Sound Research WIKINDX
Sound Research WIKINDX |
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Granner, C. (1999). Tales from the trenches of coin-op audio. Gamasutra, Retrieved February 20, 2022, from https://web.archive.org ... 19991118/Granner_01.htm Added by: Mark Grimshaw-Aagaard (10/09/2004, 08:34) Last edited by: Mark Grimshaw-Aagaard (20/02/2022, 09:00) |
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| Resource type: Web Article BibTeX citation key: Granner1999 Email resource to friend View all bibliographic details  |
Categories: Sound Design Keywords: Arcade Creators: Granner Collection: Gamasutra |
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| Notes |
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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. |
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Coin-op audio is required to "support instant gratification". For coin-op, the "amusement dividend" is 3 minutes (more or less). Added by: Mark Grimshaw-Aagaard |
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"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: Mark Grimshaw-Aagaard |
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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: Mark Grimshaw-Aagaard |
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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: Mark Grimshaw-Aagaard |