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E-raamat: Game Audio Strategy Guide: A Practical Course [Taylor & Francis e-raamat]

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  • Formaat: 416 pages, 3 Tables, black and white; 18 Line drawings, black and white; 14 Halftones, black and white; 32 Illustrations, black and white
  • Ilmumisaeg: 13-Dec-2019
  • Kirjastus: CRC Press
  • ISBN-13: 9781351016438
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  • Taylor & Francis e-raamat
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  • Tavahind: 336,32 €
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Game Audio Strategy Guide: A Practical CourseSuurem pilt
  • Formaat: 416 pages, 3 Tables, black and white; 18 Line drawings, black and white; 14 Halftones, black and white; 32 Illustrations, black and white
  • Ilmumisaeg: 13-Dec-2019
  • Kirjastus: CRC Press
  • ISBN-13: 9781351016438
Teised raamatud teemal:
Taylor & Francis e-raamatudRohkem infot Taylor & Francis e-raamatute kohta
Raamatu kodulehekülg: https://www.taylorfrancis.com/books/9781351016438

The Game Audio Strategy Guide is a comprehensive text designed to turn both novices and experienced audio designers into technical game audio pros. Providing both a theoretical foundation and practical insights, The Game Audio Strategy Guide offers a thorough look at the tools and methods needed to create industry-quality music and sound design for games. The text is supported by an extensive companion website, featuring numerous practical tutorials and exercises, which allows the reader to gain hands-on experience creating and implementing audio assets for games.

The Game Audio Strategy Guide

is the essential manual for anyone interested in creating audio for games, inside or outside the classroom.

Foreword xiii
Preface xvii
Acknowledgements xix
Introduction 1(22)
1 Getting Started
3(20)
Our Goals for this Textbook
4(1)
Overview and Learning Outcomes
5(1)
Who Should Read this Book?
6(2)
How to Use this Book
8(4)
Requisite Knowledge
8(1)
Theoretical Framework
9(1)
Practical Framework, A.K.A Companion Website (Sound Lab)
9(2)
Visiting Artist's Tips
11(1)
Key Terms
11(1)
Further Reading
11(1)
Game Audio
12(2)
Game Development Roles Defined
14(2)
Essential Soft Skills and Tools For Game Audio
16(2)
Production Cycle and Planning
18(2)
Research
20(1)
Making Use of Downtime
21(2)
Part I Sound Design 23(116)
2 The Basics of Nonlinear Sound Design
25(20)
What is Nonlinear Sound Design?
25(2)
The Sound Design Process
27(6)
Challenges in Nonlinear Sound Design
33(1)
Exploring Immersion and Interactivity
33(5)
Essential Skills for Sound Designers
38(7)
3 Designing Sound
45(71)
Dynamic Audio
45(1)
Sound Effects
46(1)
The Function of Sound in Games
47(4)
Designing the Sonic Palette
51(3)
Choosing the Right Source for Your Sonic Palette
54(3)
Sourcing Audio from Libraries
57(1)
Sourcing Sounds through Synthesis
58(5)
Sourcing Audio through Studio and Field Recording
63(10)
Field Recording
73(2)
Microphone Choice and Placement
75(6)
Performing Sound with Props
81(2)
Location Scouting and Preparation
83(5)
Designing Sound Effects
88(3)
Sound Design Techniques
91(5)
Effects Processing as a Sound Design Tool
96(1)
Putting It All Together
97(19)
4 Voice Production
116(23)
Dialogue vs. Voice-Over
116(23)
Part II Music 139(104)
5 The Basics of Nonlinear Music
141(14)
What is Nonlinear Music?
141(2)
Challenges of Nonlinear Music Writing
143(1)
Essential Skills for the Game Composer
144(3)
Exploring Music as an Immersive Tool
147(2)
Diegetic vs. Non-Diegetic Music
149(2)
Production Cycle and Planning
151(1)
Working with a Team
152(2)
Platforms and Delivery
154(1)
6 Composing Music
155(34)
Generating Musical Ideas and the Creative Cycle
155(7)
Starting Points for Musical Composition
162(3)
Composing Game Music
165(19)
Form and Structure in Game Music
184(5)
7 Arranging and Orchestration for Games
189(54)
Genre and Style Considerations
189(2)
Foundations of Musical Texture in Games
191(1)
Arranging and Orchestrating Using Samples
192(1)
Templates
193(1)
Template Planning
194(1)
The Orchestral Instruments
195(9)
Writing for String Samples
204(5)
Writing for Woodwind and Brass Samples
209(9)
Writing for Choir Samples
218(2)
Writing for Percussion Samples
220(3)
Writing for Full Sampled Orchestra
223(4)
Advanced Orchestration and Arranging for Live Ensembles
227(7)
Working with Synthetic Timbres
234(1)
Other Styles of Arranging in Game Music
234(9)
Part III Implementation 243(98)
8 Audio Implementation
245(64)
Implementation Basics
245(37)
Dialogue Systems
282(4)
Dynamic Mix Systems
286(7)
Resource Management and Performance Optimization
293(11)
Testing, Debugging, and QA
304(5)
9 Music Implementation
309(32)
Approaching Implementation
309(1)
Arranging and Orchestration as Implementation
310(1)
Advanced Vertical Techniques
311(8)
Advanced Horizontal Techniques
319(4)
Adding Randomness and Variation
323(2)
Composing Complex Adaptive Systems Using Middleware
325(5)
Aesthetic Creativity and Composing Outside the Box
330(4)
Tools for Experimentation
334(1)
Pure Data
334(4)
Simplicity vs. Complexity in Game Music
338(3)
Part IV Business and Networking 341(48)
10 The Business of Games, Part I: What Do We Do Now?
343(6)
Career Development: Overview and Philosophy
343(1)
Selecting Tangible Goals
344(1)
The Pyramid of Sustainability
345(2)
Career Paths in Game Audio
347(2)
11 The Business of Games, Part II: Gigs, Gigs, Gigs!
349(31)
Networking and Creating Value
349(7)
Demonstrating Value
356(5)
Finding Work
361(8)
Business and Price Considerations
369(4)
The Final Bid
373(5)
Navigating Contracts
378(2)
12 Your Game Audio Strategy Guide
380(9)
Audio Creator as Game Developer
380(9)
Index 389
Gina Zdanowicz is an accomplished audio designer for games, film, TV, new realities, and podcasts. A graduate from Berklee College of Music with a degree in Music Synthesis, Gina honed her skills in game audio by working in house with game developers and founding her own independent sound studio, Serial Lab Sound. Gina has worked on over 100 video game and interactive titles and her work with Nickelodeon (TV) has been nominated for two Daytime Emmy awards. In addition to her career as an audio designer, Gina is a game audio course author and instructor at Berklee Online, a tutor at Thinkspace Education, and a lecturer at universities such as NYU and conferences around the world like GDC. Follow Gina at: www.seriallab.com

Spencer Bambrick is a composer for games, film, and the concert stage. His recent work includes BestLuck (2018, PC, Mobile), Block Party (Emmy-Nominated Nick Jr. Series of Animated Shorts), and additional music for Paladins (Hi-Rez Studios). Spencer is the Game Audio Network Guild Northeast Regional Director and he has presented at GameSoundCon (2018, 2017), PAX Dev (2016), and MAGFest (2015). He is currently pursuing his doctorate in Music Composition at The University of Hartford (The Hartt School), studying interactive music, game technology, and social activism.
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