Chris Jojo, Senior Sound Designer at Codemasters, has been in the gaming industry since 1992.
“One of my friends asked me if I would be interested in writing music and doing art and illustration for what was then the early eight-bit console, Nintendo and Sega consoles,” he recalls.
“Going back from the ‘90s to where we are now, it's just staggering how things have evolved. The development cycle back then could have been six months or even less. Now, we're looking at a year, to two years, depending on the size and the scope of the game. And, where it may have been a handful of sound designers, now we’re looking at a phalanx of sound designers and people specialising in technical integration and creative sound design.”
Jojo deals with a lot of capturing assets that are going to be useful to anything specific that he needs, while his colleague David Sullivan is responsible for building the engine audio.
“We have an F1 (Formula 1) team as well, who work exclusively on that. We have a lot of drivers and motorsports enthusiasts who play our titles, so you've got to make sure what you're doing is as authentic as possible.”
Among the main pieces of audio that Jojo is tasked with capturing is audio from within the cabins of as many different shells – such as rally or touring cars – as possible.