Design and produce the sound and music of the next successful video games thanks to this Professional master’s degree, which prepares you to face the challenges of the present and the future in this expanding industry”

The video game industry has experienced tremendous growth in recent years. The number of people who play them has multiplied and new types of experiences have appeared, bringing these audiovisual works to the Internet environment in a definitive way thanks to the popularization of online games. But with the increase in users has also come increased specialization in several ways. Companies specializing in independent video games have emerged and new subgenres with narrative experimentation are being created. With this wider range of game types, there has also been a need for professionals dedicated to very specific areas.

One of them is sound. The sound design of a video game covers a wide range of disciplines: music production and composition, sound design and foley, dialogue and voice oversrecording, among others. Therefore, in order to face this complex and exciting task, it is necessary to have the best knowledge and tools, and this Professional master’s degree offers them, so that The student who completes it has all the necessary skills to work in all kinds of projects in this ever-expanding industry.

Thus, throughout this degree they will be able to deepen in aspects such as harmony, acoustic and virtual orchestration or music or audio production, always focused on the field of video games. all of this, following an innovative 100% online learning methodology that adapts to the professional and personal circumstances of the students, who will also have a highly qualified teaching staff and multimedia teaching resources that are totally practice-oriented.

The video game industry is booming and needs sound specialists to take on new projects”

This Professional master’s degree in Video Game Sound Design contains the most complete and up-to-date program on the market. The most important features include:

• Case studies presented by experts in sound design and production specialized in videogames
• The graphic, schematic, and practical contents with which they are created, provide scientific and practical information on the disciplines that are essential for professional practice
• Practical exercises where self-assessment can be used to improve learning
• Its special emphasis on innovative methodologies
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
• Content that is accessible from any fixed or portable device with an Internet connection

TECH's innovative online learning methodology will allow you to combine your professional career with your studies, since it adapts to your personal circumstances”

The program’s teaching staff includes professionals from sector who contribute their work experience to this educational program, as well as renowned specialists from leading societies and prestigious universities.

Its multimedia content, developed with the latest educational technology, will allow professionals to learn in a contextual and situated learning environment, i.e., a simulated environment that will provide immersive education programmed to prepare in real situations.

The design of this program focuses on Problem-Based Learning, by means of which professionals must try to solve the different professional practice situations that arise during the academic year. For this purpose, the student will be assisted by an innovative interactive video system created by renowned and experienced experts.

Have broad knowledge of the secrets of harmony and musical composition and apply them to your new video games”

Learn how to integrate all the sound tasks in your professional projects with this specialized program”

This program is structured in 10 specialized modules, each divided into 10 topics, through which the student will be able to delve into issues such as harmonic rhythm, harmonic progressions, modern modes, orchestration, both acoustic and virtual, thematic construction during the composition process, the recording session and its preparations or sound editing methods, among many others.

You will enjoy the most complete curriculum in the field of sound for video games: enroll and check it out”

Module 1. The Soundtrack in Video Games

1.1.  The Workspace

1.1.1. Acoustic Aspects
1.1.2. Preparing a Room
1.1.3. Room construction “Room into Room”

1.2. Work Tools I: Hardware

1.2.1. The Computer
1.2.2. Audio Interface
1.2.3. Listening Systems and Other Equipment

1.3. Work Tools II: Software

1.3.1. DAW
1.3.2. Kontakt
1.3.3. Plugins

1.4. The Work Equipment

1.4.1. Equipment Structure
1.4.2. Equipment Functions
1.4.3. Our Place within the Team

1.5. Types of Video Games and Musical Genres

1.5.1. Who Is the Music Intended for?
1.5.2. Music Personality and Aesthetics
1.5.3. Ratio Music vs. Genres in Video Games

1.6. Music Roles and Functions

1.6.1. Music as a Mood
1.6.2. Music as a Creator of Worlds
1.6.3. Other Roles

1.7. Workflowin Music Composition

1.7.1. Planning, Aesthetics and Creation of the MDD
1.7.2. First Ideas and Composition of Demo Music
1.7.3. The Final Product, from the Demo to the Master Version

1.8. Workflow in Editing and Sound Design

1.8.1. Planning and Creation of the ADD
1.8.2. Design and Editing
1.8.3. Adjustment, Synchronization and Testing on the Audio Engine

1.9. Sound Fundamentals

1.9.1. Features
1.9.2. Frequency Spectrum
1.9.3. Surround Sound

1.10. Surround and 3D Sound

1.10.1. Horizontal vs. Sound Vertical
1.10.2. 3D Audio Simulations
1.10.3. Surround Systems and Dolby Atmos

Module 2. Basic Harmony

2.1. Harmony

2.1.1. The Pentagram, Clefs, Notes and Figures
2.1.2. Range
2.1.3. Intervals

2.2. Chord Construction: Types and Arrangement

2.2.1. Classification
2.2.2. Chord Arrangement
2.2.3. Duplications

2.3. Building Chords: Movements

2.3.1. Harmonic Movements
2.3.2. Octaves, Unison and Successive and Resulting Fifths
2.3.3. Combining Chords

2.4. Harmonic Progressions

2.4.1. Tonal Functions
2.4.2. Harmonic Rhythm
2.4.3. Cadence

2.5. Inversions

2.5.1. The First Inversion
2.5.2. The Second Inversion
2.5.3. Inverted Cadence

2.6. Non-Chord Tones: Harmonic Dissonance

2.6.1. Harmonic and Melodic Dissonance
2.6.2. Non-Chord Tones in Harmonic Dissonance
2.6.3. Delay and Appoggiatura

2.7. Non-Chord Tones: Melodic Dissonance

2.7.1. Non-Chord Tones in Melodic Dissonance
2.7.2. Pitch Note, Ornaments, Elision, Anticipation and Pedal
2.7.3. Combined Action of Non-Chord Tones

2.8. Non-Chord Tones in Chords

2.8.1. Dominant Seventh
2.8.2. Seventh Leading-Tone and Second Degree Seventh
2.8.3. Remaining Seventh Chords

2.9. Dominant Harmony

2.9.1. Dominant Harmony
2.9.2. Dominant of the Dominant
2.9.3. Secondary Dominant

2.10. Evolution Towards Chromaticism

2.10.1. Diatonism and Modulation
2.10.2. Expressive Chromaticism
2.10.3. Loss of Tonal Function

Module 3. Advanced Harmony

3.1. Modern Modes

3.1.1. Mode Classification
3.1.2. Modal Scale
3.1.3. Modal Operation

3.2. Modal Harmonic Relationships

3.2.1. Major and Minor Chords
3.2.2. Modal Cadences
3.2.3. Modal Harmonization

3.3. Tonal Use of Modality

3.3.1. Tonal Function of the Modal Chord
3.3.2. Tonal Cadences with Modal Chords
3.3.3. Tonal Use of the Modal Chord

3.4. Ethnic Modes

3.4.1. Modal Scales
3.4.2. Tonal Use
3.4.3. Modal Chord

3.5. Synthetic Modes

3.5.1. Construction
3.5.2. Modal Scales
3.5.3. Tonal Use

3.6. Tonal Use of Ethnic and Synthetic Modes

3.6.1. The Idea
3.6.2. Tonal Functions
3.6.3. The Chord as a Harmonic Color

3.7. Harmonic Colors: Tonality and Atonality

3.7.1. Tonality vs Atonality
3.7.2. Chords without a Function
3.7.3. Harmonic Omission

3.8. Harmonic Colors: Constructions

3.8.1. Chord Construction in Different Intervals
3.8.2. Overlapping Chords
3.8.3. Colored Modal Chord

3.9. Extra-Tonal harmony

3.9.1. Bitonality
3.9.2. Polytonality vs. Atonality
3.9.3. Dodecaphonism and Serialism

3.10. Avant-Garde Music

3.10.1. Random Music
3.10.2. Indeterminism
3.10.3. Minimalism

Module 4. Acoustic and Virtual Orchestration

4.1. The Orchestra

4.1.1. Instruments
4.1.2. Formats
4.1.3. Hybrid Orchestra

4.2. Instruments

4.2.1. Structure and Classification
4.2.2. Techniques
4.2.3. Bell Effects

4.3. String Orchestration

4.3.1. Sound Planes
4.3.2. Contrapuntal vs. Homophonic Writing Homophone
4.3.3. Accompanying a Soloist

4.4. Woodwind and String Accompaniment Orchestration

4.4.1. Contrapuntal vs. Homophonic Writing Homophone
4.4.2. Use of Wood to Achieve Color Contrasts
4.4.3. Special Effects

4.5. Brass and Woodwind Orchestration with Woodwinds and Strings

4.5.1. Uses and Duplications
4.5.2. Melody, Homophonic and Contrapuntal Writing
4.5.3. Sound Climax and Timbral Effects

4.6. Percussion Section

4.6.1. Instrument Classification
4.6.2. Number and Distribution of Instrumentalists
4.6.3. Notation of Percussion Instruments

4.7. Other Instruments

4.7.1. Keyboard Instruments
4.7.2. String Instruments without a Bow
4.7.3. Orchestration for These Instruments

4.8. Differences between Samplers and Real Orchestras

4.8.1. Dynamics, Balance and Panorama
4.8.2. Layers
4.8.3. Keyswitches

4.9. Orchestration Techniques for Samplers: Patches Ensemble

4.9.1. Full and Powerful Sound
4.9.2. Using Patches Ensemble
4.9.3. Strings: Sustain, Tremolo and Staccato

4.10. Orchestration Techniques for Samplers:  Pairing

4.10.1. Timpani
4.10.2. Orchestra and Percussion Pairing
4.10.3. Choir and Orchestra Pairing

Module 5. Composition Techniques

5.1. Thematic Construction

5.1.1. The Shape
5.1.2. The Motive
5.1.3. The Musical Phrase

5.2. Counterpoint

5.2.1. The Musical Phrase
5.2.2. Melodic Rhythm and Harmonic Rhythm
5.2.3. Counterpoint in Several Voices

5.3. Accompaniment

5.3.1. Types of Accompaniment
5.3.2. Reason for Accompaniment
5.3.3. Bass Line

5.4. Melody

5.4.1. Vocal Melody
5.4.2. Instrumental Melody
5.4.3. Counter Theme Melody

5.5. Creative Techniques

5.5.1. The Pedal and the Ostinato
5.5.2. Multi-Tonics and Repetitions
5.5.3. Reharmonization

5.6. Composition Techniques for Video Games: The Linear Loop

5.6.1. Features
5.6.2. Methods
5.6.3. Technical Problems

5.7. Composition Techniques for Video Games: The Stinger

5.7.1. Features
5.7.2. Types
5.7.3. Stingers in Action

5.8. Composition Techniques for Video Games: One-Shot Tracks

5.8.1. Features
5.8.2. Cinematics and Scenes
5.8.3. Hyphenated Events

5.9. Composition Techniques for Video Games: Interactive Music

5.9.1. Introduction to Interactive Music
5.9.2. Horizontal Sequencing
5.9.3. Vertical Layering

5.10. Dynamic Music

5.10.1. Generative Music
5.10.2. Adaptive Music
5.10.3. Problems of Dynamic Music

Module 6. Music and Audio Production

6.1. The Recording Session

6.1.1. Pre-Production
6.1.2. Preparation/Choosing a Studio
6.1.3. Session Registration

6.2. Microphones

6.2.1. Microphones
6.2.2. Types of Microphones
6.2.3. Features

6.3. Stereo Microphone Techniques

6.3.1. Matching Pair
6.3.2. Spaced Pair
6.3.3. Near-Matching Pair

6.4. Multimicrophonic and Surround Techniques

6.4.1. Multimicrophonic Techniques
6.4.2. Surround Recording
6.4.3. Surround Recording Techniques

6.5. Instrument Recording

6.5.1. Stringed Instruments
6.5.2. Percussion Instruments
6.5.3. Wind and Amplified Instruments

6.6. Mixing Techniques: Equalization

6.6.1. Equalization
6.6.2. Types of Filters
6.6.3. Applying to the Track

6.7. Mixing Techniques: Dynamics

6.7.1. Compressors and Other Processors
6.7.2. Sidechain
6.7.3.  Multiband Compression

6.8. Mixing Techniques: Reverberation

6.8.1. Characteristics of an Ambience
6.8.2. Functions and Algorithms
6.8.3. Parameters

6.9. Mixing Techniques: Other Effects

6.9.1. Eco/Delay
6.9.2. Modulation Effects
6.9.3. Pitch Effects

6.10. Mastering

6.10.1. Features
6.10.2. Process
6.10.3. Application in the Audio Engine

Module 7. Sound Design

7.1. Editing Methods

7.1.1. Audio Editor
7.1.2. Multitrack Editor
7.1.3. Sequencer

7.2.  Foley

7.2.1. Field Recording
7.2.2. Studio Recording
7.2.3. Edition

7.3. Sound Libraries

7.3.1. Formats
7.3.2. Types
7.3.3. Creating Libraries

7.4. Planning

7.4.1. Sound Spaces
7.4.2. Game Mechanics
7.4.3. Requirements

7.5. Sound Organization

7.5.1. References
7.5.2. Sources
7.5.3. Edition

7.6. Sound Script

7.6.1. References
7.6.2. Connection with Narrative Elements
7.6.3. Proposals

7.7. Sound Image

7.7.1. Visual Sounds
7.7.2. Mute Sounds
7.7.3. Invisible Sounds

7.8. Dialog Cleaning

7.8.1. Organization
7.8.2. Vocal Processing
7.8.3. Standardization

7.9. Sound Effects

7.9.1. Organization
7.9.2. Typology
7.9.3. Categories

7.10. Event Adjustments

7.10.1. Features
7.10.2. Types of Events
7.10.3. Synchronization

Module 8. Sound Creativity

8.1. Sound Analysis

8.1.1. Features
8.1.2. Types of Sounds
8.1.3. Narrative Development

8.2. Sound Object

8.2.1. Silences
8.2.2. Environment
8.2.3. Metaphor

8.3. Soundscapes

8.3.1. Features of the Environment
8.3.2. Layers of the Environment
8.3.3. Hybridizations

8.4. Physical Phenomena

8.4.1. Waves and Frequencies
8.4.2. Particles
8.4.3. Subject

8.5. Creating Characters

8.5.1. Analysis
8.5.2. Natural Sounds
8.5.3. Game Sounds

8.6. Morphing

8.6.1. Amplitude
8.6.2. Substitution
8.6.3. Interpolation

8.7. Layers

8.7.1. Materials
8.7.2. Psychological Techniques/Tactics
8.7.3. Reflexive

8.8. Space Design: Panoramic

8.8.1. Overview
8.8.2. Reverberation
8.8.3. Absorption

8.9. Space Design: Noise

8.9.1. Noise
8.9.2. Sound Planes
8.9.3. Randomness

8.10. Generation by Synthesis

8.10.1. Analog Synthesis
8.10.2. Digital Synthesis
8.10.3. Modular Synthesis

Module 9. Voice-Over

9.1. Voice Objectives

9.1.1. Quality
9.1.2. Functions
9.1.3. Features

9.2. Voice Creation: Voice and Animation

9.2.1. Voice before Animation
9.2.2. Voice at the Same Time as Animation
9.2.3. Voice after Animation

9.3. Voice Creation: Types and Script

9.3.1. Types of Voices
9.3.2. Script Creation
9.3.3. List of Assets

9.4. Choosing the Voice-Over

9.4.1. Casting
9.4.2. In-house Study vs. Specialized study
9.4.3. Costs and Benefits of Using Voice-Over

9.5. Recording Sessions

9.5.1. Fluidity in the Session
9.5.2. Recording
9.5.3. Management

9.6. Edition

9.6.1. Dialogues in Cinematics
9.6.2. Character Interaction
9.6.3. Silences

9.7. Finishes

9.7.1. Rendering
9.7.2. Synchronization
9.7.3. Export

9.8. Vocal Recording: Placement

9.8.1. Type of Microphone
9.8.2. Positioning the Voice-Over
9.8.3. How to Approach Voice Recording

9.9. Vocal Recording: Sound-Sync

9.9.1. Sound-Sync
9.9.2. Restricted Files
9.9.3. Unrestricted Files

9.10. Voice Processing

9.10.1. Equalization
9.10.2. Dynamics
9.10.3. Effects

Module 10. Implementing Interactive Audio: FMOD

10.1. FMOD

10.1.1. Installation
10.1.2. Main Advantages
10.1.3. Publisher’s Organization

10.2. Instruments: Single and Multi-Instruments

10.2.1. Single and Multi-Instruments
10.2.2. Event Instruments
10.2.3. Programmer Instruments

10.3. Instruments: Command Instruments

10.3.1. Command Instruments
10.3.2. Silence and Scatter Instruments
10.3.3. Snapshot Instruments

10.4. Tracks

10.4.1. Audio Tracks
10.4.2. Automation Tracks
10.4.3. Return and Master Tracks

10.5. Logic Tracks

10.5.1. Destination Markers
10.5.2. Transitions and Transition Regions
10.5.3. Loop Regions

10.6. Parameters

10.6.1. Adjustments
10.6.2. Sheets
10.6.3. Properties

10.7. Modulators

10.7.1. Type of Surround
10.7.2. Type LFO
10.7.3. Sidechain Type

10.8. Mixer

10.8.1. View Configuration
10.8.2. Buses, Events, Shipments and Returns
10.8.3. VCA

10.9. 3D Events

10.9.1. Spacer
10.9.2. 3D Preview
10.9.3. Built-In Parameters

10.10. Export

10.10.1. Libraries
10.10.2. Preferences
10.10.3. Platforms

This Professional master’s degree combines the most in-depth and up-to-date content, the most excellent teaching staff and a 100% online learning method designed for working professionals”