Sound Research WIKINDX
Sound Research WIKINDX |
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Brandon, A. (2005). Audio for games: Planning, process, and production. Berkeley: New Riders. Added by: Mark Grimshaw-Aagaard (10/12/05, 11:37 AM) Last edited by: Mark Grimshaw-Aagaard (1/14/09, 10:40 AM) |
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| Resource type: Book ID no. (ISBN etc.): 0-7357-1413-4 BibTeX citation key: Brandon2005 Email resource to friend View all bibliographic details  |
Categories: Sound Design Creators: Brandon Publisher: New Riders (Berkeley) |
Views: 3/994
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| Abstract |
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From the back cover: "Game audio has changed dramatically in the last five years. Where once it meant writing a few pieces of music, creating 30 or so sound effects, hard-coding them, and then listening through primitive circuitry and amplification, a typical high-profile title today includes thousands of sound effects, tens of thousands of lines of dialog, and at least an hour of music. Putting that all together can involve up to a dozen people creating content and integrating it into the game's structure. In Audio for Games, Alexander Brandon introduces audio professionals, game programmers, producers, and design team leads to the core concepts they need to know to create effective sound effects and music for today's demanding gamers." Added by: Mark Grimshaw-Aagaard |
| Notes |
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A good but short introduction to audio in the games industry from the point of view of production. Brief overview of software and some thoughts about what 'game audio' should be or can be. Brandon is a game audio designer for titles such as Unreal.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard |
| Quotes |
| p.187 Discussing the use of surround sound and sound FX (from the movie Aliens) in Aliens vs. Predator: "The graphics weren't what made it real -- it was the sound." Added by: Mark Grimshaw-Aagaard |
| p.196 "... game audio has a tendency to have annoyingly repetitive sounds because of hardware or software limitations (such as RAM or storage space). ... It's perhaps one of the greatest threats to game-audio quality, whether in voice, music, or sound effects." Added by: Mark Grimshaw-Aagaard |
| Paraphrases |
| pp.187–188 Claims that surround sound is of greatest benefit to first-person games because of the first-person perspective and because sound can envelop the player unlike graphics on a 2D screen. Added by: Mark Grimshaw-Aagaard |