book

Game Audio Implementation

by Richard Stevens, Dave Raybould

December 2015

Beginner to intermediate

486 pages

11h 18m

English

Focal Press

Read now

Unlock full access

Setting up the Demo ProjectsNavigation of the Game WorldVersion Control and Auto-savesLooking and MovingViewsBookmarksMoving/LookingIn-game Actors: Finding and Changing Your First SoundNavigating the Assets and the Content BrowserFiltering ResultsNavigating the Game System: BlueprintsPreparing Assets for ImportEditingSample Rates and File FormatsLoopingImporting AssetsFolder Structures and Naming ConventionsConclusion
IntroductionAmbienceTypes of SoundArea LoopsSource LoopsFilter over DistanceArea Loops and Source Loops: Attention to DetailSound CuesAdding Sounds to Sound CuesSource One-shotsPolyphonic or Overlapping One-shotsPlayer-oriented One-shotsOne-shots: Sourcing and MaskingEmbedding Source Sounds into Game Actor BlueprintsAmbience Recap: An Artist’s ApproachOcclusion IssuesTriggers and Switching AmbienceReverbTriggering Sounds with Key or Controller InputTrigger Use EventsConclusion
IntroductionSample Rates and Audio CompressionSample Rates RevisitedAudio File CompressionSequenced VariationTime-based VariationAsynchronous LoopsRandom Time: BlocksRandom Time: FragmentsControlling Random Events: Clusters of ActivityConcatenationConcatenation for Variation in LoopsLayered ConcatenationConcatenation for a Chain of EventsConcatenate Sample RatesMultiple Start PointsLayered VariationSimple Random CombinationsRandom Combinations with Individualized Pitch and DelaysDeconstructing a Sound for Procedural UseScalabilityModulation/Modifiers for VariationPitchReuse Sounds for Different Sized SourcesTransformative ReusePitch EnvelopesVolumeOne-shot Volume EnvelopesLooping Volume EnvelopesOscillationWavetablesParameterization = InteractivitySwapping out Sounds with -Branch-Parameters to Pitch with <Set Pitch Multiplier>Parameter-based Crossfades with -Crossfade by Param-Using User-defined CurvesMonitoring Memory and Level Streaming ApproachesAsset CheckingMemory CheckingLevel StreamingSound StreamingConclusion

IntroductionInteractive Music PrinciplesPlaylistsLevel Music, Loops, and Decay TailsDecay TailsLoop with Integrated DecayPlay Then LoopLooping ManuallyStingers/Ornamental FormsSimple Parallel FormsSimple Transitional FormsConclusion
IntroductionMusic BasicsSource MusicOne-shotsMusic for Timed EventsOrnamental Forms/StingersParallel FormsSwitching or Fading Layers (Parallel Forms for Orientation)Using Variables to Determine Volume (Parallel Forms for Proximity)Linear Variables to VolumeCurves to VolumeMix Automation for Parallel LayersConclusion
IntroductionClunky TransitionsNastyCrossfades (and When to Use Them)Masking TransitionsMusical TransitionsWorking with Chunks: Measure-based TransitionsDecay Tails RevisitedControlling a SwitchTransitioning on Measure in Longer PiecesPre-syncs or RampsAligned TransitionsPutting It TogetherA Musical Conclusion
IntroductionRandomizationBetter than Random? Randomize without ReplacementDialogue for AdviceTimed Help AdviceTriggered AdviceDialogue InterruptsBad/Better/Better-erConditions and Dialogue ChoicesSimple Conditions and Dialogue ChoicesCounts to Dialogue ChoicesTracking Multiple Actions or Inventory for Dialogue ChoiceConditions to Sound Cue Branching ChoicesBranching DialogueCharacters, Contexts, and Dialogue ChoicesLocalization or Localisation?Conclusion
IntroductionSound PropagationReverb: AdvancedNested Reverbs and PrioritizationReverb: PrebakeSpatializationSound Source TypesDirectional and Diffuse SourcesDistance Attenuation and Detail over DistanceFilter over DistanceDetail over DistanceOcclusion, Obstruction, and ExclusionsOcclusionAmbient ZonesPrioritization of ZonesObstructions and ExclusionsDynamic OcclusionMoving Objects and Moving SoundsSounds That MoveMoving Sound Sources with MatineeCreating MovementMoving Objects That Make SoundRotating DoorsOpen/Opening LoopsMatinee Events for Mechanical SystemsMatinee Sound TrackPhysicsSpeed of SoundDopplerDoppler: Faking ItCollisionsSimple Object CollisionsVelocity to Collision SoundsSliding, Rolling, and ScrapingPhysics-based Collisions: Cascading PhysicsPrioritization: Number of Voices ControlAnimationsFootsteps 01: Anim NotifiesFootsteps 02: SurfacesFootsteps 03: Creep/Walk/RunFootsteps 04: Foley or Weapon Carrying LayersFootsteps 05: Other NotesCameras and CutscenesCameras and the ListenerSeparating the Camera and Listener PositionConclusion
IntroductionMixingGeneral Mixing PrinciplesReference LevelsSound Classes and Sound Mixes: The Unreal Engine Mixing SystemSound Class PropertiesThe Roles and Functions of Game AudioThe I.N.F.O.R.M. ModelInstructionSound Mix: Triggered DuckingSound Mix: Triggered EQPassive/Automatic Mix ChangesSound Mix: Base Sound Mix and Mix ModifiersNotificationCharacter StateNPC StateObject StateGame StateFeedbackPickupsHUD InteractionsOrientationNavigateAttractRepelRhythm-actionMechanicRecall/LearnDecoyMaskTesting the MixConclusion: Audio Concepting
IntroductionSystemOne-shot, Retriggered, or Loop?One-shotRetriggeredRetriggered with TailLoop with TailLooping Beam WeaponsProjectilesFeedbackEnvironment and Distance ElementsEnvironment LayersDistance LayersBulletsImpactsCasingsWhizzbysConclusion
IntroductionSimple Velocity to PitchCrossfading ElementsPitch Curves for Automatic GearsSmooth OperatorSurface/Tire LayersSkidsAdditional ElementsEngage/DisengageTurbo DumpImpact and Damage LayerWind LayerEngine Load/Stress LayerCar Body Movement or Suspension LayerVehicle CamerasConclusion
IntroductionCrowd SystemsRandomized CrowdCrowd Excitement LevelsCommentaryColor CommentaryConcatenated Dialogue for Play-by-play CommentaryConsiderations for Concatenated DialogueDialogue QueuesConclusion
IntroductionHarmonically and Rhythmically Aware StingersHarmonically Appropriate StingersRhythmically-synched StingersSequenced MelodiesPlay for ProximityChained Melodic PickupsAlgorithmic or Procedural FormsGenerative CombinationsGranular Note-level SequencesUsing Random SeedsRhythm-actionGraphically LedCall and ResponseConclusion
Key and Gamepad InputsEvents and TriggersManipulating ActorsReferencing In-game Actors within BlueprintsVariables, Parameters, Numbers, and ArraysTransforming and Constraining Variables and ParametersReading through CurvesEvaluating Variables and ParametersRouting Decisions and EventsCustom EventsControlling Audio ComponentsSound Cue NodesConsole CommandsOthersMatineeAttaching Actors to other ActorsTimelineAudio FinishedTimer
Navigating, Creating and ConnectingEvents and the Programming ParadigmCompiling BlueprintsActor BlueprintsStructuresThe Graph Action MenuCreating Nodes between Existing ConnectionsFinding Things in BlueprintsCommunicating between BlueprintsCastingEvent DispatcherGetting References to Spawned Actors
Watching BlueprintsPrint StringAuto-Save RecoveryOrganizing and CommentingWorking in Separate Audio-only LevelsTips for Slow Running

Content preview from Game Audio Implementation

Acknowledgements

Thanks to our colleagues and students at Leeds Beckett University and to Chris Forde, Nick Campbell, Evangelous Chouvardas, Matt McIntosh, Ben Minto, Andrew Quinn, Joe Thom, Naila Burney Arango, Andreas Hamm, Dan Reynolds, Benny Reibel, Sean Connelly, Caitlin Murphy, Paul Ratcliffand the rest of the team at Focal Press for their contributions and input.

Audio editing screenshots taken in REAPER from Çockos Incorporated and Adobe Audition from Adobe Systems Software Ltd. Screenshots made using ShareX, and a vast amount of things to do organized with help from Trello.

A huge thanks to our respective families for their immense patience, to Frank and Gwen for providing some much needed diversion, and to the game audio community for ...

Become an O’Reilly member and get unlimited access to this title plus top books and audiobooks from O’Reilly and nearly 200 top publishers, thousands of courses curated by job role, 150+ live events each month,
and much more.

Start your free trial

Publisher Resources

ISBN: 9781317679455

Game Audio Implementation

by Richard Stevens, Dave Raybould

Acknowledgements

Become an O’Reilly member and get unlimited access to this title plus top books and audiobooks from O’Reilly and nearly 200 top publishers, thousands of courses curated by job role, 150+ live events each month,
and much more.

You might also like

The Game Audio Tutorial

Game Audio Development with Unity 5.X

Sound and Music for Games: The Basics of Digital Audio for Video Games

Practical Game Design

Publisher Resources

Become an O’Reilly member and get unlimited access to this title plus top books and audiobooks from O’Reilly and nearly 200 top publishers, thousands of courses curated by job role, 150+ live events each month,and much more.

You might also like

The Game Audio Tutorial

Game Audio Development with Unity 5.X

Sound and Music for Games: The Basics of Digital Audio for Video Games

Practical Game Design

Publisher Resources

Become an O’Reilly member and get unlimited access to this title plus top books and audiobooks from O’Reilly and nearly 200 top publishers, thousands of courses curated by job role, 150+ live events each month,
and much more.