![]() The world of electronic music has plenty of tools that enable rapid, on-the-fly development of audio. Stepping outside of the world of game development for a moment, let's look at what musicians can do with technology. Situations in games change continuously, all the time! Audio and music in games should be able to instantly adapt to this.Īll this means that audio is never central to a game design, while audio and music are actually a great area for innovation! There is a huge amount of creative potential here, completely untapped. Game audio is still mostly linear, applied in a non-linear context. Game designers embraced agile development, while audio designers are still stuck with the waterfall approach. They are called in late in the process, get their assignment, produce the end result, and that's it. Sound designers and composers typically get none of these benefits. With tools such as Unity, a studio can start prototyping a game within weeks, allowing very agile development methodologies. The huge gap in technology means that audio development is a parallel process.Ī typical game designer writes a design document with little attention to audio whatsoever. In my opinion, game audio is at least 10 years behind on game graphics. The result is that audio in games is still mostly an afterthought. This inhibits development of game audio as a more integral part of game design. Furthermore, these packages seem to be mostly aimed at AAA first-person-shooter titles, making it difficult to do something radically different with them. Middleware packages such as WWise or FMOD offer real-time effects processing, which is a step forward, but they don't offer you the possibility to model your own synthesis model and generate sound on-the-fly. Some of these developments are slowly starting to transfer to game audio, but not nearly enough! Games across the entire spectrum, from AAA to Indie, still resort to using ancient sample-based approaches for audio. With today's and tomorrow's hardware you can literally trace a ray of light as it bounces from surface to surface (and even through them!) towards the camera, creating crystal clear pictures. We have shaders, massively parallel calculations running on dedicated hardware, and much more. Over the course of the last two decades, game graphics have evolved from bitmap sprites to near photo-realistic imagery running at a solid 60 frames per second. The traditional sample-based approach to game audio is old and dated. I'm very curious what you guys think about it. Here's an idea I've been playing with for a while now. If you have some votes left, please consider spending one or two* on this request. ![]() With PD or SC then refactored and compiled as a plugin, the resulting game would be easily distributable. That way you can generate sound material with a super-sophisticated toolkit, and then run it through FMOD so you can hear it. We could even take buffers generated in external audio applications (Max, SuperCollider) and stream them into audio clips. With the ability to write audio buffers to Unity's sound sources we could build a library of audio synthesis tools and start exploring some ideas. "Supercollider" gets a mere 2 out of 10 stars.There's a feature request up that some of you guys might be interested in:įeature: Write access to AudioClip buffers I found myself ending up with my phone in hand, because the movie failed to keep my interest fairly quickly and never really managed to get back on track. All in all, then "Supercollider" was sort of a waste of time, because it turned really stupid really fast, and it just lost all appeal and any sense of coherent and believable storyline. ![]() Just don't expect award-winning performances here. As for the acting, well it was adequate at least. I suppose it was the script and the direction of the movie that took a blow and caused the movie to crash down a steep hill abruptly and without warning. The story is about a machine that accidentally causes a distortion in time and space, creating a new reality and thrusting people into this new reality to a bleak and broken world. The idea of the movie did have potential, but it was really badly put to the screen. "Supercollider" started out interestingly enough, then the air seeped out of the balloon quite fast and the movie turned unfathomably boring and ridiculous.
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