General information

Subject type: Mandatory

Coordinator: Adso Fernández Baena

Trimester: First term

Credits: 4

Teaching staff: 

Gabriel Garrido Garcia


Specific skills
  • E1. Demonstrate knowledge of the history of video games and analyze the reference video games with arguments based on evaluation criteria contextualized in the historical and cultural framework.

  • E2. Design the mechanics, rules, structure and narrative of video games following the criteria of gameplay and balance to provide the best possible gaming experience.

  • E3. Identify the type of player and design the game experience according to its psychological characteristics.

General competencies
  • G1. Demonstrate having and understanding advanced knowledge of their area of ​​study that includes the theoretical, practical and methodological aspects, with a level of depth that reaches the forefront of knowledge.

  • G4. Communicate information, ideas, problems and solutions to a specialized and non-specialized audience.

Transversal competences
  • T2. Work as a member of an interdisciplinary team either as an additional member or performing management tasks in order to contribute to developing projects with pragmatism and a sense of responsibility, making commitments and taking into account available resources.


This subject seeks to provide the basic theoretical and practical knowledge to provide quality sound to any video game production. The fundamental characteristics of sound and how to describe it will be studied, a brief review of the history of sound in audiovisuals, the technology needed to record and create sound, the main sound elements of video games and also knowledge related to copyright and rights. of use.

The course consists of theoretical sessions and practical sessions in the computer lab and the audio studio. In order to acquire the knowledge, the subject is evaluated with the works arising from the practical sessions, the individual tests done during the course and the final exam.

This subject has methodological and digital resources to make possible its continuity in non-contact mode in the case of being necessary for reasons related to the Covid-19. In this way, the achievement of the same knowledge and skills that are specified in this teaching plan will be ensured.

The Tecnocampus will make available to teachers and students the digital tools needed to carry out the course, as well as guides and recommendations that facilitate adaptation to the non-contact mode.

Learning outcomes

At the end of the course the student will be able to:

E1.1. Describe the history of interactive products and video games, as well as their typology and aesthetics.

E2.4. Balance a game or game level considering all available parameters and variables and thus provide a satisfactory gaming experience at the required difficulty level of that level, part or all of the game.

E2.5. Design sound and music for the game.

E3.3. Design the game taking into account the psychological characteristics of the user.

Working methodology

The subject uses the following work methodologies:

Master class, small group laboratory practices, video capsules, group work, viewing and reading online content.


  1.  Fundamental concepts of sound

1.1 Basic physics: how we describe sound

1.2 Essential technology: analog sound

1.3 Mono, stereo and multichannel

1.4 Equalization

1.5 Reverberation

1.6 Delays and echoes

1.7 Main problems: noise, distortion

1.8 Introduction to digital audio


2. Sound as an immersive and interactive element

2.1 Reality and perception

2.2 The beginnings of sound in audiovisuals

2.3 The first video games and their sound architecture

2.4 Sound aesthetics of XNUMXst century video games


3. Basic technology

3.1 Essential hardware and software

3.2 Fundamentals of digital audio editing and manipulation

3.3 Audio interfaces

3.4 Synthesizers and samplers

3.5 Technical limitations in the application


4. The fundamental sound elements

4.1 Dialogues

4.2 Sound effects (SFX)

4.2 Backgrounds

4.4 Music


5. Integration of sound in video game programming

5.1 Basic techniques with Unity

5.2 Limitations and solutions

6. Legal aspects

6.1 Ownership of the work, ownership of the elements

6.2 The case of music: synchronization rights, copyright, phonographic rights, mechanical rights. Music publishers

6.3 Property registration

6.4 Contracts

Learning activities

In order to gather evidence of the achievement of the expected learning outcomes, the following evaluative activities will be carried out:

A1. Laboratory practice: Introduction to the creation of sound effects. Evidence of learning outcome E2.5

Perform an exercise with DAW software to provide sounds to an animated sequence. It can be done individually or in groups of two people.

A2. Laboratory practice: Introduction to the recording of dialogues. Evidence of learning outcome E3.3

Exercise of recording dialogues and dubbing a video sequence. It must be done in a group of maximum 5 people.

A3. Laboratory practice: Introduction to music publishing. Evidence of learning outcome E2.5

Basic music composition exercise on assisted composition software. It can be done individually or in groups of two people.

A4. Group work: Integration of sounds in a project. Evidence of learning outcome E2.4

Analysis work and development of solutions to create the sound and musical environment of a game prototype.

A5. Partial exam: evaluation questionnaires for each chapter of the syllabus (Evidence of all learning outcomes)

Evaluation test carried out online and completely individually, at the end of each chapter of the syllabus.

A6. Final exam (Evidence of all learning outcomes)


General criteria of the activities:

  • The teacher will present a statement for each activity and the evaluation and / or rubric criteria.

  • The teacher will inform of the dates and format of the delivery of the activity.


This course, due to the situation generated by the Covid-19, all activities will be adapted.

The teacher will present the activities online and give the necessary indications and tools so that the student can do it with the available means.


Evaluation system

The grade of each student will be calculated following the following percentages:

A1. Laboratory practice: Introduction to the creation of sound effects. 5%

A2. Laboratory practice: Introduction to the recording of dialogues. 10%

A3. Laboratory practice: Introduction to music publishing. 10%

A4. Group work: Integration of sounds in a project. 25%

A5. Partial exam: evaluation questionnaires for each chapter of the syllabus 10%

A6. Final exam 40%

Final grade: A1 0,05 + A2 0,1 + A3 0,1 + A4 0,25 + A5 0,1 + A6 0,4


  • It is necessary to obtain a grade higher than 5 in the final exam to pass the subject and add the results of the other activities.
  • An activity not delivered or delivered late and without justification (court summons or medical matter) counts as a 0.
  • It is the responsibility of the student to prevent plagiarism in all its forms. In the case of detecting a plagiarism, regardless of its scope, in some activity it will correspond to have a note of 0. In addition, the professor will communicate to the Head of Studies the situation so that measures applicable in matter of sanctioning regime are taken. .
  • The teacher may request a personalized presentation of the activities either to clarify general aspects or to individualize the grades of the students.


  • It is necessary to obtain a mark superior to 5 in the final exam of recovery to pass the asignatura.
  • The mark of the resit exam will be applied only to the mark of the A6 activity.
  • In case of passing the recovery, the maximum final mark of the subject will be 5.





Marks, Aaaron (2017). "The Complete Guide to Game Audio". AK Peters / CRC Press

Phillips, Winifred (2017) "A Composer's Guide to Game Music". MIT Press

Horowitz, Steve, Looney, Scott R (2014). "The Essential Guide to Game Audio: The Theory and Practice of Sound for Games." Focal Press


Sweet, Michael (2014). “Writing Interactive Music for Video Games: A Composer's Guide”. ADDISON WESLEY

AVID. "Protools 101 v12". AVID

Rose, Jay. (2009). “Audio postproduction for film and video 2nd ed.”. Elsevier.