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by Dave Raybould, Richard Stevens
The Game Audio Tutorial
Cover
Halftitle
Title
Copyright
Dedication
Contents
Acknowledgements
Introduction
Chapter 1: Basic Training
Opening the Tutorial Level
Explore the Level: Navigation
Views
Navigation
Building
Actors
The Content Browser: Finding Actors
Every Room Has a Tone: Ambience
[AmbientSoundSimple] for Looping Sounds
Changing your First Sound
Adding your First Sound
Importing your First Sound
Ambient Sounds Case Study
Attenuation and Radius Min/Radius Max
A Word About Distances in UDK
A Word About Numbers in UDK
Toggle a Looping Sound
Kismet 101
[AmbientSoundSimpleToggleable] for Toggleable Looping Sounds
Ambient Loops and “Phasing Loops”
The “Walls” Problem
Multiple Sounds Solution to the Walls Problem
[TriggerVolume] Switching Solution to the Walls Problem
Ambience: A Painterly Approach
Chapter 2: How Big is the Truck?
How Big is the Truck?
RAM Budgets and Streaming
A Lifetime’s Work
The Triangle of Compromise or “Triangle of Pain!”
Squaring the Triangle: Basic Memory Saving Techniques
The Importance of Editing
File Compression
Sample Rates
Non-Repetitive Design
Caveat—Sometimes Repetition is OK
Reuse of Sounds: The Power of Pitch
Reuse of Sounds: Using Filters
Randomization in Time, Pitch, and Volume
Randomization in Time, Pitch, and Volume Using [SoundCue]s
The Combinatorial Explosion: Vertical Combinations
The Combinatorial Explosion: Horizontal Concatenation
Multiple Start Points
Some DSP
Recap of Sound Actors
Conclusions
Chapter 3: Making it Sound Real
Sound Propagation
Reverb
Sound Sources and Spatialization
Directionality
Filtering Over Distance
Faking Filter Over Distance
Reveal Detail Over Distance
Occlusion, Obstruction, Exclusion
Ambient Zones
Obstructions and Exclusions
“Real” Sound for Gameplay
Stealth 101
Stealth and Distraction
Collisions and Physics
Manual Collisions: Using [TriggerVolume]s
Automated Collisions: Footsteps and Surface Types
Scripting 101
Custom Movement Sounds
Physics
Cascading Physics
Movers and [Matinee]
Sounds that Move
Movers that Sound
Cut-Scenes, Cameras, and Sound
Cut-Scenes with No Audio Control
Cut-Scenes with Audio Control
Level Fly-Throughs
Where’s My Head At?
Conclusion
Chapter 4: Music Systems
Introduction
Styles and Game Genres
Roles and Functions of Music in Games
It’s a Fine Line between Love and Hate
Music Concepting/Spotting/Prototyping/Testing
The Key Challenges of Game Music
Source Music/Diegetic Music
Linear Music and Looping Music
Avoid the Problem: Timed Event Music
Avoid the Problem: Non-Time-Based Approaches Using Ambiguous Music
Avoid the Problem: Stingers
Transitional Forms/Horizontal Switching
Clunky Switching
Better Switching: Crossfades
UDK’s (Legacy) Music System
Maintaining Musical Structures: Horizontal Transitions
Write in Chunks
Transitions and Transition Matrices
Switch Points: Marking Up Existing Tracks
The Problem of Decay
Parallel Forms/Vertical Layering
Simple Mute/Unmute
Mixing Layers
Leitmotifs and the Combinatorial Explosion
The “Variation” Question: Generative or Procedural Forms
Vertical Recombinations
Set Phasing to Stun
Low-Level Generative Processes
The Problem with Generative Music
“Interactive” Music: Music as an Input
A Short History Lesson: Gains and Losses
Music-Based Games
Conclusions
Chapter 5: Dialogue
Concepts and Planning
Types of Speech
Localization
Casting
Recording Preparation
Script Format and Planning
Session Planning
Recording
Wild Lines
Studio Prep and Setup
Performance
Near and Far (Proximity Effect and Off-Axis)
ADR Lines and Motion Capture Recordings
Editing and Processing
Rapid Prototyping for Dialogue Systems
Implementation
Branching Dialogue
AI, Variation, and How Not to Drive People Nuts: Part 1
Concatenation, Sports, and How Not to Drive People Nuts: Part 2
In-Engine Cut Scenes: A Dialogue Dilemma
Conclusions
Chapter 6: Making it Sound Good
Audio Concepting
Spotting, Roles, and Functions of Sound in Games
Reality and Characterization
Define the Environment: Immersion and Emotion
Symbolic Sounds
Expect the Unexpected
Space, the Final (Technique) for Tears
Information and Feedback
Instruction
Feedback
Navigation
Interactive Mixing and the Power of Subjectivity
Voice Instance Limiting and Prioritization
Listening Levels
Planning for a Dynamic Mix
Planning for a Full Mix
Soundclasses and SoundModes
Ducking
Subjective Sound States
Interactive Mixing Conclusion
Conclusions
Chapter 7: Advanced Sound System Design
Weapon Systems
One Shot
Retriggered Firing
Retriggered Firing with Tail
Weapon Status Feedback System
Make a Point
Looping Mechanical Weapon
Looping Sci-Fi Weapon
Layers for Weapons
Weapons Sounds: Attenuation and Character Over Distance
Sniper Rifle
Impact, Whizz-by, and Handling Sounds
Adding Sound to Animations
Weapons Summary
Vehicle Systems
Simple Vehicle: Manta
Engine-Based Vehicles: Scorpion
Engine-Based Vehicle with Crossfades: GAT_Scorpion
Conclusions
Chapter 8: Next Steps
Jobs and Work
Do You Have What it Takes?
Jobs and Skills
How To Get Work
Making a Demo Reel/Website/Blog
How to Keep Working
Conclusions
Appendix A: Organization Tips
Finding and Seeing What’s Going On
What Does That Do Again?
Audio File Finder Utilities
Naming Conventions
Batch Renaming Utilities
Appendix B: Troubleshooting and Optimization
Crashes
Version Control
Hearing What’s Going On
Audio Optimization and Tracking the RAM Budget
Streaming
Appendix C: UDK Tips
Running Slowly
Importing Sounds
Bulk Importing of Sounds
Fast Creation of [SoundCue]s
Basic Folder Guide
Creating Levels
The Builder Brush for Geometry, Trigger Volumes, and Reverb Volumes
Scaling and Other Widgets
Saving
Lighting
Static Meshes
Materials
Terrain
Emitters + Particle Effects
Weapons
Water
Building
Kismet Tips
Kismet System Debugging
Sequences/Subsequences
Copying and Reusing Sequences
Runtime versus Placeable Actors
Instigators
Take Damage
Named Variables and Remote Events
Spawning and Controlling Bots
Key Binding
Scripting
Setting up UDK for Custom Scripts
Editing Scripts
What’s in a Script?
Bibliography and Further Reading
Index
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