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1 @3 [fijl)~ 8: ~ 0 ~~ ~~~ C A Practical Guide to Sound and Music for Interactive Garnes Richard Stevens Dave Raybould AMSTERDAM BOSTON H EIDELBERG LOND ON N EW Y ORK O XFORD PARIS SAN D IEGO SAN FRANCISCO SINGAPORE SYDN EY T OKYO Focal Press is an imprint of Elsevier I

2 Cantents Acknowledgements Introduction xv xvii Chapter 1 Basic Training 1 Opening the Tutorial Level 1 Explore the Level: Navigation 2 Views 3 Navigation 4 Building 4 Actors 4 The Content Browser: Finding Actors 6 Every Room Has a Tone: Ambience 8 [AmbientSoundSimple] for Looping Sounds 8 Changing your First Sound 9 Adding your First Sound 12 Importing your First Sound 12 Ambient Sounds Case Study 14 Attenuation and Radius Min/Radius Max 15 A Word About Distances in UDK 16 A Word About Numbers in UDK 17 Toggle a Looping Sound 18 Kismet [AmbientSoundSimpleToggleable] for Toggleable Looping Sounds 21 Ambient Loops and " Phasing Loops" 24 The "Walls" Problem 26 Multiple Sounds Solution to the Walls Problem 27 [TriggerVolume] Switching Solution to the Walls Problem 29 Ambience: A Painterly Approach 31 vii

Chapter 2 How Big is the Truck? How Big is the Truck? RAM Budgets and Streaming A Lifetime's Work The Triangle of Compromise or "Triangle of Pain!

Non-Repetitive Design Caveat-Sometimes Repetition is OK Reuse of Sounds: The Power of Pitch Reuse of Sounds: Using Filters

Explosion: Vertical Combinations The Combinatorial Explosion: Horizontal Concatenation Multiple Start Points Some DSP Recap

Filtering Over Distance Faking Filter Over Distance Reveal Detail Over Distance Occlusion, Obstruction, Exclusion Ambient

3 Chapter 2 How Big is the Truck? How Big is the Truck? RAM Budgets and Streaming A Lifetime's Work The Triangle of Compromise or "Triangle of Pain!" Squaring the Triangle: Basic Memory Saving Techniques The Importance of Editing File Compression Sampie Rates Non-Repetitive Design Caveat-Sometimes Repetition is OK Reuse of Sounds: The Power of Pitch Reuse of Sounds: Using Filters Randomization in Time, Pitch, and Volume Randomization in Time, Pitch, and Volume Using [SoundCue]s The Combinatorial Explosion: Vertical Combinations The Combinatorial Explosion: Horizontal Concatenation Multiple Start Points Some DSP Recap of Sound Actors Chapter 3 Making it Sound Real Sound Propagation Reverb Sound Sources and Spatialization Directionality Filtering Over Distance Faking Filter Over Distance Reveal Detail Over Distance Occlusion, Obstruction, Exclusion Ambient Zones Obstructions and Exclusions viii

"Real" Sound for Gameplay Stealth 101 Stealth and Distraction Collisions and Physics Manual Collisions: Using [TriggerVolume]s Automated Collisions: Footsteps and Surface Types Scripting 101 Custom

4 "Real" Sound for Gameplay Stealth 101 Stealth and Distraction Collisions and Physics Manual Collisions: Using [TriggerVolume]s Automated Collisions: Footsteps and Surface Types Scripting 101 Custom Movement Sounds Physics Cascading Physics Movers and [Matinee] Sounds that Move Movers that Sound Cut-Scenes, Cameras, and Sound Cut-Scenes with No Audio Contral Cut-Scenes with Audio Contral Level Fly-Thraughs Where's My Head At? Conclusion Chapter 4 Music Systems Introduction Styles and Game Genres Roles and Functions of Music in Games It's a Fine Line between Love and Hate Music Concepting/Spotting/Prototyping/Testing The Key Challenges of Game Music Source Music/Diegetic Music Linear Music and Looping Music Avo id the Problem: Timed Event Music Avoid the Problem: Non-Time-Based Approaches Using Ambiguous Mus ic Ix

Avoid the Problem: Stingers Transitional Forms/Horizontal Switching Clunky Switching Better Switching: Crossfades UDK's (Legacy) Mus ic System Maintaining Musical Structures: Horizontal Transitions

5 Avoid the Problem: Stingers Transitional Forms/Horizontal Switching Clunky Switching Better Switching: Crossfades UDK's (Legacy) Mus ic System Maintaining Musical Structures: Horizontal Transitions Write in Chunks Transitions and Transition Matrices Switch Points: Marking Up Existing Tracks The Problem of Decay Parallel Forms/Vertical Layering Simple Mute/Unmute Mixing Layers Leitmotifs and th e Combinatorial Explosion The "Variation" Question: Generative or Procedural Forms Vertical Recombinations Set Phasing to Stun Low-Level Generative Processes The Problem with Generative Music "Interactive" Music: Music as an Input A Short History Lesson: Gains and Losses Music-Based Games Chapter 5 Dialogue Concepts and Planning Types of Speech Localization Casting Recording Preparation Script Format and Planning Session Planning x

Recording Wild Lines Studio Prep and Setup Performance Near and Far (Proximity Effect and Off-Axis) ADR Lines and Motion Capture Recordings Editing and Processing Rapid Prototyping for Dialogue

Dilemma Chapter 6 Making it Sound Good Audio Concepting Spott ing, Roles, and Functions of Sound in Games Reality and Characterization Define the Environment: Immersion and Emotion Symbolic Sounds

6 Recording Wild Lines Studio Prep and Setup Performance Near and Far (Proximity Effect and Off-Axis) ADR Lines and Motion Capture Recordings Editing and Processing Rapid Prototyping for Dialogue Systems Implementation Branching Dialogue AI, Variation, and How Not to Drive People Nuts: Part 1 Concatenation, Sports, and How Not to Drive People Nuts: Part 2 In-Engine Cut Scenes : A Dialogue Dilemma Chapter 6 Making it Sound Good Audio Concepting Spott ing, Roles, and Functions of Sound in Games Reality and Characterization Define the Environment: Immersion and Emotion Symbolic Sounds Expect the Unexpected Space, the Final (Technique) for Tears Information and Feedback Instruction Feedback Navigation Interactive Mixing and the Power of Subjectivity Voice Instance Limiting and Prioritization Listening Levels Planning for a Dynamic Mix Planning for a Full Mix xi

Soundclasses and SoundModes Ducking Subjective Sound States Interactive Mixing Conclusion Chapter 7 Advanced Sound System Design Weapon Systems

Weapon Layers for Weapons Weapons Sounds: Attenuation and Character Over Distance Sniper Rifle Impact, Whizz-by, and Handling Sounds Adding

GAT_Scorpion Chapter 8 Next Steps Jobs and Work Do You Have What it Takes?

7 Soundclasses and SoundModes Ducking Subjective Sound States Interactive Mixing Conclusion Chapter 7 Advanced Sound System Design Weapon Systems One Shot Retriggered Firing Retriggered Firing with Tail Weapon Status Feedback System Make a Point Looping Mechanical Weapon Looping Sci-Fi Weapon Layers for Weapons Weapons Sounds: Attenuation and Character Over Distance Sniper Rifle Impact, Whizz-by, and Handling Sounds Adding Sound to Animations Weapons Summary Vehicle Systems Simple Vehicle: Manta Engine-Based Vehicles: Scorpion Engine-Based Vehicle with Crossfades: GAT_Scorpion Chapter 8 Next Steps Jobs and Work Do You Have What it Takes? Jobs and Skills How To Get Work Making a Demo Reel/Website/Blog How to Keep Working xii

Appendix A Organization Tips Finding and Seeing What's Going On What Does

Audio File Finder Utilities Naming Conventions Batch Renaming Utilities

What's Going On Audio Optimization and Tracking the RAM Budget Streaming 383

Running Slowly 397 Importing Sounds 397 Bulk Importing of Sounds 398 Fast

Builder Brush for Geometry, Trigger Volumes, and Reverb Volumes 400 Scaling

8 Appendix A Organization Tips Finding and Seeing What's Going On What Does That Do Again? Audio File Finder Utilities Naming Conventions Batch Renaming Utilities Appendix B Troubleshooting and Optimization Crashes Version Control Hearing What's Going On Audio Optimization and Tracking the RAM Budget Streaming Appendix C UDK Tips 397 Running Slowly 397 Importing Sounds 397 Bulk Importing of Sounds 398 Fast Creation of [SoundCue]s 398 Basic Folder Guide 399 Creating Levels 399 The Builder Brush for Geometry, Trigger Volumes, and Reverb Volumes 400 Scaling and Other Widgets 400 Saving 400 Lighting 401 Static Meshes 401 Materials 402 Terrain 402 Emitters + Particle Effects 402 Weapons 403 Water 403 Building 403 xiii

Kismet Tips Kismet System Debugging Sequences/Subsequences Copying and Reusing

Variables and Remote Events Spawning and Controlling Bots Key Binding Scripting

Bibliography and Further Reading Index 404 404 404 404 405 406 406 407 407 408

9 Kismet Tips Kismet System Debugging Sequences/Subsequences Copying and Reusing Sequences Runtime versus Placeable Actors Instigators Take Damage Named Variables and Remote Events Spawning and Controlling Bots Key Binding Scripting Setting up UDK for Custom Scripts Editing Scripts What's in a Script? Bibliography and Further Reading Index Additional appendices available on the website ( include: Appendix D Audio Editing for Games Appendix ESound Design Basics Appendix F Batch Processing Appendix G Digital Audio Appendix H Sound Library xiv

The Game Audio Tutorial

This page intentionally left blank The Game Audio Tutorial A Practical Guide to Sound and Music for Interactive Games Richard Stevens Dave Raybould Amsterdam Boston Heidelberg London New York Oxford Paris