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Boyd, A. (2003). When worlds collide: Sound and music in films and games. Gamasutra, Retrieved September 6, 2004, from ... /20030204/boyd_01.shtml 
Added by: sirfragalot (03/11/2006 11:23:44 AM)   
Resource type: Web Article
BibTeX citation key: Boyd2003
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Categories: Sound Design
Creators: Boyd
Collection: Gamasutra
Resources citing this (Bibliography: WIKINDX Master Bibliography)
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Game audio designer for LOTR Two Towers.

Added by: sirfragalot  
   Despite having all the film's sound FX "found it more effective to create our own."   Added by: sirfragalot
   A tension exists in game audio that's not in film -- "desire to minimize repetitive sounds versus the limitations of the delivery mechanism."

Limitations of RAM and CPU and nonlinear nature of game (audio) creates unknown number and combinations of events requiring audio.   Added by: sirfragalot
   "If a sound designer working on a film wants every footstep, door slam, gunshot and telephone ring to be completely unique, it's simply a matter of creating the right number of instances of each sound and laying them into the soundtrack ... In a game, of course, it would be unfeasible to attempt to make every instance of a sound unique, if for no other reason than it would require too much RAM to store all the possible variations. But even assuming infinite system resources, there remains the runtime problem inherent in the interactive world of a game. It isn't possible to make every gunshot sound unique if you don't know how many gunshot sounds are needed!"   Added by: sirfragalot
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