Index
A
“Action bubble”, 300
Action feedback, confirmation of, 282
[Activate Remote Event], 183, 205–206
Actors, 4–7
Adaptive music, 238
Add Actor, 403
Add Static Mesh, 403
Adventure/action/shooter, 164
Aleatoric techniques, 229, 235
[AmbientSoundSimple] for Looping Sounds, 8–9
case study, 14–15
Ambience group, 9
Ambient (dialogue), 253
[AmbientSound], 54, 57, 58–61, 65, 86, 396
for noninteractive [SoundCue]s, 57–58
[AmbientSoundMovable], 305
[AmbientSoundNonLoop], 51–54, 57, 64, 65, 85, 114, 304
Ambient Sound Radii, 17–18
[AmbientSoundSimple], 7–9, 11–13, 25, 41, 43, 45, 49–50, 52, 54, 60, 65, 85, 100, 304
test area, 29
[AmbientSoundSimpleToggleable], 21–22, 23, 24, 30, 111, 114, 291, 293, 305, 330
Ambient zones, 112
additive effects, 117–118
and filtering, 119
multiple, 116–117
simple, 115–116
Amplitude min/max, 79
Android, 33
Apply Effects, 308
[Arrangement] object, 193
Artificial intelligence (AI), 165, 264–266
[Attach to Actor] object, 178, 278, 279, 407
Attenuation, 15
[Attenuation], 56, 58–60, 64–67, 94–95, 105, 109, 173, 295, 399
AudioComponent class, 412
Audio concepting, 175
Audio Engineering Society Conferences, 381
Audio file compression, 38
Audio file finder utilities, 387
commercial, 388
free/donation ware, 387–388
AudioKinetic, 169
Audio Memory, usage of, 393, 395–397
Audio optimization, 392–395
Automated collisions, 129–132
Automated mixing systems, 302–303
“Automatic” dialogue replacement (ADR), 260
Automation, 329–330
Auto-save function, 402
B
Backup of work, 390
Basic folder guide, 399
Batch Process menu, 66
Batch renaming utilities, 388
“Begin Object Class” statement, 411
Binary space partitioning (BSP), 399
“Bored” switch, 203–208
Branching dialogue, 261–263
Bridge, constructing, 155
for geometry, trigger volumes, and reverb volumes, 400
Building process, 403
Bulk importing, of sounds, 398–399
C
Cameras and sound, 155
Cascading physics, 144–145
Casting, 254
Cave, reverb settings of, 92
Cave within a cave, reverb settings of, 92
Character biography sheet, 256
Character dialogue, 252
Chatter (dialogue), 252
Clicks and pops, 260
Clumsy game dialogue, 251
Cluster Sounds, 66
CMParamName, 411
Cocktail party effect, 273
Collision height, 22
Collision radius, 22
Collisions, 128–145
automated collisions, 129–132
custom movement sounds, 137–139
manual collisions, 128–129
Color commentary, 266
Combinatorial explosion, 66–73
horizontal concatenation, 68–73
vertical combinations, 66–68
Commentary, music as, 164
[Compare], 177
[Compare Float] object, 286
[Compare Int], 178, 183, 194–196, 325
Compound sentence, 267
Concatenate footsteps, 70–71
crowds, 269–270
gunshots, 73–74
of multiple sample rates, 73–74
and sports, 265–270
Concatenation room, 68–69
fire, 70
radio chatter, 68–69
[Concatenator] node, 59, 68, 267
Concepting process, 167
Concept tracks, 274
[Console Event], 323
Content Browser, 6–7, 12, 38, 53–54, 59, 64–67, 364, 395, 397–398, 402–403
Package Tree of, 398
[Continuous Modulator] node, 60
Copying and reusing sequences, 404–405
Cover Node, building, 403
Crashes, 389
Create Archetype, 283
Create New Sequence, 404
Crossfades, 188–189
Crowds, 269–270
Cultural connotations of instrumentation and style, 164
Custom scripts, UDK for, 409
Cut scenes
animations, 259
in-engine cut scenes, 270–271
with audio control, 157–159
with no audio control, 155–157
D
Debris sounds, 67–68
Decay problem, 205–208
De-essing, 260
“DefaultEngine.ini” file, 409
[Delay], 60, 65, 67, 77, 126, 145, 174, 180–181, 188, 208, 214–215, 217, 221, 233–234, 240, 263, 286, 293, 294, 314, 323, 328, 356, 371, 405
Demo reel/website/blog, 380–382
Design demos, 381–382
[Destroy Actor], 239
Developers Conference, 380
Dialogue, 251
casting, 254
concepts and planning, 251–254
ambient/incidental/chatter dialogue, 252
character dialogue, 252
informational dialogue, 251
localization, 253–254
nonspeech vocal elements, 252
repetition and variation, 252
X 3500000, 252–253
dilemma, 270–271
editing and processing, 259–260
breaths, 260
clicks and pops, 260
de-essing, 260
high-pass filter, 259–260
levels, 260
implementation, 261–270
AI and variation, 263–265
branching dialogue, 261–263
concatenation and sports, 265–267
in-engine cut scenes, 270–271
rapid prototyping, for dialogue systems, 260
recording, 257–259
ADR lines and motion capture recordings, 259
performance, 258–259
studio prep and setup, 257
wild lines, 257
recording preparation, 254–257
script format and planning, 255–257
session planning, 256–257
Digital audio workstations (DAWs), 13–14, 301
Digital signal processing (DSP), 75–85
Directionality, 103–104
DirectMusic, 243
[Distance Crossfade], 60, 106, 107–108, 355
Distances, in UDK, 16
[Divide Float] object, 140–141, 221, 293
Doors, 148–150
Downloadable content (DLC), 34–35
DownLoadable Sounds (DLS), 243
Ducking, 311–318
dynamic range, preduck for, 317–318
notching, 315–317
volume ducking, 311–314
[Dynamic BlockingVolume], 174
Dynamic mix, planning for, 298–299
Dynamic music, 237
preduck for, 317–318
[Dynamic Trigger], 193, 195, 196, 329
[DynamicTriggerVolume], 246, 406
E
Editing, importance of, 37–38
Editing and processing, for dialogue systems, 259–260
breaths, 260
clicks and pops, 260
de-essing, 260
high-pass filter, 259–260
levels, 260
Editor–Unreal Development Kit, 2
Editor window, 394
Elevator, 150–151
Emotional effect, 278
Engine-based vehicles, 368–369
with crossfades, 370
EngineRPMCurve, 368
Envelopes, 75–78
Exclusions, 121–122
Explosion/debris, 67–68
F
F (Focus) button, 7
“Fade In Time”, 77
Fade In values, 76
Fade in variables, 78
“Fade Out Time”, 77
Fade Out values, 76
Fade Out variables, 78
Faking filter over distance, 105–107
Feedback, 281–289
action feedback, confirmation of, 281–282
HUD/UI feedback, 282–284
NPC status feedback, 284–285
status feedback, 285–287
symbol/punishment/reward, 288–289
weapon status feedback, 287
File compression, 38
Filtering over distance, 104–105
Filters
sounds, reuse of, 49–50
Firelight Technologies, 168
First sound
adding, 12
changing, 9–11
packages, 9–11
importing, 12–13
Football/soccer, 267–268
Footsteps and surface types, 129–132
ForceEndFire command, 335, 410
Frequency Min/Max, 79
[FSCommand], 282
Full mix, planning for, 299–303
automated mixing systems, 301–302
predetermined mix elements, 300–301
triggered mixing systems, 302–303
Full motion videos (FMVs), 253
Functions of sound in games, 275–276
G
Game Audio Curriculum Guideline, 380
Game Developers Conference, 380
Game dialogue, 251, 255, 270–271
Game music, challenges of, 162, 169–170
Gameplay-based switching, 186–187
[Gate], 125, 154, 171, 174, 181, 195, 196, 206, 208, 214, 240, 241, 247, 265, 282, 285, 323, 331, 356
[GatPlaySound], 220, 221, 226, 372, 374
General MIDI (GM), 242–243
“General MIDI Specifications”, 242–243
Generative music, 228
[Get Property], 221
[Give Inventory] object, 276
GoogleDoc spreadsheet, 393
H
Harmonically and rhythmically aware stingers, 182–184
Hearing audio, 390–391
High-pass filter, 259–260
Home console systems, 34–35
Horizontal concatenation, 68–73
HUD/UI feedback, 282–284
I
IASIG Game Audio Education Working Group, 380
Immersion, 277–279
Importing your own sounds, 12–13
Incidental (dialogue), 255–256
Incremental naming, 389–390
In-engine cut scenes, 270–271
Info Actor menu, 402
Informational device, music as, 164
Informational dialogue, 251
Information and feedback, 279–294
Information to the player, 279–280
Inside/outside toggle, 29–31
Instigators, 406
Instruction to the player, 280–284
[Int Counter], 126, 127, 145, 174, 181, 182, 206, 239, 240, 241, 265, 314, 328
Interactive Audio Special Interest Group (IASIG), 243, 380
Interactive mixing and power of subjectivity, 294–331
ducking, 311–318
dynamic range, preduck for, 317–318
notching, 315–317
volume ducking, 311–314
dynamic mix, planning for, 298–299
full mix, planning for, 299–303
automated mixing systems, 301–302
predetermined mix elements, 300–301
triggered mixing systems, 302–303
listening levels, 297–298
soundclasses and soundmodes, 303–309
soundmodes, 309–310
subjective sound states, 318–331
automation, 328–329
“Fury!!” Mode, 327–328
listen mode, 323–324
player health, 325–327
shell shock, 319–320
simultaneous soundmodes and modifier mix, 330–332
sniper focus, 320–322
voice instance limiting and prioritization, 295–296
Interactive music, 83, 168–169, 191, 198, 213, 220, 240–241
adaptive music, 237
challenges and responses to, 241–242
death waits for musical measure, 240–241
dynamic music, 237
gains and losses, 242–244
interactive music system, 237–238
performative systems, 238
reactive music system, 237
[InterpActor], 81–82, 148–150, 154–155, 171, 174, 189, 214
iPhone, 33
IsMusic, 307
IsUISound, 307
iXMF format (Interactive eXtensible Music Format), 244
J
Jobs and work, 377–382
composers, 378–379
jobs and skills, 379–380
IASIG Game Audio Education Working Group, 380
personal contacts, work through, 380
demo reel/website/blog, 380–382
working of, 382
sound designers, 377–378
Joystick icon, 8
K
[KActor], 140–141, 277, 290, 402
KillZ property, 404
Kismet, 18–19, 20, 22, 23, 24, 31, 61, 63, 68, 76, 81–82, 95, 114, 127, 140–141, 172–173, 178, 182, 190, 246, 263, 287, 311, 331, 351, 386, 395, 404
alternatives, 394
commands, 382
copying and reusing sequences, 404–405
instigators, 406
Named Variables, 407
runtime versus placeable actors, 405–406
sequence, 404–405
sequences/subsequences, 404
spawning and controlling bots, 407
system, 404
Take Damage function, 406
Kismet [Actor Factory] Action, 407
Kismet [Trigger] “Touch” to Toggle Sounds, 24
Kismet [Trigger Volume] Take Damage and [Oscillator], 82
Kismet [Trigger Volume] “Touch” Switching for Occlusion, 31
L
Layering for variation, 67–68
Leitmotif, 165
and combinatorial explosion, 224–227
Level, 260
building, 403–404
creation of, 399–400
Level fly-throughs, 159
[Level Loaded], 180
[Level Start], 172
LFE Bleed, 307
Light Actor, 5
Light Color property, 401
“Lightmass”, 401
Light quality settings, 401, 403
Lights, camera, action, 159
Listening levels, 297–298
“Listen” mode, 322–324
Location-based switching, 184–186
[Log], 404
Looping, 24
machinery, 13
mechanical weapon, 344–347
music, 172–173
sci-fi weapon, 347–350 see also “Automatic” dialogue replacement (ADR)
[Looping], 60, 65, 196, 232, 398
Looping Sound, toggleable, 18
[AmbientSoundSimpleToggleable] for, 21–22
Kismet 101, 18–20
Lossless format, 38
Lossy format, 38
Low-Frequency Effects (LFE) channel, 307
attenuate with, 104–105
function of, 50f
LPFRadius Max, 50
M
Manta, 265–368
Manual collisions, 128–129
Mastering Unreal Technology, 397
Materials, usage of, 402
Matinee doors, 150
[Matinee] object, 84, 146–152, 154–157, 159, 249–250, 265, 277, 282, 312, 323
Matrix, 201
Max, 274
Mechanical systems, repetition in, 43
Mechanical weapon, looping, 344–347
Memory saving techniques, squaring triangle, 37, 83
Metadata, 209
Meta generative, 234–237
Mickey Mousing, 165–166
Micro generative, 234
Microsoft, 38
ModifySoundClass, 390
Modulate volume/modulate pitch, 79
[Modulator], 60, 64–65, 67, 68, 230, 398
Mono attenuation and spatialization, 95
Motion capture recordings, and ADR lines, 259
Move Rotate scale, 16f
Movers and “Matinee”, 145–155
movers that sound, 148–155
moving sound, 145–148
Multichannel ambience, 103
Multichannel sources, 101
Multilayer online games, 163
Multiplayer gaming, 280
Multiple sounds solution, 27–29
number-of-voices problem, 28
panning problem, 28
phasing problems, 28–29
Multiple start points, 74–75
Music, as input, 238–244
Musical structures maintenance, in horizontal transitions, 193–213
chunks, write in, 193–198
decay problem, 209
switch points, marking up existing tracks, 208–209
transitions and transition matrices, 198
Music arrangements, 191
Music crossfade, 176, 188, 190
Music generative, 233
Music layers, 218, 221, 223, 269
Music phasing, 231
Music stingers, 178
Music switch, 184–186
Music systems, 161
branching approach, 198
chunk, 193–197
clunky switching, 184
gameplay-based switching, 186–187
location-based switching, 184–186
smoke and mirrors, 187–188
diegetic music, 170–172
game music, challenges of, 169–170
“interactive” music, as input, 237
gains and losses, 242–244
interactive music system, 237–238, 241–242
performative systems, 238–241
reactive music system, 237
leitmotifs and combinatorial explosion, 224–227
linear music, 172–173
looping music, 172–173
musical structures, maintaining, 193
chunks, write in, 193–197
decay problem, 209–213
switch points, 208–209
transitions and transition matrices, 198–208
music-based games, 244
abstract music “game”, 248–250
piano hero, 247
simon, 245–246
non-time based approaches, using ambiguous music, 175–178
parallel forms/vertical layering, 213
mixing layers, 218–224
simple mute/unmute, 213–218
roles and functions, in games, 163
commentary, music as, 164
concepting, 167
cultural connotations of instrumentation and style, 164
informational device, music as, 164
line between love and hate, 166–167
making right choice, 163
playing action, 165–166
playing mood, 165–166
prototyping, 168
punishment, music as, 164
to reveal character, 165
reward, music as, 164
signifier, music as, 163–164
spotting, 167–168
surprise effect, music for, 165
testing, 168–169
source music, 170–172
stingers, 178–184
style and game genres, 162
adventure/action/shooter, 163
driving, 162
multilayer online games, 163
platformer/arcade, 162
role-playing games, 163
simulation, 162
social /casual/puzzle, 162
sports, 162
strategy (real time and non), 163
timed event music, 173–175
transitional forms/horizontal switching, 184
better switching, crossfades, 188–192
clunky switching, 184–188
UDK’s (legacy) music system, 186–188
“variation” question, 227
generative music, problem with, 234–237
low-level generative processes, 232–234
set phasing to stun, 231–232
vertical recombinations, 228–230
N
Naming conventions, 387–388
Navigation of player, 2–7, 289–294
attracting players, 289–290
orientation, 294
repelling players, 290–292
tracking devices, 292–294
New Event Using Trigger (***)/Touch, 24, 31, 64, 68, 178
New Level from Selected Actors, 395
New Variable/Float/Random Float, 77, 78
No Default Inventory for Player option, 403
Nondiegetic music, 163
Nondisclosure agreement (NDA), 34
Nonplayer character (NPC), 102, 122, 129, 138, 139, 263, 292, 296, 297, 358–360, 406
status feedback, 284–285
Non-point sources, 100–101
Nonspeech vocal elements, 252
Non-time based approaches, using ambiguous music, 175–178
Notching, 315–317
Numbers, in UDK, 17
Nyquist-Shannon sampling theorem, 40
O
Object script, 410
Obstructions, 120–121
and exclusions, 121–122
Occlusion, 109–122
ambient zones, 112–119
Off-axis frequency response, 259
Offset Min/Max, 79
One Shot Weapon, 334–336
“One-track-orchestra”, 242
“Orchestra”, 163, 213, 242–243
Organization tips, 385
audio file finder utilities, 386–387
commercial, 387
free/donation ware, 386–387
batch renaming utilities, 388
bookmarks, usage of, 385
naming conventions, 387–388
Oscillators
pitch for flies, 80–82
volume for wind, 78–79
Output to Screen option, 404
Overlapping sounds, phasing problem of, 28–29
P
Panning, 28, 29, 95, 96, 157, 160, 270, 300
Parallel forms/vertical layering, 213–224
mixing layers, 218–224
simple mute/unmute, 213–218
[Particle Emitter], 177
Particle Systems, 402
Paths, building, 403
[Pawn Attached], 151, 180, 182
Performative systems, 238–242
Phasing, 24, 29, 231–232, 339–340
problems, 26–31
of overlapping sounds, 28–29
“Phasing” Ambient Loops, 24–26
Physics, 139–144
cascading physics, 144–145
Pitch
power of, 43–49
randomization, 51
Pitch shift, 43–49
multiple usage using, 43–46
Pitch up/play down, 46–49
Placeable actors, 399
versus runtime, 405–406
Platformer/arcade, 162
Play-by-play commentary, 266
Player
attracting, 289
feedback to, 281–289
information to, 279
instruction to, 280–281
repelling, 290–292
status feedback, 285–287
Player health, 325–327
[PlayerStart], 403
Playing action, 165–166
Playing mood, 165–166
[Play Music Track], 191
Play Selected Node option, 57
[PlaySound], 31, 61, 63, 64, 68, 76–78, 82, 94, 95, 102, 103, 105, 114, 128, 129, 140, 141, 142, 154, 171, 172, 173, 175, 177, 178, 179, 180, 181, 184, 186, 187, 189, 190, 191, 194, 196, 197, 205, 208, 214, 218, 220, 227, 234, 235, 236, 239, 247, 248, 263, 265, 267, 269, 286, 287, 293, 314, 318, 325, 328, 329, 351, 353, 356
Play SoundCue button, 56
PlayStation 3 (PS3), 33, 34, 35, 38
PlayStation Portable (PSP), 33, 34, 74
Point sources, 96–97
[PostProcessVolume], 325
creating, 403
Predetermined mix elements, 300–301
Prioritization
reverb, 92–94
of sound, 297
and voice instance limiting, 295–297, 299
Procedural music, 228
Pronunciation sheet, 256
Propagation, 89–109
directionality, 103–104
faking filter over distance, 105–107
filtering over distance, 104–105
reveal detail over distance, 107–109
reverb, 89–94
sound sources and spatialization, 94–103
Propagation crossfade, 107–109
Propagation filter, 106–107
Propagation of sound, 89–109
directionality, 103–104
faking filter over distance, 105–107
filtering over distance, 104–105
reveal detail over distance, 107–109
reverb, 89–94
sound sources and spatialization, 94–103
for dialogue systems, 260
music as, 164
pickup sound, 288
Quinn, Andrew, 393
R
Radio chatter, 68–69
Radio crackle, 68–69
Radio Filter Volume, 307
Radius Min value, 100
Raiders of the Lost Ark, 167
types, 14–15
RAM budget
and streaming, 34–36
tracking, 391
[Random], 56, 62–64, 65, 66, 68, 137, 138, 229, 230, 234, 236, 264, 335, 358, 399
[Random Float] variable, 77
Randomization
in time, pitch, and volume, 51–54
using [SoundCue], 54–65
Randomized [SoundCue], 65–66
[Randomized] node, 60
“Randomize Without Replacement” option, 63, 138, 264, 265
Rapid prototyping, for dialogue systems, 260
Reactive music system, 237
“Read only” option, 409
Realistic sound, 273
Reality and characterization, 276–277
“Real” sound for gameplay, 122–127
stealth, 122–125
and distraction, 125–127
Real Time option, 8
“Real Time Parameter Controllers” (RTPCs), 223
Real-time volume changes, 223–224
Recording, 257
ADR lines, and motion capture recordings, 259
performance, 258–259
near and far, 258
proximity effect, 258
voices at distance, 258–259
preparation, 254–257
script format and planning, 255–256
session planning, 256–257
studio prep and setup, 257
wild lines, 257
[Remote Event], 205, 206, 208, 236, 370, 372
Repetition, 288
in mechanical systems, 43
in symbolic sounds, 43
and variation, 252
Retriggered firing, 336–338
with tail, 339–340
Reveal detail over distance, 107–109
Revealing character, music for, 165
prioritization, 92–94
[ReverbVolume], 90, 91, 92, 93, 94, 112, 115, 116, 117, 122, 123, 352, 400, 403
[ReverbVolumeToggleable], 123, 125, 325
Reward, 288–289
music as, 164
Rhythmically aware stingers, 180–184
Role-playing games, 163
Roles of sound in games, 275–276
Room tone, 8
Runtime Actors
versus placeable actors, 405–406
S
choice of, 42
Scaling
Scene manager, 385
Schmidt, Brian, 54
Sci-fi weapon, looping, 347–350
Scorpion, 368–370
custom scripts, UDK for, 409
scripts
contents in, 409–411
editing, 409
files, 409
format and planning, 255–256
Searchlight chunks, 193
Sequences/subsequences, 20, 142, 217, 404
copying and reusing, 404–405
Session planning, 256–257
[SetSoundMode], 309, 310, 311, 312, 314, 331
[Set Variable], 126, 194, 215, 222, 223, 265
Shell shock, 319–320
feature, 331
mode, 331
“ShellShock mix”, 330
Signifier, music as, 163
Simon, 245–246
Simple music switch, 186
Simultaneous soundmodes and modifier mix, 330–332
Smoke and mirrors, 187–188
Snapshot priorities, 331
Snapshot tracking, 331
Snap values, 400
Sniper
focus, 320–322
mode, 321
Social/casual/puzzle games, 162
SoundClasses, 311
and soundmodes, 303–311
SoundClassesandModes package, 304, 310, 314, 324, 390
SoundCue, 47, 56, 59, 62, 64, 65, 67, 336, 338, 398, 411
reuse of, 57–58
SoundCue Editor, 55, 56, 62, 65, 67, 398
[SoundCue]s, 54–66, 67, 68, 71, 73, 74, 77, 78, 80, 81, 82, 83, 85, 86, 94, 95, 100, 102, 103, 105, 106, 109, 114, 115, 128, 129, 131, 132, 133, 134, 135, 136, 137, 138, 139, 141, 144, 145, 146, 147, 150, 152, 154, 158, 159, 171, 172, 175, 179, 180, 181, 182, 189, 190, 191, 196, 197, 214, 219, 221, 225, 228, 229, 230, 232, 233, 234, 248, 250, 254, 261, 262, 264, 265, 267, 270, 280, 283, 284, 285, 286, 289, 292, 293, 294, 295, 296, 303, 304, 306, 307, 314, 316, 323, 324, 334, 335, 336, 338, 339, 341, 342, 346, 347, 349, 354, 357, 358, 360, 361, 364, 366, 367, 369, 370, 371, 372, 373, 374, 375, 397
fast creation of, 398–399
nodes and functions within, 59–60
time, pitch, and volume, randomization in, 54–66
advantages, 57
Sound Library, 12, 17, 31, 53, 64, 65, 68, 103, 147, 150, 283, 387, 393
SoundMode, 309–311, 315–316, 318, 319–320, 324, 330–332, 392
[Sound Node Mature] node, 60
SoundNodeWave, 9, 17–18, 38, 60, 65, 66, 102, 103, 262–263, 328, 364, 398
[SoundnodeWaveParam], 60
SoundobjectWave, 64
Sound Previewer, 38
Sounds
importing, 397–398
bulk importing, 398
Sounds and music, mix of, 295
SoundThemes, 283
Source music, 170–172
Sources, of sound, 94–103
multichannel surround, 101–103
nonpoint, 100–101
playing back sounds from objects, 94–95
stereo, 94
Spatialization, 100
and mono attenuation, 95
of sound, 94–103
Spatial_Tails weapon, 352–353
Spawning, and controlling bots, 407–408
Speaker icon, 8
Split view, 9
Spoken Text field, 262
Sports, 162
dialogue, 265–270
roles, and functions of sound in games, 275–276
reality, mood, information, 275–276
Spreadsheets, 255, 256, 257, 275, 393–394
StartingBot variable, 267
Stat Audio command, 391, 394, 396
[Static Mesh], 21, 95, 116, 140, 148, 171, 172
and distraction, 125–127
Stealth-based games, 122–125
Stereo ambience, 35, 94, 95, 96
Stereo attenuation, 94–95
Stereo Bleed, 307
Stereo sources, 94
aligned, 181–182
harmonically and rhythmically aware, 182–184
rhythmically aware, 180–182
“Stitching”, 267
“Stomps”, 235
Strategy (real time and non), 163
and RAM budgets, 34–36
Studio prep, and setup, 257
Styles and game genres, 162–163
adventure/action/shooter, 163
driving, 162
multilayer online games, 163
platformer/arcade, 162
role-playing games, 163
simulation, 162
social/casual/puzzle, 162
sports, 162
strategy (real time and non), 163
Subjective sound states, 318–332
automation, 328–329
“Fury!!” Mode, 327–328
listen mode, 322–324
player health, 325–327
shell shock, 319–320
simultaneous soundmodes and modifier mix, 330–332
sniper focus, 320–322
Sudden sounds, 278
and shock effect, 278
Surprise effect, music for, 165
[Switch], 171, 172, 182, 195, 196, 205, 206, 234, 236
Symbolic sounds, 278, 284, 288
repetition in, 43
System-based occlusion fudge, 122–125
T
[Take Damage], 81, 82, 171, 179, 181, 182, 239, 246, 250, 406, 408
Terrain Editing mode, 402
Tessellation options, 402
Testing, 168–169
music, 167–169
Text-to-speech (TTS) programs, 260, 261, 262
3D point sources and attenuation curves, 96–99
Thumbnail view, 9
THX-certified surround-sound setup, 298
Time, pitch, and volume, randomization in, 51–66
[AmbientSoundSimpleNonLoop], for randomized sounds, 51–54
using [SoundCue], 54–66
Timed event music, 173–175
[Toggle], 21, 22, 23, 24, 239, 265, 289, 402
[Toggle Hidden], 174
Touched Event, 406
Tracking devices, 292–294
Transitional forms/horizontal switching, 184–190
better switching, crossfades, 188–190
clunky switching, 184–188
Transition cues, 200–201
musical structures, maintaining, 193–213
problem, 184
and transition matrices
cues, 200–201
matrix, 201–208
transition times/switch points, 199–200
Transition times/switch points, 199–200
“Triangle of compromise”, 36
combinatorial explosion, 66–74
DSP, 75–85
editing, importance of, 37–38
file compression, 38–39
multiple start points, 74–75
sample rates, 39–42
sounds, reuse of, 43–54
time, pitch, and volume, randomization in, 54–66
Triangle of pain see “Triangle of compromise”
[Trigger], 5, 21, 22, 23, 24, 64, 68, 73, 74, 94, 102, 105, 125, 147, 153, 156, 171, 172, 174, 175, 178, 180, 184, 186, 190, 214, 221, 234, 278, 292, 307, 402, 405
[Trigger Dynamic], 177, 193, 195, 278, 370, 371
Triggered mixing systems, 302–303
[TriggerVolume], 29–31, 63, 81, 82, 91, 93, 110, 111, 126, 127, 128, 129, 154, 171, 177, 179, 186, 189, 193, 194, 195, 196, 219, 248, 265, 277, 278, 286, 290, 291, 292, 312, 320, 351, 353, 395, 396, 400, 406, 407
Troubleshooting, and optimization, 389
audio optimization, 391–394
crashes, 389
hearing audio, 390–391
streaming, 394–396
version control, 389–390
Twitter, 380
U
UDK
distances in, 16
numbers, in, 17
[UDKMapMusicInfo], 192
UDK tips
basic folder guide, 399
builder brush, 400
building, 403–404
emitters and particle effects, 402
key binding, 408–409
Kismet tips, 404–406
copying and reusing sequences, 404–405
instigators, 406
Named Variables, 407
runtime versus placeable actors, 405–406
sequences/subsequences, 404
spawning and controlling bots, 407–408
Take Damage function, 406
levels, creation of, 399–400
lighting, 401
materials usage, 402
saving, 400–401
scaling and widgets, 400
scripting, 409–411
custom scripts, UDK for, 409
script, contents in, 409–411
scripts, editing, 409
[SoundCue]s, fast creation of, 398–399
sounds, importing, 397
bulk importing, 398
Static Meshes, 401–402
terrain, 402
water, 403
weapons, 403
UDK.com, 397, 398, 399, 400, 411
UDK’s (Legacy) music system, 191–192
UDK’s system for UI menus, 283
Unreal Development Kit (UDK), 1, 2, 38, 91
UnRealScript code, 405
UTPawnSoundGroup, 132, 133, 137, 409, 410
UTUISoundTheme Actor, 283
UTWaterVolume, 286
creating, 403
UTWeapon, 410
V
“Variation” question, 227–237
generative music, problem with, 234–237
low-level generative processes, 232–234
set phasing to stun, 231–232
vertical recombinations, 228–230
Vehicle systems, 365
engine-based, 368–370
with crossfades, 370–374
simple, 365–368
Version control, 389
incremental naming, 389–390
Vertical combinations, 66–68
Vertical mix tension layers, 213–218
Vertical simple, 218
Voice Center Channel Volume, 307, 314
Voice instance limiting and prioritization, 295–297
“Voice of God” sequence, 258
Vorbis Data Size column, 38
W
“Walls” Problem, 26–31
multiple sounds solution, 27–29
[Trigger Volume] Switching Solution, 29–31
Water material, 403
Waves envelope, 75–78
Wavetables, 83–84
Wav files, 37, 50, 54, 75, 209, 210, 211, 242, 260
Weapon status feedback, 341–342
Weapon
Weapon systems, 333–364
adding sound to animations, 362–364
feedback system, 341–342
impacts, 356–358
loading, handling, and selecting sounds, 361
Make_a_Point, 342–344
mechanical weapon, looping, 344–347
NPCs and player characters, impacts on, 358–360
one shot, 334–336
retriggered firing, 336–338
retriggered firing with tail, 339–340
sci-fi weapon, looping, 347–350
sniper rifle, 355–356
sounds, 354–355
spatial tails, 352–353
spatial_layers, 350–352
whizz-bys, 361
Widget, 400
Wild lines, 257
Wind oscillator, 78–79
Words, 165
Wwise, 168, 223, 243, 244, 375, 378, 381
X