Chapter 6.9
Audio Design and Production
Overview
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Game audio has evolved
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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!
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Starting with the human ear
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Audio Team
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In the old days, all audio was done by
one person
Today’s team$ consist of dedicated
Professionals for sound design, music &
dialog elements
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Specialized talent spread across more titles
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Audio Design Fundamentals
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Audio makes 1/3rd of the entire game
experience (LOL)
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visuals+”design”+audio
more like 60/30/10 budget split
Two key points
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Creativity
Integration
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Audio Implementation
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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
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Sound Design
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Sound design
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Interactive; dozens of effects
Triggers/rules for mixing/switching
Sound libraries
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Essential tools for building soundscapes
For each in-game sound, 6-20+ samples to
avoid repetitive feel
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Music
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Music provides emotional context for
the game experience
Music can be linear or non-linear (i.e.
interactive)
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Both styles have advantages &
disadvantages
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Voice Over Production
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Becoming more common in game
production
Budget for professional talent or the
finished product may suffer
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Spatialized Audio
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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
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Studio Savvy
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An understanding of audio theory &
recording techniques is necessary to
create great game audio
Having the best gear available allows
for the best output
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References
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www.audiogang.com - Game Audio
Network Guild
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