Been a long time since last update, 4 tasks have been completed with a task report for each, more audio needs to be added to game 2 to add more tension.  May use Fmod to create a task on how to implement audio from Fmod into unreal engine

Need to start writing up the final draft report as it is due on the 24th

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Late Update

Decided to use unreal engine for project as I find it the easiest to use. task one will be to create a 2-3 minute area loop for an arcade shooter game 8 bit style. (the chosen game may change) This will be done by Friday the 2nd December a task report will be done to describe the process as well as the effect it has on the game

Project update

 

Still undecided on using Fmod or Unity Maybe a task could be created to test the differences in ease of use/ implementation

task report 1 is ready for a conclusion

not much news this time. 2 weeks will be when the next update is.

Game Audio Week 3

I will be updating this every two weeks with all the research I have found that will help me with my dissertation. (may contain bonus posts if I have spare time)

Idea for task 1

Create an area loop. (2-3 minutes) this will include both background sounds and one shot sound effects. Area loops normally play directly into the players ear and don’t pan around as the player moves. The reference for this task is chapter 1 of game audio implementation By R Stevens and D Raybould (2015)

Looping must be at a zero crossing point as to have zero pops or clicks in the loop.

task 2 idea

create a source loop and also source one shots

A source loop has a specific point of origin unlike the area loop and these sounds will decrease in volume as the player gets further away form the source. A source one shot will make a game feel more immersive and natural as the world around us is full of one shot sounds such as; dog barks, car doors opening/ closing, people shouting/talking. A source one shot sound effect must not be repetitive as sounds that happen in the same sequence every time will break the immersion of the game as that doesn’t happen in real life.

 

Game Audio notes

IEZA Framework (Interface, effect, zone, affect)

http://download.captivatingsound.com/Huiberts_VanTol_IEZA-Framework-Game-Audio.pdf

http://filmsound.org/terminology/diegetic.htm

http://c-allen.co.uk/resources/Lecture-Notes-Home/Game-Audio/IEZA-Framework-For-Game-Audio.pdf

Diegetic

effect category

often mimics sounds of real life counterparts, sounds that come from the avatar or interactions with the avatar (Foley) Multiple individual elements designed to grab attention. (meant to be noticed)

Zone category

Linked to the environment rather than the players character

Single layer of sound

often interactive

generally linked to real world environments

removes potential for any sonic gaps in soundtracks

examples

often looped with additional randomized elements

animal sounds, machinery , city ambiance

Interface category

outside of fictional game world HUD activity

NON-diegetic sounds Affect category

intended to influence the players emotional connection to the game play experience

distinctly establishes the presence of a non-diegetic element of the game

can also allow for social, cultural and emotional engagement

 

might be good to read

Psychology of 10 Years of Sound in World of Warcraft

 

Game audio week 1 extra

More books to look at

https://books.google.co.uk/books?id=fn78AgAAQBAJ&printsec=frontcover&dq=game+audio&hl=en&sa=X&ved=0ahUKEwjFkqfEo8jPAhXELMAKHVaUAdMQ6AEILDAB#v=onepage&q=game%20audio&f=false

https://books.google.co.uk/books?id=mWIKAAAAQBAJ&pg=PA1&dq=game+audio&hl=en&sa=X&ved=0ahUKEwjmjLyHpMjPAhUmBMAKHfb9BTA4ChDoAQgrMAE#v=onepage&q=game%20audio&f=false

About creating space

https://www.cambridge.org/core/services/aop-cambridge-core/content/view/34A41089CAC5A45B4BAAD5FA2E9EB18D/S1355771810000324a.pdf/object-based-audio-reproduction-and-the-audio-scene-description-format.pdf

More books to look at

https://books.google.co.uk/books?id=LSJftnZ8hxcC&pg=PA242&dq=the+use+of+MIDI+in+game+audio&hl=en&sa=X&ved=0ahUKEwiIwqfvpcjPAhUkDsAKHdymDkAQ6AEIIzAB#v=onepage&q=the%20use%20of%20MIDI%20in%20game%20audio&f=false

Page 74 for game audio

https://imcs.dvfu.ru/lib.int/docs/Programming/Games/Ultimate%20Game%20Design.%20Building%20Game%20Worlds.pdf

more books

https://books.google.co.uk/books?id=gJXsDAAAQBAJ&printsec=frontcover&dq=game+audio&hl=en&sa=X&ved=0ahUKEwi7vvf1qMjPAhWsLsAKHYANCWw4ZBDoAQgwMAI#v=onepage&q=game%20audio&f=false

https://books.google.co.uk/books?id=qebUAgAAQBAJ&printsec=frontcover&dq=game+audio&hl=en&sa=X&ved=0ahUKEwjpvJWoqcjPAhUmDsAKHYEzBNQ4FBDoAQhSMAg#v=onepage&q=game%20audio&f=false

 

Game audio week 1

1 http://www.thegameaudiotutorial.com/

2 https://www.cambridge.org/core/journals/organised-sound/listing?q=audio+for+games&sort=&aggs%5BonlyShowAvailable%5D%5Bfilters%5D=&aggs%5BopenAccess%5D%5Bfilters%5D=&aggs%5BproductTypes%5D%5Bfilters%5D=&aggs%5BproductDate%5D%5Bfilters%5D=&aggs%5BproductSubject%5D%5Bfilters%5D=&aggs%5BproductJournal%5D%5Bfilters%5D=&aggs%5BproductPublisher%5D%5Bfilters%5D=&aggs%5BproductSociety%5D%5Bfilters%5D=&aggs%5BproductPublisherSeries%5D%5Bfilters%5D=&aggs%5BproductCollection%5D%5Bfilters%5D=&pageNum=2&showJackets=&filters%5BauthorTerms%5D=&filters%5BdateYearRange%5D%5Bfrom%5D=&filters%5BdateYearRange%5D%5Bto%5D=&searchWithinIds=F662F87343B7F7B98D1E3A6E5A1B21E1

3 https://books.google.co.uk/books?id=4CxACwAAQBAJ&printsec=frontcover&dq=game+audio+implementation&hl=en&sa=X&ved=0ahUKEwitm8SG48XPAhXsIMAKHXbzC2cQ6AEIMjAB#v=onepage&q=game%20audio%20implementation&f=false

useful links.

number 3  chapter 1 will be one of the main sources and has given inspiration for some tasks

http://www.gameaudioimplementation.com/downloads.php downloads for game demos to add and manipulate audio in

https://www.cambridge.org/core/services/aop-cambridge-core/content/view/84017C6F5DAA3D3511EE360CCA6D59B1/S1355771803000074a.pdf/the-creation-of-an-audio-environment-as-part-of-a-computer-game-world-the-design-for-jurassic-park-operation-genesis-on-the-xbox-as-a-broad-concept-for-surround-installation-creation.pdf

A useful journal on game audio and creating a world and soundscape and the positions of sound

Heeter, C., and Gomes, P. 1992. It’s time for hypermedia to move to talking pictures. Journal of Educational http://dx.doi.org/10.1017/S1355771803000074 http:/www.cambridge.org/core/terms.180 Stephan Schütze Multimedia and Hypermedia, winter. http://commtechlab. msu.edu /publications /files /talking.html#Sound as Computer Feedback Holman, T. 1997. Sound for Film and Television. Boston: Focal Press. Marks, A. 2001. The Complete Guide to Game Audio. Lawrence, KS: CMP Books. Randel, D. M. 1986. The New Harvard Dictionary of Music, Cambridge, MA: Harvard University Press. Yewdall, D. L. 1999. Practical Art of Motion Picture Sound. Woburn, MA: Focal Press.

a list of references used in the journal posted above

A Sound Feedback Style Scenario

The human environment is full of meaningful auditory information: doors closing, keys turning, pen caps opening, feet hitting the ground, cars accelerating, typewriters clacking, phones dialing and ringing, water running, etc. These sounds provide feedback and information about human actions and the external world. Turning off all sound creates a world that feels more distant and requires greater visual processing to confirm, interpret and notice events which normally wouldnÍt require much thought or attention.

Common computer applications have focussed almost exclusively on visual channels. In designing prototypical hypermedia applications to explore the potential of the medium, the Comm Tech Lab has developed and studied a style of incorporating sound into computer environments based on five general guidelines:

  • 1. There should be an auditory response to every command issued by the user (mouseClick or menu driven).
  • 2. These auditory responses should be as richly diverse as are images and typefaces in elegant designs.
  • 3. The language of sounds chosen should be meaningful in some way: if possible, related to or representing the function performed or strengthening a metaphor.
  • 4. Within an application or segment of an application, there should be consistency (not sameness but a relationship) across the sounds used for different functions.
  • 5. A particular function should have a single sound, even if that function appears in several different places in the application.

Sounds used may be short clips of music, recognizable real-world sound effects, interesting noises, or brief speech. In general they should be short and unobtrusive, but distinctive.
Theories from the fields of communication, psychology, education and human interface design can all be applied to justify and explain expected benefits of the proposed sound feedback style of hypermedia design.

taken from http://commtechlab.msu.edu/publications/files/talking.html#Sound as Computer Feedback  It’s Time for Hypermedia to Move to Talking Pictures by Carrie Heeter and Pericles Gomes.

Published in the Journal of Educational Multimedia and Hypermedia, winter, 1992.