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Chapter 6.9 Audio Design and Production. Overview. Game audio has evolved Started out as simple bleeps & bloops Game audio now often on par with film soundtracks Unlike film, not constrained to a postproduction afterthought Audio hardware varies widely! Starting with the human ear.
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Overview Game audio has evolved Started out as simple bleeps & bloops Game audio now often on par with film soundtracks Unlike film, not constrained to a postproduction afterthought Audio hardware varies widely! Starting with the human ear
Audio Team In the old days, all audio was done by one person Today’s team$ consist of dedicated Professionals for sound design, music & dialog elements Specialized talent spread across more titles
Audio Design Fundamentals Audio makes 1/3rd of the entire game experience (LOL) visuals+”design”+audio more like 60/30/10 budget split Two key points Creativity Integration
Audio Implementation Creating great sound & music is only half of the work Getting it into the game at the right spots, without audible bugs, is tricky Current generation of audio design tools have made it easier
Sound Design Sound design Interactive; dozens of effects Triggers/rules for mixing/switching Sound libraries Essential tools for building soundscapes For each in-game sound, 6-20+ samples to avoid repetitive feel
Music Music provides emotional context for the game experience Music can be linear or non-linear (i.e. interactive) Both styles have advantages & disadvantages
Voice Over Production Becoming more common in game production Budget for professional talent or the finished product may suffer
Spatialized Audio Includes 3D audio & surround sound technologies Sounds should be mono in order to allow placement Adds a sense of space & realism to the soundscape OpenAL
Studio Savvy An understanding of audio theory & recording techniques is necessary to create great game audio Having the best gear available allows for the best output
References www.audiogang.com - Game Audio Network Guild