We’ll take a closer look at a technique of audio implementation which is changing the way we create and hear soundtracks in games-adaptive music. The advances in audio implementation processes have become a huge focus of the modern video game industry. Consequently, music composers have to take into account the vibe conveyed by the sound effects as well as their dedicated audio space in order to produce memorable musical pieces.īelow, Jonathan Mayer (senior music manager at Sony) explores the building blocks of sound design in games. More often than not, sound effects and dialogues will prevail over the music. One of the most important things that music composers deal with when it comes to creating music for video games is the natural arrangement of the music and sound effects. The audio content will then undergo master mixing and game implementation. In parallel, resources are allocated for composing and recording the music. Presently, audio production in the game industry is a calibrated mix of various expertise based on the layering of two main elements: the music and the sound effects including dialogues.įor bigger titles, the typical way of putting together a soundtrack is to first produce and record the sound effects and dialogues. How did this shift influence the ways of audio production? Now, what makes us agree with this statement but ultimately feel another way when we hear the first notes of the In technical terms, one could say that the video game music of the 8-bit era had few notes and audio channels while having limited tuning and synthesis. But this did not prevent some musical pieces to cement themselves into our most fond memories. The musical atmosphere conveyed by games of the 8-bit era was consequently grounded in its technical limitations. In addition to that, at the time storage capacity was lacking and musical pieces were often repeated over the game to save in cartridge storage space. This means that programmers were creating the music with numbers and code rather than with guitars and drums. The music engines they had to deal with were restricting the notes’ pitch and length while having no intuitive visual interface to input the notes. It may sound a bit strange, but music was a programmer’s job. And yes, the music had to be manually programmed. Programming methods were also a limiting factorĪudio chips weren’t the only things restricting music creation- programming methods also had also a part to play.
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