I would like to create a template that will make doing sound for film and games more organized. What type of template setups do you use? I am using pro tools but I don't think the DAW you use matters.

2 Answers 2


I can tell you how I organized sounds for a game made in UDK - "Premonition" from VFS Game Design - its been how ive done game sessions ever since.

The session contains one type of asset. Say feet. A marker placed at the beginning - marks the type of surface - gravel. The layers are cascaded down with some work tracks etc. Then an aux for bouncing and processing layers to the single mono track called Feet_Gravel. The file name will ultimately be changed to whatever the programmer needs it to be for implementation. Once its all done, I make a marker after that set of regions. Ill name it say, Grass. This follows the same process and so on until you have a session of cascading groups of surfaces divided by markers. Track Group them, set views, hide and inactivate track groups by surface type to free up more tracks, and voila! Session-o-feet. This works for all other types of alike sounds that are grouped together, for example: Spaceship_Engines, Monkey_Vocalizations, Swords_SFX, etc.

Linear cutscenes I do the exact same thing just with a movie track. You never deactivate the movie track as you will only ever need to use 1. A video for each marker section.

If you want to grab a more in-depth explanation/pictures of session layout, implementation practices, variation processing etc - go to www.c3sound.com and check the Game Audio tab in the portfolio section.



  • That is a cool video. Its a little to complex for me to grasp right away. I will watch again though. Thanks.
    – ShaunKelly
    Commented Nov 29, 2010 at 7:08
  • @ShaunKelly No prob man, lemme know if you have any questions on it -- I love UDK but I also really love WWise. Fmod is just kinda cool compared to WWise... but Fmod I feel is more versatile than UDK. UDK is just cool cause you dont have to pay anyone except Unreal to use it since the audio engine is built into the game engine. Wwise and Fmod are "licensed separately" audio middleware.
    – C3Sound
    Commented Nov 29, 2010 at 7:33
  • @c3sound I found this site that explains how he sets u his template and even gave a download of the template. Here is the link dsteinwedel.com/files/category-studio-recordings.html let me know what you think of his setup. I understand what he is talking about except this part "Finally there is the Record Track. This comes in handy in many situations. Once I have finished an effect, I will stick the final version, muted, up on the record track. This just makes things easier from an organizational standpoint. When I come back to the session later, I know exactly which setup belongs..."
    – ShaunKelly
    Commented Nov 30, 2010 at 7:44
  • @This is basically my set up as well. My setups depend on the sound and not a template however. I start off with just an aux all and a record track. If it gets more complex then I will add as I go. No need to have a ton of tracks on the screen when you are only going to use a couple. ---What he mentions is that the finished sound sits on the record track. This allows you to keep the finished sounds on a single ACTIVE track while all your million other build tracks are inactive. Much easier to show someone your work instead of constantly spending time to inactivate and activate sound groups.
    – C3Sound
    Commented Nov 30, 2010 at 17:55

My templates are pretty similar but do vary based on the type of project I'm working on, ie. my film template is different from my game template, etc. Film will be wider, with more predubs available for when I need to split out, while the game template will be more concise. Both, however, have VCA-controlled predub groups with discrete busses that route to submix auxes and on to a Printmaster aux, which will output to a monitoring track (which can be toggled over to a record track if I need to make mixdowns). The submix and Printmaster auxes have in-line plugins, such as EQs and limiters. Also, each template will have reverb and/or delay auxes with pre-assigned inputs.


Thought this may shed more light on the issue: http://designingsound.org/2010/11/jamey-scott-special-stem-workflow-video-tutorial/.

  • @Jay Whats your favorite limiter? The one that you "trust" as they say.
    – C3Sound
    Commented Nov 29, 2010 at 7:01
  • My setup for TV follows @Jay's film example with the ability to split out stems pretty closely. But I'd add that I having all my plug-in maps and custom fader groups for my control surface is essential. Commented Nov 29, 2010 at 14:42
  • @Steve Yeah I would say the details are hashed out based on the control surface and type of DAW and the features you have available. The VCA's were HD only up til 9 I believe. And the custom fader groups are AWESOME on an Icon/D-command.
    – C3Sound
    Commented Nov 29, 2010 at 17:50
  • @Jay Nice update - Pretty good tutorial for cinematic sequences and film. Bookmarked.
    – C3Sound
    Commented Nov 29, 2010 at 19:36

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