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Game Audio Programming: Principles and Practices [Kõva köide]

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  • Formaat: Hardback, 312 pages, kõrgus x laius: 234x156 mm, kaal: 780 g, 74 Illustrations, black and white
  • Ilmumisaeg: 10-Oct-2016
  • Kirjastus: CRC Press Inc
  • ISBN-10: 149874673X
  • ISBN-13: 9781498746731
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  • Formaat: Hardback, 312 pages, kõrgus x laius: 234x156 mm, kaal: 780 g, 74 Illustrations, black and white
  • Ilmumisaeg: 10-Oct-2016
  • Kirjastus: CRC Press Inc
  • ISBN-10: 149874673X
  • ISBN-13: 9781498746731
Welcome to Game Audio Programming: Principles and Practices! This book is the first of its kind: an entire book dedicated to the art of game audio programming. With over fifteen chapters written by some of the top game audio programmers and sound designers in the industry, this book contains more knowledge and wisdom about game audio programming than any other volume in history.

One of the goals of this book is to raise the general level of game audio programming expertise, so it is written in a manner that is accessible to beginners, while still providing valuable content for more advanced game audio programmers. Each chapter contains techniques that the authors have used in shipping games, with plenty of code examples and diagrams. There are chapters on the fundamentals of audio representation and perception; advanced usage of several different audio middleware platforms (Audiokinetic Wwise, CRI ADX2, and FMOD Studio); advanced topics including Open Sound Control, Vector-Based Amplitude Panning, and Dynamic Game Data; and more!

Whether youre an audio programmer looking for new techniques, an up-and-coming game developer looking for an area to focus on, or just the one who got saddled with the audio code, this book has something for you.









Cutting-edge advanced game audio programming concepts, with examples from real games and audio engines





Includes perspectives of both audio programmers and sound designers on working and communicating together





Coverage not just on game audio engine design, but also on implementing audio tools and working with sound designers providing a comprehensive perspective on being an audio programmer
Preface xi
Acknowledgments xv
Editor xvii
Contributors xix
Section I Fundamentals
Chapter 1 Principles of Audio
3(10)
Stephen McCaul
Chapter 2 Sound Engine State Machine
13(18)
Guy Somberg
Chapter 3 Streaming Sound
31(20)
Blair Bitonti
Section II Middleware
Chapter 4 An Introduction to ADX2
51(22)
Nicolas Fournel
Chapter 5 Wwise and the Audio Programmer
73(24)
Stephane Beauchemin
Chapter 6 Programming FMOD Studio
97(32)
Guy Somberg
Chapter 7 CRYENGINE's Audio Translation Layer
129(20)
Thomas Wollenzin
Section III Sound Designer Perspectives
Chapter 8 A Sound Designer's Perspective on Audio Tools
149(14)
David Steinwedel
Chapter 9 Working with Audio Designers
163(16)
Florian Fusslin
Section IV Advanced Topics
Chapter 10 Open Sound Control
179(18)
Jorge Garcia
Chapter 11 Listeners for Third-Person Cameras
197(12)
Guy Somberg
Chapter 12 Interactive Music Systems for Games
209(14)
Aaron McLeran
Chapter 13 Granular Vehicle Engines
223(12)
Dave Stevenson
Chapter 14 Debugging Features for Middleware-Based Games
235(16)
Jon Mitchell
Chapter 15 Open World Game Optimizations and Limiter Systems
251(22)
Matthieu Dirrenberger
Chapter 16 Vector-Based Amplitude Panning
273(14)
Guy Somberg
Chapter 17 Dynamic Game Data
287(14)
Tomas Neumann
Index 301
Guy Somberg has been programming audio engines for his entire career. From humble beginnings writing a low-level audio mixer for slot machines, he quickly transitioned to writing game audio engines for all manner of games. He has written audio engines that shipped AAA games like Hellgate: London, Bioshock 2, and The Sims 4, as well as smaller titles like Minion Master, Tales From the Borderlands, and Game of Thrones. Guy has also given several talks at the Game Developer Conference.

When hes not programming or writing game audio programming books, he can be found at home reading, playing video games, and playing the flute.