There's really no such thing as MIDI Synthesis.
Synthesis is the process by which sounds are 'synthesised' using various modulation and generation techniques.
MIDI is the "Musical Instrument Digital Interface" and is a protocol by which electronic music instruments can pass control and note information.
MIDI is only interested in sending and receiving ...
It's a growing field of research and there's clearly much interest into procedural audio, because of its interactive/dynamic and synthesized nature. P.A. is mainly proposed to be a great solution for anything that's repetitive and for creating common "boilerplate" sounds such as footsteps and ambient noises that consume time, which the busy audio designer ...
Hi, AudioGaming developer here (which by the way is French, so please forgive my poor english skills) !
PA has been an ignored tool for a very long time, and because of that we sometimes have to struggle a bit against long-established habits, creation pipelines and existing content. But it really just is one more tool, not really designed to replace ...
Re-watch A Bug's Life for tons of ideas. If you can get the DVD, there's a whole track where it's SFX only: No dialogue, no music. Full of neat ideas there. Seem to remember that Ben Burtt used handcuff ratchets for the feet of the roach in Wall-E. Just some ideas of existing SFX to get you unblocked.
Close-up, dainty, tight foley or SFX seem like they'd ...
You can get FMOD or Wwise for free and use their free tutorial's on YouTube, here's the ones I've watched for FMOD which are great. Another great resource would be to get The Game Audio Tutorial Book which covers UDK which is also a free software. Another good book would be The Complete Guide To Game Audio by Aaron Marks, I would recommend getting it once ...
What kind of game is it? The player perspective will definitely influence how you approach the skeleton audio. I assume as it is for mobile it will either be isometric, top-down or side scrolling?
Secondly, is it real-time or turn based (like the might and magic games, for example?) or something else entirely? This needs to be considered, as a ...
What I'm wondering is: how many variations of each should I have?
3-8 variations (or as a rule of thumb, 5 variations) depending on the speed of movement (at faster speeds you tend to pick up repetition more easily). The pitch variation (and volume) that you can enable in game engines or audio middleware tools often does the rest.
do I need to have ...
The "morph" you're describing is known as (both) spectral cross-modulation, and spectral convolution.
From what i've read in your question, I gather you're interested in essentially crossfading the two sounds together, but in the frequency domain not the time domain?
If that's indeed the case then there are a few ways to go about doing this. you can either ...
If the wire is to actually break, I'd go for a guitar string; a thin one, maybe an 8.
Tie it off to something either resonant or not, depending on whether your scenario is indoors or out, then just pull it with one finger til it breaks - wear a glove or it'll hurt your finger ;)
If it isn't to break, just twang, then you save the cost of more guitar ...
are the files already named, and the new ones you'll record will match them?
If so, I'd suggest adding a sorting prefix before importing them into protools. something that if you sort alphabetically they'll all line up into the way you plan to record the new lines.
You may want to break slightly away from the "single track" thing if your workflow will ...
ADPCM is used quite regularly in games, although it's usually applied in-engine not on the source file.
That said its a little unusual for this form of compression to be used on all sound files.
I'd check with the programmer on what engine/toolset you're using and do a little digging yourself.
Never heard of ADSPCM, but have heard of ADPCM. If that's the one you're referring to, it's a compressed (4bit) version of PCM. It's usually used for voice in phone systems because of the low frequency range.
Good explanation here:
You could maybe try dropping small pasta shells or tapping your nails on a hard surface. If it's a cutesy kids thing I imagine something like a xylophone run would help soften the mood as the spider runs past as well.
I might try a small (very) garden trow or small hand shovel in grass, time compressed and pitched up. Bugs usually get a "skittery" sound no matter what kind of feet they have. The time compressions will shorten it and make it a tiny tap. Good luck!
The Jedi lightsabres are tuned in A and the Sith ones are tuned in G. The 2 semitone pitch difference is present to make the duels seem more sinister and tense. It works too, if you pitched them both the same there would be a noticable difference in dramatic effect.
I'm now considering what is the
'normal' volume of my game? Currently
I go listen to a music at my
comfortable level (Volume settings of
computer is at 25% and volume setting
of foobar2000 I used to listen is at
100%) and try to make overall volume
of my game at this level. Is I am
doing right if I used this kind of
reference for my game? ...
Yes, it will clip. The waves are summed together, so at the points where both waves are in phase, the system is adding the signals together and it goes over the maximum. Try putting the two sounds on two tracks in your DAW and playing them - it will also clip. Exactly the same thing happens in your game.
I find it simplifies the concept to think in ...
For games you can consider joining a game development team/company instead of enrolling in the university. Choose small ones so you can be directly involving and talking with senior sound designers there.
Apart from regular tools (DAW, audio
editor etc...), it is a common thing
for a sound designer-composer to
learn/use programming tools (like
Unity or FMOD) to be able to
implement-test audio myself during the
It's not common, because game (and sound) programming requires a certain level of experience in programming to make the ...
I will give you some feedback!
I like long and constructive feedback so I will give that to you.
One of the things I really liked was that bottle smash, really good job on that sound effect. I also like the underlying music tones at the beginning and the end of the trailer.
Things I didn't care for is how everything sounded very close and could easily tell ...
I would start off by learning wwise. Audiokinetic has a lot of tutorials and sample projects available. Beyond that, I would download Unity or UE4 and start following tutorials on implementation. Knowing how game audio works and is implemented will help you begin to sound design for the game and the players experience. Further, when you are playing games, ...
Given that your input file is 44.1 kHz/32 bits/stereo file and your desired output is 22.050 kHz/8 bits/mono file, there are actually three processes that are involved in your request :
down mixing stereo to mono
Notice that given the potentially audibly important changes that these processes can produce, you might have asked the ...
Dalv is right that you would ideally bring the mic closer to the source you want to record, although that isn't technically what signal-to-noise means. Good mic placement is going to have the most advantageous effects for your situation. Also, that mic has a cardioid polar pattern which means that it picks up in a spherical orientation around the front and a ...
Effects are spliced into your recordings. They are supposed to be clearly audible and thus come with considerable gain. If they come with a non-trivial noise floor, this noise floor will be spliced in as well and will define start/end of the effect in a manner separate and distinguishable from the signal itself. The kind of signal you describe is more of ...
You're missing out on a nice opportunity to team up with a sound person here. You can cover twice the ground and stick to doing whatever it is you (and they) do best.
That said, it is possible to get sound effects with just your DR-100. Mind that most of the time a good sound effect has undergone some processing before you find it in a finished product. ...
A while back I watched a program about the reasons behind the development of regional accents here in England. It claimed that part of the reason working class accents in the North and South are so different is due to the industrialisation of the North in comparison to the agricultural land use in the South. Due to the need to communicate over the din of the ...