Foreword |
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xiii | |
Preface |
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xvii | |
Acknowledgements |
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xix | |
Introduction |
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1 | (2) |
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3 | (20) |
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Our Goals for this Textbook |
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4 | (1) |
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Overview and Learning Outcomes |
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5 | (1) |
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Who Should Read this Book? |
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6 | (2) |
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8 | (1) |
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8 | (1) |
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9 | (1) |
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Practical Framework, A.K.A. Companion Website (Sound Lab) |
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9 | (2) |
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11 | (1) |
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11 | (1) |
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11 | (1) |
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12 | (2) |
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Game Development Roles Defined |
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14 | (2) |
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Essential Soft Skills and Tools For Game Audio |
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16 | (2) |
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Production Cycle and Planning |
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18 | (2) |
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20 | (1) |
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21 | (2) |
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23 | (116) |
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2 The Basics of Nonlinear Sound Design |
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25 | (20) |
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What is Nonlinear Sound Design? |
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25 | (2) |
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27 | (6) |
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Challenges in Nonlinear Sound Design |
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33 | (1) |
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Exploring Immersion and Interactivity |
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33 | (5) |
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Essential Skills for Sound Designers |
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38 | (7) |
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45 | (71) |
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45 | (1) |
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46 | (1) |
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The Function of Sound in Games |
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47 | (4) |
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Designing the Sonic Palette |
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51 | (3) |
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Choosing the Right Source for Your Sonic Palette |
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54 | (3) |
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Sourcing Audio from Libraries |
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57 | (1) |
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Sourcing Sounds through Synthesis |
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58 | (5) |
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Sourcing Audio through Studio and Field Recording |
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63 | (10) |
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73 | (2) |
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Microphone Choice and Placement |
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75 | (6) |
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Performing Sound with Props |
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81 | (2) |
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Location Scouting and Preparation |
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83 | (5) |
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88 | (3) |
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91 | (5) |
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Effects Processing as a Sound Design Tool |
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96 | (1) |
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97 | (19) |
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116 | (23) |
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116 | (23) |
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139 | (104) |
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5 The Basics of Nonlinear Music |
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141 | (14) |
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141 | (2) |
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Challenges of Nonlinear Music Writing |
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143 | (1) |
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Essential Skills for the Game Composer |
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144 | (3) |
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Exploring Music as an Immersive Tool |
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147 | (2) |
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Diegetic vs. Non-Diegetic Music |
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149 | (2) |
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Production Cycle and Planning |
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151 | (1) |
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152 | (2) |
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154 | (1) |
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155 | (34) |
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Generating Musical Ideas and the Creative Cycle |
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155 | (7) |
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Starting Points for Musical Composition |
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162 | (3) |
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165 | (19) |
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Form and Structure in Game Music |
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184 | (5) |
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7 Arranging and Orchestration for Games |
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189 | (54) |
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Genre and Style Considerations |
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189 | (2) |
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Foundations of Musical Texture in Games |
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191 | (1) |
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Arranging and Orchestrating Using Samples |
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192 | (1) |
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193 | (1) |
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194 | (1) |
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The Orchestral Instruments |
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195 | (9) |
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Writing for String Samples |
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204 | (5) |
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Writing for Woodwind and Brass Samples |
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209 | (9) |
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Writing for Choir Samples |
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218 | (2) |
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Writing for Percussion Samples |
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220 | (3) |
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Writing for Full Sampled Orchestra |
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223 | (4) |
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Advanced Orchestration and Arranging for Live Ensembles |
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227 | (7) |
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Working with Synthetic Timbres |
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234 | (1) |
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Other Styles of Arranging in Game Music |
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234 | (9) |
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243 | (98) |
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245 | (64) |
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245 | (37) |
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282 | (4) |
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286 | (7) |
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Resource Management and Performance Optimization |
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293 | (11) |
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Testing, Debugging, and QA |
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304 | (5) |
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309 | (32) |
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Approaching Implementation |
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309 | (1) |
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Arranging and Orchestration as Implementation |
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310 | (1) |
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Advanced Vertical Techniques |
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311 | (8) |
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Advanced Horizontal Techniques |
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319 | (4) |
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Adding Randomness and Variation |
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323 | (2) |
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Composing Complex Adaptive Systems Using Middleware |
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325 | (5) |
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Aesthetic Creativity and Composing Outside the Box |
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330 | (4) |
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Tools for Experimentation |
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334 | (1) |
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334 | (4) |
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Simplicity vs. Complexity in Came Music |
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338 | (3) |
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PART IV Business and Networking |
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341 | (48) |
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10 The Business of Games, Part I: What Do We Do Now? |
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343 | (6) |
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Career Development: Overview and Philosophy |
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343 | (1) |
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344 | (1) |
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The Pyramid of Sustainability |
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345 | (2) |
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Career Paths in Came Audio |
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347 | (2) |
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11 The Business of Games, Part II: Gigs, Gigs, Gigs! |
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349 | (31) |
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Networking and Creating Value |
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349 | (7) |
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356 | (5) |
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361 | (8) |
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Business and Price Considerations |
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369 | (4) |
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373 | (5) |
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378 | (2) |
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12 Your Game Audio Strategy Guide |
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380 | (9) |
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Audio Creator as Game Developer |
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380 | (9) |
Index |
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389 | |