages the player as a primary design element, as opposed to the tendency for modern games to de-emphasize the music.

We are looking for someone with the following traits:
• Has either demonstrable music education, or a history of work on several game-related projects, or an extensive portfolio of sample tunes
• Several years of composition experience
• Has composed work which is in the style of, or heavily influenced by the common JRPG sound of the early ’90s onward, or has some samples which show a skill set that transfers well to that genre of music
• Has also worked across several other genres, and has solid understanding of the theory universal to all western music

If you are interested in applying for this work, in order to quickly evaluate your fit for the project, please send us links to your past work, including:
• 2-5 Sample tracks which most clearly demonstrate either this exact aesthetic, or transfer well. If you don’t have anything like this in your portfolio, you may also compose a short demo (under a minute) as a substitute.
• 1-2 Sample piano or keyboard-focused compositions which demonstrate your skill in composing limited arrangements with high skill and refinement. We want a feel for how you compose leads, harmonies, what sorts of chord sequences you come up with, the degree of holistic planning that goes into your work, how well the parts serve the whole, how well you handle dynamics, your skill in writing memorable, singable melodies, your voice-leading skills, and your skill in leading the listener with your interval tensions, and capturing their attention (remember this kind of music is very foreground in the games it appears in, as opposed to the un-obtrusive sound western game music favors). Again, the closer to the principles common to a JRPG aesthetic these are, the better, but the piano pieces can be written in any genre.

If you are someone who fits most of the above, we look forward to hearing from you! You can contact us via email, at aloftstudios@gmail.com.

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