Search the web
Sign In
New User? Sign Up
gameaudiopro · Game Audio Pro is an open forum for audio professionals who
? Already a member? Sign in to Yahoo!

Yahoo! Groups Tips

Did you know...
Want to share photos of your group with the world? Add a group photo to Flickr.

Best of Y! Groups

   Check them out and nominate your group.
Having problems with message search? Fill out this form to ensure your group is one of the first to be migrated to the new message search system.

Messages

  Messages Help
Advanced
game mixing   Message List  
Reply | Forward Message #14352 of 14885 |
There are two sound designers and a lead at my development house and
we've recently sat down with our coder(s) to start sketching out ideas
for a real-time mixer. That is, a system that will (somewhat)
intelligently do the mix for us based on parameters that we feed it.

Specifically, the parameters are based on a priority system (A, B, C,
D and E) where priority A sounds are given the most volume in playback
(dialog and weapons, for example) and lesser priority sounds are given
less volume (ambiances, footsteps, etc).

We haven't exactly pinned down the dB values for each level, but we're
thinking -2db attenuation per decreased level in the priority.
Something like:

a = -2db
b = -4db
c = -6db

..and so on.


All the sound assets would be given equal RMS normalization, of
course. The mixer, as I said, just adjusts the playback volume of
those assets.

My primary concern here is with fade times so the changes in volume
don't sound too rapid and, also, with the possibility that volumes are
going to sound perpetually "shifty" and dynamic all the time.

Still, it's a system we're going to test just to see what happens.
With the sheer number of sound assets and competing frequencies, we
have to do create something so it doesn't turn into a cacophony of
audio "grey goo".

What systems and methods have you all worked with in game mixing? It's
an interesting problem in that it's not linear like film and you can't
anticipate every possible permutation of a basic set of sounds.




Wed Oct 15, 2008 6:58 pm

sd23david
Offline Offline
Send Email Send Email

Forward
Message #14352 of 14885 |
Expand Messages Author Sort by Date

There are two sound designers and a lead at my development house and we've recently sat down with our coder(s) to start sketching out ideas for a real-time...
sd23david
Offline Send Email
Oct 15, 2008
6:58 pm

On Wed, 15 Oct 2008 18:58:17 -0000 ... Hi David, Practically 40ms is the smallest time you can work with (twice the Gabor threshold), but on audio with low...
Andy Farnell
padawan12@...
Send Email
Oct 15, 2008
8:03 pm

Hey David, Nice to see some discussion on this topic. It's great to see this problem getting attacked on many fronts. In the past I've used a bus-based...
David Steinwedel
DSteinwedel
Offline Send Email
Oct 16, 2008
3:01 am

On Full Auto on Full Auto II we did some interesting stuff with dynamic mixing. PS3 and Xbox360 audio software architecture both allow incredible busing and FX...
Andrew Thomas Clark
andrewclarkis
Offline Send Email
Oct 17, 2008
2:40 am

These are great points Andrew. I have always been a big advocate of in-world development. Working on running code has become central to my whole coding...
Andy Farnell
padawan12@...
Send Email
Oct 17, 2008
4:10 pm

... Yup I agree. I just personally prefer having specific rules attached to specific buses, rather than specific mixes attached to specific global contexts. ...
Andrew Thomas Clark
andrewclarkis
Offline Send Email
Oct 18, 2008
1:24 pm
Advanced

Copyright © 2009 Yahoo! Inc. All rights reserved.
Privacy Policy - Terms of Service - Guidelines - Help