https://serendip.peckels.com/40methodology/audiogames/ Adaptive Audio Hugo en-us Thu, 19 Nov 2020 09:20:29 +0100 https://serendip.peckels.com/40methodology/audiogames/adaptiveaudio/ Thu, 19 Nov 2020 09:20:29 +0100 https://serendip.peckels.com/40methodology/audiogames/adaptiveaudio/ Adaptive Audio To illustrate the creation of the TAM app with its two distinct sections—a semi-generative opening sequence and a traditional song structure whose elements are reshaped and transformed—the methodology section gives an overview of personal examples of adaptive audio tools and creations in video game engines with a focus on their random features. The bibliography section references recent books on composing and creating music and sound for video games. https://serendip.peckels.com/40methodology/audiogames/soundvideogames/ Thu, 19 Nov 2020 08:42:20 +0100 https://serendip.peckels.com/40methodology/audiogames/soundvideogames/ For The Aquatic Museum app, I use the FMOD audio middleware combined with the Unity game engine. While this research is not about the technical aspects, it is important for the methodology section to give an overview of the tools used in my creative process. I use the same tools in my advanced teaching skills research by taking advantage of software resembling traditional DAWs but designed for video games. However, differences from traditional audio workstations do appear in the media creation process. This research also focuses on one specific element or feature used in adaptive audio and other music creation tools: randomness or aleatory features. https://serendip.peckels.com/40methodology/audiogames/musicvideogames/ Thu, 19 Nov 2020 08:42:20 +0100 https://serendip.peckels.com/40methodology/audiogames/musicvideogames/ Adaptive audio tools provide advanced music creation possibilities that differ from the features found in more traditional DAWs. Here is the theme for one of the monster encounters (cf. sound in video games). It is a collage I created from a Donizetti opera1 recorded in 1911, Omnisphere synth sounds, and the preceding page’s soundscape. Some sonic elements as well as the volume balance are adapted dynamically during gameplay. Your browser does not support the audio element. Adaptive Audio for a Platform Game For the next example, I used only Tempest, a drum machine designed by Roger Linn, to create a groove with different drum and synth layers. The main groove uses the Batá rhythm Olokun as a template. https://serendip.peckels.com/40methodology/audiogames/audio/ Thu, 19 Nov 2020 09:20:29 +0100 https://serendip.peckels.com/40methodology/audiogames/audio/ As the preceding examples show, the design and creation process of audio and music for games is based on traditional composing, recording, and creation practices, but the assembly and delivery of the media assets require other tools and an adapted kind of thinking and planning. A common classification of sounds in games, adapted from film, is as follows: Diegetic Sounds Diegetic sound is heard by both the characters and audience. Also called ’literal sound’ or ‘actual sound’. https://serendip.peckels.com/40methodology/audiogames/music/ Thu, 19 Nov 2020 09:20:29 +0100 https://serendip.peckels.com/40methodology/audiogames/music/ From Very Little… The Atari PONG (1972) arcade game featured only sound effects and no music (depending on the definition…): ▶ Video on YouTube: https://youtu.be/fhd7FfGCdCo To a Lot… Full orchestral soundtracks with lush string arrangements copying every Hollywood cliché (you can google those).