Alpan Aytekin-Game Audio Essentials
- 1. GAME AUDIO ESSENTIALS Alpan Aytekin Game Developers Turkey 22.04.2012
- 2. GAME AUDIO ESSENTIALS Alpan Aytekin ☞ www.alpanaytekin.com ✉ alpanaytekin@gmail.com BS ITU Electronics & Communication Engineering, 2004 MA ITU Centre for Advanced Studies in Music, Sound Engineering & Design, 2010 Global Game Jam 2009, 2010, 2011 Süpercan, Sobee, 2011 Townster, Gamester, 2010 Sprint, Lamagama, 2011 Çanak Okey, 2011 Süpercan 2, Sobee, 2012 Domination, An Ali Batı Game, 2012
- 4. GAME AUDIO ESSENTIALS Other Game Audio People in Turkey (AFAIK) Uğurcan Orçun, Taleworlds Güney Özhan , Freelance Ozan Yurdakul, Bilgi University, Tri Osc Başar Ünder & Korhan Aydın, Dound Sesign Nizameddin Tuğral, Freelance
- 5. GAME AUDIO ESSENTIALS Links and resources to follow Game Audio Podcast Top Score Podcast Gamasutra Audio Articles Game Audio Network Guild
- 6. GAME AUDIO ESSENTIALS Books The Complete Guide to Game Audio Aaron Marks Audio for Games: Planning, Process, and Production Alexander Brandon
- 7. History in Game Audio Analog streaming in arcade machines Chip synthesis Prerecorded CD-ROM streaming Prerecorded sample streaming Interactive audio Generative/Procedural audio
- 8. Importance of Game Audio Parental impression on Audio Console in the living room, mom in the kitchen Expanding the Players Musical Perspective Music is the most effective form of art for reaching the individual emotionally Music and Sounds are there after gameplay Form of New Media
- 9. Film Scoring vs. Game Scoring Two way interaction Causality of Gameplay M OV I E GA M E More Film Composers getting into games
- 10. This Game Needs Audio Audio: Sound that is carried in electrical signals. No Turkish definition Sounds Effects Music or sometimes the same?
- 11. Things to Know Placeholder Loops Cues Platform Dependency Resource Management Spectral Output Range Audio Middleware
- 12. Project Workflow Game Size Casual / AAA > Knowing Limitations
- 13. Game Size - System Output Human Hearing Range : 20Hz – 20000Hz Wavelength 17m - 2cm Mobile Phones, Laptop Computers have limited performance in low frequency output LAPTOP SPEAKERS!
- 14. Project Workflow Game Size Casual / AAA > Knowing Limitations Team Size Programmer / Art Director / Producer/ Composer / Sound Designer / Audio Implementer Composer & Sound Designer are not in the inner circle Test Cycle File Naming Hierarchy Game State values, Communication Entrance of the Audio Guy in to the project 1 minute of music is NOT composed in 1 minute Composing to a picture
- 15. COMPOSE!
- 17. Music Selecting a musical style
- 18. Musical Knowledge World/Ethnic Music Oceanic, East Asia, South Asia, Middle East, Subsaharan, East Europe, Caribbean, South America, North America Western Music 11th Century – 20th Century Early Christian, Renaissance , Baroque, Classical, Romantic, Impressionist, Atonal, Minimalist 20th Century music
- 19. Sonata Form Main Theme Transition Exposition Subordinate Theme Development Main Theme Transition Recapitulation Subordinate Theme Coda
- 20. Leitmotif Leitmotif is a musical term referring to a recurring theme, associated with a particular person, place, or idea. Modification in terms of rhythm, harmony, orchestration or accompaniment. Notably associated with the operas of Richard Wagner
- 22. Music Selecting a musical style Atmosphere Do we always want to hear music? Using music as NUKES Soundscapes Looping Structures Ear Fatigue Sonority Wallpaper Music Mickey Mousification
- 24. MUSIC CUE ATMOSPHERE SILENCE
- 25. Interactive Audio Modular Approach / Procedural Approach Procedural (Generative) > synthesis, DSP limitations Modular Approach Event driven cueing (no turning back) Horizontal sequencing (can switch back)
- 27. Interactive Audio Modular Approach / Procedural Approach Procedural (Generative) > synthesis, DSP limitations Modular Approach Event driven cueing (no turning back) Horizontal sequencing (can switch back) Vertical Orchestration Problem of crowding
- 29. Interactive Audio Modular Approach / Procedural Approach Procedural (Generative) > synthesis, DSP limitations Modular Approach Event driven cueing (no turning back) Horizontal sequencing (can switch back) Vertical Orchestration Problem of crowding Flourish Cues Reactive Music
- 30. Audio Middleware FMOD, Wwise, Unreal Sound Engine Instant functions Utility for the programmer Effectwise Avoiding Hammering Effect - Variation Parameter Based Sound Design Space Design Procedural Audio Musicwise Building an interactive audio system
- 31. Ref: Huiberts 2009, AES 35th International Conference: Audio for Games
- 33. Sound Effects Hammering Effect Ear Fatigue Fletcher-Munson Curves (Equal Loudness Curves)
- 35. Sound Effects Hammering Effect Ear Fatigue Fletcher-Munson Curves (Equal Loudness Curves) Hass Effect
- 36. Hass Effect t 35 ms
- 37. Sound Effects Hammering Effect Ear Fatigue Fletcher-Munson Curves (Equal Loudness Curves) Hass Effect Realistic / Surreal Sound Sound Interaction in Space Reverb
- 39. Sound Effects Hammering Effect Ear Fatigue Fletcher-Munson Curves (Equal Loudness Curves) Hass Effect Realistic / Surreal Sound Sound Interaction in Space Reverb WYSINWYH: What you see is not what you hear
- 40. What you see is not what you hear
- 41. Ref: Audio Design and Implementation – Two Sides of the Same Coin Martin Stig Andersen GDC 2012
- 42. Sampling & Formats Analog to Digital Conversion Human Hearing Range Nyquist Theory 44100 Hz, 48000Hz, 22000Hz, 11000Hz Mono, Stereo Lossless: WAV, AIFF, FLAC Compressed: MP3, ACC, OGG IOS> Music: AIFF IMA4 Sound Effects: CAFF
- 43. References McAlpine, Kenneth B., Matthew Bett, and James Scanlan. 2009. “Approaches to Creating Real-Time Adaptive Music in Interactive Entertainment: A Musical Perspective”. In The Proceedings of The AES 35th International Conference: Audio For Games. London,UK, February 11–13 2009. Bridgett, Rob. 2002. “Interactive Music”. http://web.archive.org/web/20021203015700/http://www.sound-design.org.uk/interactive.htm (accessed 23 February 2010). Huiberts, Sander, Richard Van Tol, and Kees Went. 2009. “Game Audio Lab – an Architectural Framework for Nonlinear Audio in Games”. In The Proceedings of The AES 35th International Conference: Audio For Games . London, UK, 2009 February 11–13. Morton, Scott. 2010. “Game Audio Podcast #3 - Discussion: Interactive & Dynamic Music”. In Game Audio Podcast. http://www.gameaudiopodcast.com (accessed 20 March 2010). Kastbauer and Woldhek. 2011. “Game Audio Podcast #4 - Discussion: Procedural Game Audio”. In Game Audio Podcast. http://www.gameaudiopodcast.com (accessed 27 March 2012). Stevens, Richard. 2008. “Hellgate London - Music 'Interactive' or 'Reactive”. In Sound-Music-Interactive-Games. http://sound-music-interactive- games.blogspot.com/2008/06/hellgate-london-music-interactive-or.html (accessed 4 April 2010). Caplin, William E., Classical Form a Theory of Formal Functions for the Instrumental Music of Haydn, Mozart and Beethoven, Oxford University Press, 1998 http://en.wikipedia.org/wiki/Leitmotif (accessed 28 March 2012). Kastbauer, Damien. “Audio Implementation Greats #8: Procedural Audio Now”. http://designingsound.org/2010/09/audio-implementation-greats-8-procedural-audio-now/ (accessed 28 March 2012). Jillian Aversa, Thomas Hohl, Lennie Moore, Joe Thwaites, Kenny Wood. Composer Challenge GDC 2011, Game Developers Conference 2011 Martins, Marcelo. Rethinking the audio loop in games. http://www.gamasutra.com/blogs/MarceloMartins/20120402/167786/ Baron, Sean. “Cognitive Flow: The Psychology of Great Game Design”. http://www.gamasutra.com/view/feature/166972/cognitive_flow_the_psychology_of_.php (accessed 16 April 2012).