1. An Introduction To AudioDesign v12.7.20 © Allan C. Milne Abertay University

2. Agenda Intention Design rules Form and function Quality, expression & coherence

3. Introduction Here we will present some ideas that could form a framework for reflecting on your audio design. The primary intention here is to encourage you to listen critically to the audio soundscape. No specific design rules will be presented here.

4. Audio Design Audio design includes the result of reasoning about the physical environment & human perception of sound. –broadly objective topics Audio design must also take into account human reactions to sound effects & musical cues. –subjective topics

5. Some Considerations Believability. Audience expectations. Cultural influences. Technological constraints. Context & genre. Required audience reaction.

6. Intention An audio component must have an intention in terms of the expected audience reaction. This intention may be categorised as –effects, –ambience, –cues and / or –information.

7. Sound Effects … … reflect current game actions that have a sound component. … should be realistic in terms of –sonic characteristics, –relative positioning, and –distance attenuation. … are normally of short duration.

8. Sound Cues … … indicate game play action or interaction. … need not reflect a realistic sound source within the game. … should be compatible with the game audio environment in terms of volume and style. … should reflect the “meaning” of the action or interaction. … will normally be of short duration.

9. Sound As Ambience. Sets the style; e.g. serious, comic, realistic, cartoon, etc. Reinforces, reflects or initiates the current game action and mood. Increases the engagement of the player but is not necessary for game play. Must avoid repetition. Can be a soundtrack, dynamically generated or a mixture of both.

10. Sound As Information. May indicate game situations requiring a user reaction; e.g. –actions not visible, –input required, or –impending action. May feedback current game status parameters to avoid video clutter. May use realistic game component to present the information; e.g. breathing volume & rate to indicate strength level.

11. Design Rules There are no hard and fast rules for designing an audio environment; –following rules does not necessarily lead to an effective soundscape, –a good audio environment may break rules. If it sounds right then it is right. Ignorance of rules Is not the same as breaking them!

12. Listen Don’t Talk Rules and knowledge should be critically appraised within the context of the intention of the audio and the actual soundscape. Appraisal of an audio component must be in terms of –the actual sound output, –its relationship with the overall soundscape, and –its effectiveness in terms of its intention.

13. Form And Function A common approach to design. In the audio context –form is the collection of sounds making up an audio component, and –function is how the audio component realises its intention. Applies to a specific audio component and to the entire soundscape.

14. Quality, Expression and Coherence Audio components should be appraised in terms of –Quality: musical, recorded and sonic. –Expression: of intention. –Coherence: with intention and with overall soundscape; both in terms of quality and expression.

15. So What? Good games must synthesise video and audio to provide –engagement and enjoyment, –an immersive environment, –realistic game play, and –user feedback and interaction. Switch the sound off. –Is the game still playable? –Is the game still as enjoyable?

16. And So You Should … … design audio components reflecting their intention; … open your ears, don't loosen your tongue; and … listen in terms of form and function in the context of quality, expression & coherence.

17. Some Reading Creating Audio That Matters by Caleb Bridge GamaSutra, July 2012.Creating Audio That Matters by Caleb Bridge GamaSutra, July 2012. –Some commentary on the design of audio in three recent games.Some commentary on the design of audio in three recent games. Playing By Ear by Gavin Andresen. Gamasutra, May 2002.Playing By Ear by Gavin Andresen. –A description of some audio design decisions made for a Quake-like game for the visually impaired. The Story Of Art (16 th Ed) by E.H.Gombrich; introduction chapter. Shelved at 709G. –Some insights into critical reflection and appraisal of subjective material.