Welcome to another edition of “This Week In Audio”–let’s jump right into it.
AES – Appaloosa with the Gameaudio Podcast
Something happened this week in London. Something that sent shock-waves throughout the entire game audio community kiddie pool. That thing was the Audio Engineering Society 49th International Conference on Audio for Games. AES49ICOAFG for short maybe. If you were not one of the lucky souls able to attend, the dynamic duo of the game audio podcast (Anton Woldhek and Damian Kastbauer) have graciously posted a three-part saga about their AES49ICOAFG experience. Make sure you grab the appropriate shawl and hot beverage before beginning the journey.
GameAudio Podcast #24 “AES I” Anton & Damian meet up in real life for first time in 6 years! Hugs & Tears and we talk about whats going on at #AudioForGames #AES London.
Gameaudio Podcast #25 “AES II” Damian and Anton have setteld down a bit and review day 2. But, just to twist it around a bit we start from the end and work our way back. Maybe we’ll add proper notes to this at some point but I’m flying in a few minutes so i’m not missing it for that.
Gameaudio Podcast #26 “AES III” Damian & Anton are back from London. Kicking Back in the most beautiful part of the Netherlands. A small picturesque village called Giethoorn. Talking about how the last day went down. Discussions about procedural, mixing, volumetric sound sources and all the jazz you are used to. Our interviews @AES will follow soon.
The Sound Design of Journey – Don’t Stop Believing
Gamastura has a scrumptious blog post by sound designer Steve Johnson on the sound design process used for Journey. There are loads of sound design gems in this post, so be sure to check it out. If you haven’t gotten your hands on Journey yet do yourself a favor and do so; you will be supporting a game that provides a unique experience and 64 arrangements of scarf sounds. That’s 64, 6..4… come on, people.
‘Sup, internet. I’m writing to tell you a bit about what went into the sounds of a beautiful little game called Journey. I was the sound designer on the project, working with ThatGameCompany part-time start-to-finish for several years from my office at SCEA Santa Monica, just a few blocks away from them. People seem to really love the game, and I figured there are too many stories in these sounds for the world to never know, so I thought I’d share them with you in this archive of industry love, Gamasutra.
The Horizontal Mambo – UDK Horizontal Music System in Kismet
Chris Latham of EngineAudio has posted a tutorial on how to get a horizontal music system up and running in UDK. So what are you waiting for? Go bathe in the glory of the easily accessible audio and visual scripting tools that is UDK audio. And make sure you tighten up those loops.
Horizontal arrangement techniques have been used since the dawn of game audio. The earliest gaming systems generated the musical score on the fly with limited number of polyphony and channels. Once music was sampled and streamed off a disc only one stream could play at a time, necessitating the use of a horizontal arrangement. A typical setup would have the music system changing according to different conditions or game states. Once a condition was met the music system would stop playing the first piece of music and move on to the next. Game states that are commonly used would be: health remaining, power-ups, time running out, ambient, action, death, winning, and losing.
Prison Architect Audio – Zooming In For More Audio Detail
In the video below, audio nut Alistair Lindsay demos off the dynamic audio system used in Prison Architect. With audio detail varying with camera distance, the system is the equivalent of a zoom and enhance feature for audio. Now you can hang back and listen to the entire game environment or zoom in and enjoy listening to a prison inmate scrubbing himself down in the shower. Sudsy.
If I had a Nickle – Not That Kind of Nickle
Go home immediately if you’re not there already and superheat a nickle ball, then drop it in water. Booosh!