Call me Darth Malak. Or "the sound guy".
Maybe tantric yogin. Mebbe just ronin. *shrug*

Word is that BioWare Edmonton is lookin' for a "Sound Designer - 08-ALE-SD" to pitch in with the house team.

Primary Responsibilities

• Creating audio assets using Nuendo, Sound Forge, and other related software
• The last apps I used Sound Forge, CoolEditPro, and Audacity. (A catastrophic HD failure during Hurrican Juan in Halifax 2003 wiped out my registered copies of CoolEditPro and 3D Max.)
• Designing, creating, editing, and mixing original audio content in accordance with each game project's design goals.
• Producing new material with an eye to the specifics of an existing design. Let's let's call that "real-izing". Or "actual-izing". That's praxis. (Heidegger based his essays on technology on just that, only that. "Techne", the way we imagine in a way that makes best use of our present techniques to bring new techniques into reality.) Whether in a recording studio or broadcast setting, I know what it's like to work on co-pruduction and meeting a schedule.
  I was also doing things like cutting "stingers", the 15 or 20 second music clips CBC uses to bridge from one segment to another. For those to work day after day after day they have to be speaky clean. That's not a big job, but it's detail work.
• In-game implementation of all types of audio assets using proprietary tools and systems
• I'm not saying I can do BG music from scratch; I wouldn't call myself a composer.
  But I will say I understand flow. (I'd like to call it "spine" because I always wanted to be a theatre director, something I didn't get to.) There's story line. And there's tone. And there's mood. Even if only unconciously, these all contribute to the user's experience. (When I decided to let go my job at CBC, to study philosophy at UofA, my name was top of the list as head recording tech for the new radio-drama studio; I was the right man for that job because I understand flow and story line as well as technical requirements.
• Offering technical advice for programmers developing game sound systems
• Giving technical advice to programmers? Would that be outside of my pay grade?
  Realistically, I would think that the Lead Audio Designer or a Senior Sound Designer would be relating to programming staff about that, talking directly to team leaders and/or project managers.
  In the MIL-SPEC avionics R&D project where I was doing technical documents ("integrated logistics support") I dealt with programmers, technologists, and engineers of all sorts, on a daily basis.
  As for advice to programmers ... I code, but I am not a programmer. I can talk transitions and such, I can even talk psycho-acoustics. I'd even dare talk design. But I don't present myself as a programmer
• Editing, mastering, and implementation of music and dialogue
• Yes, especially creating sequences from stock. I have played music all my life (including years as a busker), but again: I'm not a composer.
  As for dialog and mix, apart from live-to-air production, location recording, and documentary work at CBC I've also produced a small number of "slide tape" presentations, making a montage of music, narrative, and visual. I'm familiar with that drill.
• All aspects of sound for linear video
• Roger that. (Movie sound was on my ToDo list but I never got around to it. And at one point I turned down a position as soundman for ENG, other commitments at the time.
• Trouble shooting and debugging of game audio systems
• At a high level, for sure. I am not a programmer but I do code, and I'm very comfortable with systems. (I make that clear distinction because I've worked with programmers and appreciate what they do.)
• Assisting with Localization audio requirements for each project
• "If by "localization" you mean something like I18N then I'm not sure how this applies, unless it's a matter of working with other languages. (FWIW French is my mother-tongue, and I'm almost functional in Spanish.) If this refers to various platforms, various OSs, and various browsers, then I'd say that this isn't a problem.

Basic Qualifications Include

• At least 2 years experience in creating audio for games or similar professional experience
• Similar professional experience:
  CBC Radio; Master Control Network operations; studio recording and editing, documentary and music; location setup and recording for documentary and music (e.g. Edmonton Symphony)
• Music
  • I've played music my whole life, beginning with classical piano as a child. (I'm partial to Ravel, FWIW.) I played bass guitar and trumpet as a young teenager. As a busker I've played recorder, autoharp, and djembe. (I spent a short while with cello but found good instruments too expensive.) I studied classical music theory so can read music.
    With electronica I'm partial to ambient, jungle, and break-beat. And I'm not at all allergic to hiphop!)
• Musicianship
• Years of performance with a variety of instruments, as well as experience with studio and stage.
• Exceptional sound design skills
• Here I'm presenting myself as "Sound Designer" for a situation where I would be working under both a Lead Audio and Senior Sound Designer. I can do what's required, but will not pretend to more than I know I can do.
• Ability to make high quality audio samples and process externally created music, VO, and SFX for in-game use
• These processes are, in different contexts, all familiar to me.
• The ability to write/debug simple computer script or batch files
• I have coded in APL, AWK (under Xenix), Basic, Fortran, Pascal for Windows, VisualBasic, PHP, and VRML.
• Professional-level skills in digital audio editing and manipulation
• I mastered editing mounting complex documentary productions at CBC (in the days where razor-blade was king) and have transfered that set of sensibilities to digital settings (which isn't nearly the same challenge). In the footer of this page you will find a set of the trax I re-mastered.
• High degree of proficiency using professional audio software and hardware
• When I was 14 I built a Fender Bassman amp from scratch. That was 1968. In 1972 I built a synth. While with CBC I helped rebuild all the music boards with a new generation of low-noise ICs. I know hardware.
  As for software, I helped introduce Cakewalk to the studios in my area. I was using tracking software in the early 90s. And at the huge conference in Quebec City about the FTAA a small team of us set up 70 audio-ready workstations for independent reporters, over 250 in number, and I trained many dozens of them on SoundForge and CoolEditPro.
  But: I have been out of the loop for some years, working more with PHP/MySQL and Ajax than with audio, so ... changes in UI could take my by surprise and catch me short. For a few minutes.
• Knowledge of surround mixing techniques
• Worked with "psycho-acoustics" with development of CBC stereo service
• Dialogue recording experience
• Documentary / radio-drama production and live to air in broadcast setting.
• Live/studio recording experience and a strong grasp of microphone theory
• In studio with CBC; album recording and mixing with OverTom Productions; venue sound in various situations.
• Good knowledge of field recording, Foley, microphone and professional audio equipment
• My stock is low and in bad shape: a venerable old EV 627C, a fine old JVC M-510 shotgun, one Shure M58 and a couple of wannabes. I'm not up to speed on what's new, but I know what works. (I bought the first field-effect mic I could find!)
  Besides doing location and studio work with CBC I have done quite a bit of venue sound, including a bit as sound-scape designer in live theatre. Mostly I worked with musical events, including stage management in the early days of the Edmonton Folk Festival.
• Experience with 3rd party audio tools like XACT, ISACT, Miles Sound System, MusyX
• All of these are new to me
• Great communication and team skills
• I think task-oriented collaboration is the ultimate in human activity. I've studied Zen, and I did well in the military, so it's not in my nature to let my work suffer for any reason.
• Understanding of the software development process
• MIL-SPEC change management in avionics R&D
• Strong attention to detail
• Compulsively. I cannot do otherwise. When I work I focus. If something interferes with that, then ...
• A love of games
• I started gaming with Avalon Hills ("PanzerBlitz" was our favorite) years ago. Along the way, classics like Diablo. More recently, MPOGS such as Realm and CombatGrounds. ("Realm", a fabulous early MPOG ... a sad story of a great game and a great team getting caught in and chewed up by the gears of commerce.)