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Granner, C. (1999). Tales from the trenches of coin-op audio. Gamasutra, Retrieved September 18, 2003, from http://www.extraball.co ... /chrisgranner/index.htm 
Added by: sirfragalot (09/10/2004 08:34:39 AM)   Last edited by: sirfragalot (04/23/2015 02:27:05 PM)
Resource type: Web Article
BibTeX citation key: Granner1999
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Categories: Sound Design
Keywords: Arcade
Creators: Granner
Collection: Gamasutra
Resources citing this (Bibliography: WIKINDX Master Bibliography)
Views: 4/522
Notes
Discussion of requirements of coin-op arcade audio with differences between that and computer game audio. Provides good arguments to narrow my field not to include coin-op.

Originally published in Game Developers Conference 1999 proceedings.
  
Quotes
   Coin-op audio is required to "support instant gratification".

For coin-op, the "amusement dividend" is 3 minutes (more or less).   Added by: sirfragalot
   "Sound effects must literally explode."

Even to the point of un-reality, sounds are manipulated to have short attack times. Accuracy is secondary.   Added by: sirfragalot
Paraphrases
   Coin-op audio must compete in a "hostile environment" -- either too much 'noise' is not appreciated (audio is turned down) and/or audio must make its presence felt above other coin-op arcade machines.

For this reason, background ambient elements that would be lost are disregarded from the start.   Added by: sirfragalot
   Coin-op in a bar of restaurant should have a soundtrack that is not grating or too unusual in such a place. e.g. a golf game whose soundtrack sounds like a TV commentary will not be too out of place in a (sports) bar and is therefore less likely to be turned down or even off.

In arcades whe competing against other coin-op audio, the situation is different and sound FX that are not naturally loud (or that are soft due to illusory distance) must be artificially loud.   Added by: sirfragalot
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