The Art of Game Audio

Krzysztof Lipka Senior Sound Designer at CD PROJEKT RED, one of Poland's biggest AAA game development studios talks to Rycote about his team's unique approach to sound, and offers insights into his work on The Witcher 3: Wild Hunt, one of the most acclaimed action RPG titles in the industry's history.

Krzysztof Lipka Senior Sound Designer

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Tell us a bit about yourself and your work as a sound designer in the games industry. Currently, I'm a Senior Sound Designer at CD PROJEKT RED one of Poland's biggest AAA game development studios. Together with a team of super-talented, in-house sound designers, I'm responsible for providing all the audio content to meet our current needs. I'm also responsible for its technical implementation. Additionally, I deal with developing and modernising our in-house sound facilities.

I began working professionally with audio almost 15 years ago, in a small studio, recording mostly indie rock bands. Around 7 years ago I shifted to the games industry when I joined CD PROJEKT RED. Since then I've had the pleasure to work on almost all this company's titles, including The Witcher 2: Assassins of Kings (PC and X360), The Witcher 3: Wild Hunt (including both expansions Hearts of Stone and Blood and Wine), GWENT: The Witcher Card Game and, going forward, Cyberpunk 2077.

Outside CD PROJEKT RED, from 2012 to 2014, I was Audio Lead at Techland's Warsaw division, where I worked on such projects as Dead Island: Riptide, Hellraid, and Dying Light (additional sound design).

In the interim, I also produced audio for 11 bit studios productions like This War of Mine and Anomaly Defenders (additional sound design).

It was mesmerising to see the development process from the inside, to be hit by challenge after challenge. Having a job that blended my hobby and my passion was a dream come true.

When did you know you had a passion for sound? Was there a moment when you realised you had a particular interest in game audio?d you get into the sound industry and what changes have you noticed over time? I guess my love for computer games came first, when I was just a kid. It all started when my parents bought me a Commodore 64. I remember playing tons of games with my friends and this was the coolest thing ever!

A little bit later, somewhere around the middle of high school, I became fascinated with the guitar music that one of my friends introduced me to. I can't exactly remember the band or album; I just recall that there was stint there when I quickly started devouring vast amounts of grunge and classic rock music. I was simply mesmerised by artists like Pearl Jam, Soundgarden, King Crimson, and Jimmy Hendrix to name but a few. One thing led to another and my parents bought me my first electric guitar. Funnily enough, they gave me a choice the electric guitar or driving lessons. I don't think I've ever faced an easier decision. I have a sense that somehow that moment led me to where I am now.

So I started spending immense amounts of time trying to master the electric guitar. After a while all that passion escalated to a huge interest in recording and mixing music. I joined a band and met lots of interesting musicians. One of them owned a small local studio. To make a long story short, he gave me my first real studio gig. Somewhat later, around the time I completed my Law degree, our band (which I was still a member of) hit a rough patch and went through a shake-up. Call it a fluke, but the new lineup actually included a great bass player who was working at CD PROJEKT RED at the time! A bit later, he let me know there was an opening for a sound designer. So I applied, did my best on the audio tests, had my interview, and got the job.

So to answer your second question truth be told, I developed a real interest in game audio just as soon as I started working at CD PROJEKT RED. It was mesmerising to see the development process from the inside, to be hit by challenge after challenge. Having a job that blended my hobby and my passion was a dream come true.

Looking back now, that seems like the biggest clich ever. Hopefully, somebody someday will do worse if not, I'm doomed!

What's in your recording bag? Any favourite pieces of equipment? Recorders: Sound Devices 702T; Fostex FR-2LE or Sound Devices 788T

Microphones: Sennheiser MKH 8040 stereo pair; Sennheiser MKH 416; AKG 414XLS stereo pair

Accessories: Rycote WS AE ORTF Kit (MZL), Rycote Duck AE, 4x Rycote Baby Ball Gag (for IRT cross surround setup), Slik Pro DX340 tripod

For regular studio duties I use:

Interface/Monitors: RME UFX, Adam A7x or A5x paired with Adam Sub8

Preamps: 2x Neve 1073N, Helios Type 69 1R, 2x Api512C, 2x AEA RPQ500, 2x Shadow Hills Mono Gama

Microphones: Sennheiser MKH 8040 stereo pair, 2x Royer 121, AKG 414XLS stereo pair, Oktava MK-012 stereo pair, 2x Shure SM57, Sennheiser MD 421, Sennheiser MKH 416, Audix D6

Outboard: Manley Massive Passive, Manley Vari-Mu Mastering, Kush Clariphonic, 2x Empirical Labs EL8-X Distressor

Accessories: Rycote Mini Wind Screen Special 105 (for R121s), 2x Rycote INV-6 (for my Sennheiser MKH 8040 pair), 4x Rycote INV-7 HG MKIII, Triad Orbit IO-Vector

My favourite, go-to' rig for field recordings is a stereo pair of Sennheiser MKH 8040s with a Sound Devices 702T recorder. Occasionally, we rent out a Sound Devices 788T if we need more channels. I mostly use Rycote windshields and shock mounts as they work best for me. I also really like using the AKG 414XLS when the weather allows. The downside is they don't take moisture well and there's no dedicated wind protection, so you have to be really careful with them.

If I'm honest, though, I get downright excited about superb accessories like lightweight yet durable mic stands, shock mounts, stereo bars, etc. Recently I bo

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