- Cover
- Half Title
- Title Page
- Copyright Page
- Dedication
- Table of Contents
- Foreword
- Preface
- Acknowledgements
- INTRODUCTION
- PART I: Sound Design
- 2. The Basics of Nonlinear Sound Design
- 3. Designing Sound
- Dynamic Audio
- Sound Effects
- The Function of Sound in Games
- Designing the Sonic Palette
- Choosing the Right Source for Your Sonic Palette
- Sourcing Audio from Libraries
- Sourcing Sounds through Synthesis
- Sourcing Audio through Studio and Field Recording
- Field Recording
- Microphone Choice and Placement
- Performing Sound with Props
- Location Scouting and Preparation
- Designing Sound Effects
- Sound Design Techniques
- Effects Processing as a Sound Design Tool
- Putting It All Together
- Summary
- 4. Voice Production
- PART II: Music
- 5. The Basics of Nonlinear Music
- 6. Composing Music
- 7. Arranging and Orchestration for Games
- Genre and Style Considerations
- Foundations of Musical Texture in Games
- Arranging and Orchestrating Using Samples
- Templates
- Template Planning
- The Orchestral Instruments
- Writing for String Samples
- Writing for Woodwind and Brass Samples
- Writing for Choir Samples
- Writing for Percussion Samples
- Writing for Full Sampled Orchestra
- Advanced Orchestration and Arranging for Live Ensembles
- Working with Synthetic Timbres
- Other Styles of Arranging in Game Music
- PART III: Implementation
- 8. Audio Implementation
- 9. Music Implementation
- Approaching Implementation
- Arranging and Orchestration as Implementation
- Advanced Vertical Techniques
- Advanced Horizontal Techniques
- Adding Randomness and Variation
- Composing Complex Adaptive Systems Using Middleware
- Aesthetic Creativity and Composing Outside the Box
- Tools for Experimentation
- Pure Data
- Simplicity vs. Complexity in Game Music
- PART IV: Business and Networking
- Index
The Game Audio Strategy Guide
A Practical Course
Gina Zdanowicz and Spencer Bambrick
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