book

Game Audio Implementation

by Richard Stevens, Dave Raybould

December 2015

Beginner to intermediate

486 pages

11h 18m

English

Focal Press

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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

First Published in 2016

by Focal Press

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The right of Richard Stevens and Dave Raybould to be identified as authors of this work has been asserted by them in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

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