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Principles of Game Audio and Sound Design: Sound Design and Audio Implementation for Interactive and Immersive Media [Pehme köide]

4.29/5 (13 hinnangut Goodreads-ist)
(New York University, Berklee College of Music)
  • Formaat: Paperback / softback, 296 pages, kõrgus x laius: 246x174 mm, kaal: 526 g, 1 Tables, black and white; 67 Line drawings, black and white; 60 Halftones, black and white
  • Ilmumisaeg: 27-Apr-2020
  • Kirjastus: CRC Press
  • ISBN-10: 1138738972
  • ISBN-13: 9781138738973
Teised raamatud teemal:
Principles of Game Audio and Sound Design: Sound Design and Audio Implementation for Interactive and Immersive MediaSuurem pilt
  • Formaat: Paperback / softback, 296 pages, kõrgus x laius: 246x174 mm, kaal: 526 g, 1 Tables, black and white; 67 Line drawings, black and white; 60 Halftones, black and white
  • Ilmumisaeg: 27-Apr-2020
  • Kirjastus: CRC Press
  • ISBN-10: 1138738972
  • ISBN-13: 9781138738973
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9781138738973.html
Märksõnad:

 

The book covers sound design, synthesis, 3D audio localization and implementation techniques for games and virtual reality environments. It covers both the technical but also creative and aesthetic challenges of doing sound for games in the 21st century in a systematic manner. The book gives both students and professionals a strong understanding of the issues specific to game audio and virtual reality, such as 3D audio and localization techniques, adaptive and interactive audio, as well as audio implementation issues using C# and the Unity game engine. Scripting is introduced as a means to deal with the main potential challenges and situations in game audio: Sample selection randomization, sample concatenation, footsteps, collision detection, etc. Sound design is covered both from a practical standpoint (how to create effective sound design), but also from a larger perspective (how to choose the proper sound in the first place, understanding the purpose for each sound in the context of the game). Additionally, the topic of procedural sound design is introduced. This novel approach to sound design relies on creating sound by means of pure synthesis, making it a much more flexible approach. A companion website is offered with extra resources such as fx, scripts, game levels, tutorials, and related links.

1 Introduction
1(6)
1 The Genesis of Audio in Games
1(2)
2 From Sample Playback to Procedural Audio
3(2)
3 How to Use This Book
5(2)
What This Book Is
5(1)
What This Book Isn't
6(1)
2 The Role of Audio in Interactive and Immersive Environments
7(17)
1 Inform, Entertain, Immerse
7(10)
1 Inform: How, What
8(1)
a Geometry/Environment: Spatial Awareness
9(1)
b Distance
10(1)
c Location
10(1)
d User Feedback and Game Mechanics
11(1)
2 Entertain
12(1)
a Sound Design
12(1)
b Music and the Mix
13(1)
3 Defining Immersion
14(3)
2 Challenges of Game Audio
17(7)
1 Implementation
17(1)
2 Repetition and Fatigue Avoidance
18(1)
3 Interactive Elements and Prototyping
19(1)
4 Physics
20(1)
5 Environmental Sound Design and Modeling
21(1)
6 Mixing
21(1)
7 Asset Management and Organization
22(2)
3 The Game Engine Paradigm
24(19)
1 What Is a Game Engine
24(11)
The Unity 3D Project Structure
25(1)
1 Level Basics 101
26(1)
a 2D, 3D and Cartesian Coordinates
26(1)
b World Geometry
27(1)
c Lighting
28(1)
d Character Controllers
28(1)
e Cameras
29(1)
2 Elements of a Level
29(1)
a Everything Is an Object
30(1)
b Transform
30(1)
c Sprites
30(1)
d Meshes
30(1)
e Models
30(1)
f Textures
31(1)
g Shaders
31(1)
h Materials
31(1)
i Terrain
31(1)
j Skyboxes
32(1)
k Particles Systems
32(1)
I Colliders
32(1)
m Triggers/Trigger Zones
33(1)
n Lighting
33(1)
o Audio
34(1)
p Prefabs
34(1)
2 Sub Systems
35(8)
1 Animation
35(2)
2 Input
37(1)
3 Physics
38(1)
Rigidbodies and Collision Detection
38(1)
Physics Materials
38(1)
Triggers
39(1)
Ray casting
39(1)
4 Audio
40(1)
5 Linear Animation
41(1)
6 Additional Sub Systems
42(1)
4 The Audio Engine and Spatial Audio
43(27)
1 Listeners, Audio Clips and Audio Sources
43(10)
1 The Audio Listener
43(1)
Audio Clips
44(1)
Audio Sources
45(1)
2 Audio Source Parameters
46(1)
3 Attenuation Shapes and Distance
47(1)
a Spherical Spreading
48(2)
b Sound Cones -- Directional Audio Sources
50(1)
c Square/Cube
50(1)
d Volumetric Sound Sources
51(1)
e 2D, 3D or 2.5D Audio?
51(1)
4 Features of Unity's Audio Engine
52(1)
a Audio Filters
52(1)
b Audio Effects
52(1)
c Audio Mixers
53(1)
2 Audio Localization and Distance Cues
53(17)
1 Distance Cues
54(1)
a Loudness
54(1)
b Dry to Reflected Sound Ratio
55(1)
c Low Pass Filtering With Distance
55(1)
d Spatial Width
56(1)
2 Localization Cues
56(1)
a Localization on the Horizontal Plane
56(2)
b Localization on the Vertical Plane
58(1)
3 Implementing 3D Audio
58(1)
a Object-based Audio and Binaural Renderings
58(3)
b Working With HRTFs
61(1)
c Multichannel Audio and Ambisonics
62(6)
4 Optimizing Sound Design for Spatialization
68(1)
a Putting It all Together
68(1)
b Working With 2D and Multichannel Audio
68(1)
c Working With Ambisonics
68(1)
d Working With Object-Based Audio
68(2)
5 Sound Design -- The Art of Effectively Communicating With Sound
70(45)
1 The Art of Sound Design
70(16)
1 A Brief History of Sound Design
70(2)
2 Sound Design -- Basic Considerations
72(1)
a Effective Sound Design
72(2)
b Sound Design Guidelines
74(2)
3 Getting the Right Tools
76(1)
a Equalization
77(1)
b Dynamic Range
77(1)
c Reverberation
78(1)
d Harmonic Processors
78(1)
e Metering Tools
78(2)
f Utilities
80(1)
4 Microphones
80(1)
a Microphone Choice: Dynamic vs. Condensers
80(2)
b Mic Placement
82(1)
5 Sound Design -- Before You Start
82(1)
a Always Use High Quality Material
83(1)
b Don't Get Too Attached
84(1)
c Build and Learn
84(1)
d Listen for the Expected and the Unexpected
84(1)
e Layers
85(1)
f Be Organized
85(1)
g Communicate
86(1)
h Experiment, Experiment, Experiment
86(1)
2 Basic Techniques
86(29)
1 Layering/Mixing
86(1)
2 Pitch Shifting
87(1)
a Playback Speed Modulation
87(1)
b Granular Synthesis
88(1)
c Fast Fourier Transform-Based Algorithms
89(1)
3 Distortion
89(1)
a Saturation
90(1)
b Overdrive
91(1)
c Distortion
91(1)
d Bit Crushing
92(1)
4 Compression
92(2)
a Blending Through Bus Compression
94(1)
b Transient Control
94(1)
c Inflation
95(1)
5 Equalization/Filtering
95(1)
a Equalization for Sound Design
95(1)
b Resonance Simulation
96(1)
6 Harmonic Generators/Aural Exciters
97(1)
7 Granular Synthesis and Granulation of Sampled Sounds
97(1)
a Granular Synthesis Terminology
98(1)
b Sound Design Applications of Granular Synthesis
99(1)
8 DSP Classics
100(1)
a Ring Modulation/Amplitude Modulation
100(1)
b Comb Filtering/Resonators
101(1)
9 Reverberation
102(1)
a Indoors vs. Open Air
102(3)
b Reverb Parameters
105(1)
c Reverberation for Environmental Modeling
106(1)
d Reverberation as a Dramatic Tool
107(1)
10 Convolution
107(2)
a Optimization
109(1)
b Speaker and Electronic Circuit Emulation
109(1)
c Filtering/Very Small Space Emulation
110(1)
d Hybrid Tones
110(1)
11 Time-Based Modulation FX
110(1)
a Chorus
110(1)
b Flanger
111(1)
c Phasers
112(1)
d Tremolo
112(1)
12 Foley Recording
113(2)
6 Practical Sound Design
115(32)
1 Setting Up a Sound Design Session and Signal Flow
115(11)
1 Signal Flow
116(1)
a Input
116(1)
b Inserts
116(1)
c Pre-Fader Send
117(1)
d Volume Fader
117(1)
e Metering: Pre-Fader vs. Post Fader
117(1)
f Post-Fader Send
118(1)
g Output
118(1)
2 Working With Video
118(1)
a Know Your Frame Rate
118(1)
3 Clipping Is Easy -- Mind the Signal Path
119(1)
Use the Dynamic Range
120(2)
4 Setting Up a Basic Session for Linear Mixes and Cut Scenes
122(1)
a Music, Dialog and Sound Effects
122(1)
b Inserts vs. Effects Loops for Reverberation
122(1)
c Setting Up the Mix Session
123(1)
d Master Output and Sub Maste
124(1)
e Submixes and Effects Loops
124(1)
f Further Enhancements
125(1)
2 Practical Sound Design and Prototyping
126(21)
1 Guns
126(1)
a One Shot vs. Loops
126(1)
b General Considerations
127(1)
c Designing a Gunshot
128(4)
2 Prototyping Vehicles
132(1)
a Specifications
132(1)
b Selecting Your Material
133(1)
c Processing and Preparing Your Material
133(1)
d Building a Prototype
134(2)
3 Creature Sounds
136(1)
a Primary vs. Secondary Sounds
137(1)
b Emotional Span
137(1)
c Working With Vocal Recordings
138(3)
d Working With Animal Samples
141(2)
e Working With Non-Human or Animal Samples
143(1)
4 An Adaptive Crowd Engine Prototype in MaxMSP
143(4)
7 Coding for Game Audio
147(26)
1 Why Learn to Code?
147(4)
1 Syntax and Logic
148(1)
2 Algorithms
148(1)
3 Basic Object-Oriented Programming Concepts
149(1)
a Procedural vs. Object-Oriented
149(1)
b Encapsulation and Inheritance
150(1)
2 An Intro to C#: Syntax and Basics
151(9)
1 Our First Script
151(3)
2 Variables, Constants, Data Types Operators, Arrays and Lists
154(1)
a Data Types
154(1)
b Variables
154(1)
c Arrays
155(2)
d Lists
157(1)
e Access Modifiers
158(1)
3 Accessing a Function From Another Class
159(1)
3 Playing Audio in Unity
160(13)
1 Our First Audio Script
160(3)
2 Play() vs. PlayOneShot()
163(1)
3 Using Triggers
164(2)
4 Sample Randomization
166(1)
5 Detecting Keyboard Events
167(1)
6 Audio-Specific Issues
168(1)
a Timing -- Frame Rate vs. Absolute Time
168(2)
b Linear vs. Logarithmic Amplitude
170(3)
8 Implementing Audio: Common Scenarios
173(41)
1 Before You Start: Preparing Your Assets
173(1)
2 Ambiences and Loops
174(40)
1 Creating Ambiences and Loops
175(1)
a Seamless Loops
175(1)
b Creating a Simple Loop -- Looping Techniques
176(2)
c Creating Variations
178(1)
2 Implementing Our Loops in a Unity Level
178(1)
a Challenges
178(2)
b Spatial Distribution
180(1)
c Working With the Time Property to Avoid Phasing Issues
181(1)
3 Random Emitters
182(1)
a A Simple Random Emitter Algorithm
183(1)
b Coroutines
183(5)
4 Ambiences, Putting It All Together
188(1)
5 Sample Concatenation
189(1)
a Creating Variations With Footsteps Samples
189(1)
b Case 1: Swapping Audio Clips
190(2)
c Case 2: Using PlayScheduled()
192(1)
6 Collisions
193(1)
a Detecting Collision
193(2)
b Velocity-based Sample Selection
195(2)
7 Ray casting and Smart Audio Sources
197(1)
a Implementing Occlusion With Ray casting
197(2)
b Avoiding the Pebble Effect
199(2)
8 Animation Events
201(3)
9 Audio Fades
204(2)
10 Distance Cross fades
206(4)
11 Working With Prefabs
210(1)
a Creating a Smart Intermittent Emitter Prefab With Occlusion
210(1)
b Instantiating a Prefab From Scripting
210(1)
c Destroying an Object Instantiated From a Prefab
211(1)
d Instantiating Audio Emitters at Random Locations in 3D
212(2)
9 Environmental Modeling
214(24)
1 What Is Environmental Modeling?
214(10)
1 Reverberation
215(1)
a Pre-Computed vs. Real Time Computation
216(1)
b Absorption Coefficients
216(1)
c Environmental Modeling With Reverberation in Unity
216(1)
d Unity's Reverberation Parameters
217(2)
2 Best Practices for Environmental Modeling
219(1)
a Late vs. Early Reflections
219(1)
b Reflections Level
219(1)
c Density and Diffusion
220(1)
d High Frequencies vs. Low Frequencies
220(1)
3 Reverb Zones, Effects Loops and Audio Reverb Filters
221(1)
a Reverb Zones
221(2)
b Adding Reverb as an Effect Loop Using the Mixer
223(1)
c Audio Reverb Filters
224(1)
2 Distance Modeling
224(6)
1 Filtering as a Product of Distance
224(1)
a Adding a Low Pass Filter That Will Modulate its Cutoff Frequency Based on Distance
224(1)
b Width Perception as Product of Distance
225(2)
c Dry to Wet Ratio as a Product of Distance
227(2)
d Distance Simulation: Putting It All Together
229(1)
3 Additional Factors
230(8)
1 Occlusion, Obstruction, Exclusion
230(1)
a Occlusion
231(1)
b Obstruction
231(1)
c Exclusion
232(1)
2 Distance Crossfades
233(1)
3 Doppler Effect
234(4)
10 Procedural Audio: Beyond Samples
238(13)
1 Introduction, Benefits and Drawbacks
238(4)
1 What Is Procedural Audio?
239(1)
a Procedural Audio, Pros and Cons
239(2)
b Approaches to Procedural Audio
241(1)
2 Practical Procedural Audio: A Wind Machine and a Sword Collision Model
242(9)
1 A Wind Machine in MaxMSP With Subtractive Synthesis
242(3)
Making the Model Flexible
245(1)
2 A Sword Maker in MaxMSP With Linear Modal Synthesis
246(2)
Spectral Analysis
248(1)
Modeling the Impulse
249(1)
Modeling the Resonances
250(1)
Making the Model Flexible
250(1)
11 Adaptive Mixing
251(25)
1 What's in a Mix? Inform and Entertain (Again)
251(8)
1 Mix Considerations
251(2)
2 Music, Dialogue and Sound Effects
253(1)
3 Planning and Pre-Production
254(1)
a SubMixing
254(1)
b Routing
255(1)
c Dynamic Range
256(2)
d Passive vs. Active Mix Events
258(1)
2 The Unity Audio Mixer
259(7)
1 Adding Groups to the Unity Mixer
259(1)
2 The Audio Group Inspector
260(1)
3 Working With Views and Colors in the Unity Mixer
261(1)
Creating Views in Unity
262(1)
4 Adding Effects to Groups in Unity
262(1)
5 Inserts vs. Effect Loops
263(1)
6 Setting Up an Effect Loop for Reverberation in Unity Using Send and Receive
264(1)
Note on Adjusting Levels During Gameplay
265(1)
7 Ducking in Unity
266(1)
Setting Up a Ducking Compressor in Unity
266(1)
3 Snapshots, Automation and Game States
266(5)
1 Working With Snapshots
267(1)
2 Recalling Snapshots via Scripting
268(2)
3 Editing Mixer and Plugin Parameters via Scripting
270(1)
4 Exposing a Parameter: Controlling a Volume Slider
270(1)
4 Good Practices
271(5)
Mix Levels
273(3)
12 Audio Data Reduction
276(11)
1 Digital Audio: A Quick Review
276(2)
1 Pulse Code Modulation
276(1)
2 File Size Calculation
277(1)
2 Data Reduction Strategies
278(4)
1 Speech vs. Generic Audio
279(1)
2 Bit Rates
279(1)
3 Perceptual Coding
280(1)
The Trade-Off
280(1)
4 Common File Formats
280(1)
a MP3
280(1)
b Advanced Audio Coding
281(1)
c Ogg Vorbis
281(1)
d AC-3 Dolby Digital
282(1)
e Adaptive Differential Pulse Code Modulation
282(1)
3 Data Reduction Good Practices
282(1)
4 Data Reduction Options in Unity
283(4)
1 File Options
283(1)
2 Load Type
284(1)
3 Compression Formats Options
285(1)
Sample Rate Setting
286(1)
Index 287
Jean-Luc Sinclair has been a pioneer in the field of game audio since the mid-1990s. He has worked with visionaries such as Trent Reznor and Id Software and has been an active producer and sound designer in New York since the early 2000s. He is currently a professor at Berklee College of Music in Boston and at New York University, where he has designed several classes on the topic of game audio, sound design and software synthesis.