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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, 08:00)
Resource type: Web Article
Published
BibTeX citation key: Granner1999
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Categories: Sound Design
Keywords: Arcade
Creators: Granner
Collection: Gamasutra
Views: 34/1376
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: Mark Grimshaw-Aagaard  (03/12/2004, 10:36)
  
"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  (03/12/2004, 10:36)
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: Mark Grimshaw-Aagaard  (03/12/2004, 10:36)
  
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  (03/12/2004, 10:36)
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