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Process Audio Sound Design
Everything that is not the score. The world's foreground and the player's interface. Like the bible, this is the team's opening position; the per-event treatments belong to the practitioner who picks this up.
The ball is the loudest thing the player hears most of the time. Every other sound design choice has to sit politely under it. Pitch and timbre vary by venue; the venue does the variety, not the playback layer.
Menus are quiet. Errors are not buzzers. The interface sits under the world, not on top of it.
No voice barks. No dramatic stingers tied to gameplay events; the score is the score and the rally is the rally, and neither needs help to land. No randomised one-shots that aim for variety through volume; variety comes from the venue, not from the playback layer.
The bibles' "what we are not" rules apply here as well.
Sound design is its own discipline once the team grows. Currently it sits with the engine team. The composer (Audio Bible) does not write sound design.
Contributing
The game
The Cast
Process
Reference