Independent Project
Expanded work based on the narrative of the game to explore horror sound design. Binaural, immersive soundscape exploring the "Twilight"
All practical works
Download Link
Narin: The Orange Room Chapter 1 Prototype Gameplay
" Narin: The Orange Room is a third-person survival horror game. Play as Narin, a young girl with sixth-sense whose sister mysteriously disappeared. Narin accidentally got involved in the mystical dimension during the twilight time. Find her sister, solve the mystery, and uncover the truth."
Preproduction
The initial step in the audio workflow involves creating an audio document. This document serves as a supplement to the game design document and provides detailed information about the audio design and implementation for the game. It may include separate sections for music, dialogue, and sound design, although they can also be combined into a single document. It's important to note that not every game necessarily has an audio design document, and even when there is a plan in place, game development often deviates from it(Collins, 2008).
In the pre-production section, creating a sound assets list on Google Sheets is important for me to scope sound direction and time management. When working as a team, having a sound list will help us know how many sounds we have and what sounds that sound designer is working on right now.
A sound asset list helps you stay organized by providing a comprehensive inventory of all the sound assets you'll need. It allows you to keep track of different categories of sounds such as footsteps, environmental ambience, dialogues, music tracks, special effects, etc.
"By creating a sound asset list, you can assess the scope of your project and determine the required resources. It enables you to plan your budget accordingly, identifying any additional assets you may need to acquire or create. This helps prevent surprises or delays during the production process.
With a well-prepared asset list, you can streamline your workflow and work more efficiently. By having all the necessary sounds at your disposal, you can focus on designing and implementing them without wasting time searching for missing elements".(Rudlow, no date)
Production
Recording
In terms of recording at home, a basic setup was the best choice to use in this situation. I used the AT2020 condenser microphone, Sony PCM-A10 Recorder, M-audio M-track 2x2 interface, Protools (Mac), and iPhone 13 (camera). I decided to use Protools DAW as my recording program because it is easy to use and very convenient, and I have many plugins in Protools. "Pro Tools sessions have the ability to be connected across different storage drives, enabling users to work on projects using various control surfaces or even from remote locations. This feature has become increasingly advantageous as audio professionals collaborate online and depend on cloud services to complete their work. Users can easily share their sessions with others by utilizing Pro Tools' networking and cloud capabilities, resulting in enhanced efficiency and productivity"(whippedcreamsounds, no date). For the Sony PCM-A10 Recorder, I spared it for stereo recording. This microphone has three stereo techniques and a pop filter to protect against some noise. The sounds that had been recorded from this microphone were really nice.
Based on many horror games such as Quake, F.E.A.R, Resident Evil, etc., for recording ambience. They used drone sound as a base ambience, so in this project, I recorded three drone sounds which I recorded it in different places. First, I started recording the water pump sound. The second and third places were microwave and refrigerator, respectively. All three sounds were mixed by changing the pitch, making the sound wider, and adding reverb.
Using drone ambience in a horror game can effectively create an eerie and unsettling atmosphere that enhances the overall sense of fear and tension. Drones, which are typically low-frequency and continuous sounds, can evoke feelings of unease and anticipation, making them a valuable tool for horror game developers. Drones have a quality that can make players feel uncomfortable or anxious. The constant, low-frequency hum can create a sense of foreboding, signalling that something might be amiss. Drones can gradually build tension as players explore the game environment. Drones' sustained, slow-paced nature can mimic the feeling of something lurking just out of sight, heightening the player's sense of impending danger. Sound is a crucial element for creating a fully immersive gaming experience. Drones can envelop players in a sonic environment that adds depth to the game world and draws players deeper into the horror narrative. Drones can create a sense of mystery by obscuring the source of the sound. Players may not know whether the sound is natural, supernatural, or something more sinister, adding layers of uncertainty to the gameplay. Drones' eerie and unsettling nature can evoke strong emotional reactions from players. Fear, anxiety, and anticipation can be amplified through the use of well-crafted drone sounds.
"Absolutely, you've touched on a fantastic example of how drone sounds and dark ambient music can play a crucial role in setting the atmosphere and evoking emotions in a video game. Akira Yamaoka's work on the Silent Hill series, especially Silent Hill 2, is widely acclaimed for its innovative use of sound to create a sense of unease and tension. The scene you mentioned, where James Sunderland enters a room full of butterfly cages in Silent Hill 2, showcases Yamaoka's mastery of audio design. The choice of a creepy bass loop drone in that context effectively plays with the player's expectations. The eerie drone creates a feeling of impending danger or something ominous about to happen. However, the fact that nothing actually occurs in that moment subverts those expectations, leaving players on edge and uncertain about what to anticipate. This technique is a prime example of psychological horror, where the fear is not just about what's physically present but also about the player's own thoughts and imagination. The ambient sound primes the player's emotions, making them feel vulnerable even when there might not be an immediate threat. Yamaoka's ability to create tension and dread through soundscapes like these has impacted how horror games use audio to shape the player's experience. It's a testament to the power of sound and music in gaming, as they can influence emotions and immersion just as much as visual elements can." (Besztocha, 2022)
Creating a sense of dark tension using a piano involves using musical elements that evoke feelings of suspense, unease, and darkness. A slow pace gives each note more weight and creates a sense of lingering anticipation. Use dissonant chords, such as minor 2nds, augmented 4ths, and diminished chords. These chords create a sense of instability and unease. Experiment with different combinations to find what feels most unsettling. Focus on the lower registers of the piano. Lower notes have a darker, more ominous quality that adds depth to the tension. Employ a sparse rhythm with irregular pauses. This creates a sense of unpredictability and keeps the listener on edge. Vary the dynamics by playing some passages softly and others with more intensity. Gradual crescendos and decrescendos can enhance the tension. Engage the sustain pedal to let the notes ring and blend together. This adds a haunting quality and enhances the sense of space. Engage the sustain pedal to let the notes ring and blend together. This adds a haunting quality and enhances the sense of space. Use echo and reverb effects to create a sense of distance and vastness. This adds an eerie and unsettling atmosphere.
"Utilizing low-frequency sound effects can be a powerful technique for introducing tension and suspense into your videos. These sound effects are recognized by their deep and resonating tones, frequently found in horror movies and other thrilling media. By incorporating low-frequency sound effects, you can cultivate an atmosphere of unease and unpredictability for your audience. Employing this approach can evoke feelings of dread as well. For instance, in a horror film, employing these sound effects can evoke fear and apprehension in the audience. Achieving this might involve using sounds like an eerie, low-pitched hum or a deep, rumbling growl. These auditory elements are capable of inducing a sense of discomfort and hesitation, effectively heightening the build-up of tension and suspense within your video. Furthermore, low-frequency sound effects can also be harnessed to foster an aura of enigma. Integrating low-frequency sound effects can cultivate an air of uncertainty when crafting a suspense-filled sequence that leaves the viewer pondering the forthcoming events. This can be accomplished by incorporating sounds such as eerie echoes or a subdued, resonant drone. These auditory components serve to foster a feeling of intrigue, effectively keeping the audience in suspense and conjecturing about the unfolding events." (Cinematic Sound Effects, 2022)
I used the Neumann KM 184 Cardioid Pencil Condenser Microphone in this piano session. After experimenting with my supervisor, the Neumann KM 184's compact size and natural sound might be a good fit for recording acoustic instruments in a controlled environment. "The Neumann KM 184 is a versatile microphone suitable for both studio and stage use. Its exceptional clarity and transparency make it an excellent choice for capturing the nuances of a wide range of acoustic instruments, including pianos, percussion, drums, acoustic guitars, upright basses, violins, cellos, woodwinds, and brass instruments. Whether you're recording solo performers or larger ensembles, the KM 184 delivers outstanding results. One of the standout features of the KM 184 is its superior off-axis performance. This means that even when sound is coming from various directions, the microphone maintains its exceptional sound quality and accuracy. As a result, the KM 184 is an ideal choice for stereo and surround sound recording applications, ensuring perfect imaging and spatial representation in your recordings."(Neumann, no date). The two KM 184 were placed in the AB stereo technique, in which one pointed at the low-frequency key and the other pointed at the high-frequency key. I also used SM58, which was placed under the piano to emphasize the percussive and resonant qualities of the piano.
Piano Session Library
Implementation
Assign Footstep sounds in Wwise
"Before you can utilize a Switch in Wwise, it must be part of a Switch Group. Grouping Switches into these Switch Groups allows for the effective organization of alternative sounds, music, and motion elements accessible within the game. For instance, if you want to control the varied footstep sounds of your in-game character, you can establish a Switch Group named "Ground Textures." Within this group, you would then generate a Switch for each distinct ground surface encountered in your game. These Switches would be created based on your knowledge of the various surfaces in the game, such as gravel, grass, and concrete."(AudioKinetic, no date) The pictures above were the steps of how I assign footsteps in Wwise and create a switch container. In Wwise, a "Switch Group" is a type of container that you can use to manage different variations of a sound or music segment. Switch Groups are particularly useful for implementing dynamic audio in your game or interactive project, allowing you to switch between different audio assets (such as footsteps on different surfaces, variations of a musical theme, or character voice lines) based on specific game conditions. Here is a step to create a switch group for footsteps:
1. In the Project Explorer, right-click on the "Actor-Mixer Hierarchy" or "Interactive Music Hierarchy" (depending on your project type) and select "New Child > Switch Container."
2. Give your new Switch Container a meaningful name by right-clicking on it and selecting "Rename."
3. Inside the Switch Container, right-click and select "New Child > Switch." You can create multiple switches within the same Switch Container. Rename each switch to describe the different states or variations you want to control.
4. For each switch, you can assign different values. These values represent the variations or options you want to control. Right-click on a switch, select "New Value," and give it a name (e.g., "Day," "Night," "Indoors," "Outdoors").
5. Go to the "Audio" tab in the Project Explorer. Select the sound objects (e.g., audio events, sound SFX, music segments) that you want to control using the Switch Group. In the Property Editor, locate the "Switch" section and select the Switch Container and Switch you want to use for that sound object.
6. In your game code or within Wwise integration in your game engine (such as Unity or Unreal Engine), you can set the active switch values based on the game's conditions and events.
Switch Groups in Wwise can create dynamic and interactive audio experiences in your game or project by seamlessly transitioning between different audio assets based on in-game events or conditions.
Assign Footstep sound event to character animation in Unity
At this stage, I had to work with the programmer in a team if you do not have knowledge about C# or C++ skills. I gave him a video tutorial for assigning footstep events in character animation. In the video above, I marked the point when the character's foot touched the ground and then added the sound event to a marker.
Create sound trigger events
Sound triggering in game development refers to the process of initiating and playing audio events or sounds in response to specific in-game events, conditions, or actions. It's essential to creating immersive and interactive audio experiences for games. Associate the audio events you created in the audio middleware with the appropriate triggering events in your game engine. This can often be done through the game engine's scripting system or visual scripting tools. Identify the specific in-game events, actions, or conditions that should trigger audio playback. These events can include player actions, environmental changes, character interactions, and more. Sound triggers are instrumental in managing dynamic audio elements. For example, as a player moves from an indoor area to an outdoor environment, the sound trigger area can seamlessly transition between audio assets and adjust audio parameters like reverb, volume, and filtering to match the new environment. Sound can convey important information to players. It can signal danger, hint at hidden items or secrets, or provide guidance on where to go next in the game world. Sound triggers help set the atmosphere of a game. Ambient sounds like wind rustling through trees, birds chirping, or distant footsteps contribute to the overall mood and environment. Sound triggers can improve gameplay clarity by providing auditory cues that complement visual information. For instance, the sound of an enemy's footsteps can alert players to an approaching threat. Sound trigger areas can be used to implement spatial audio techniques. They allow developers to control how sounds propagate through space, creating a sense of directionality and distance for audio sources. This enhances the player's ability to locate and identify sounds within the game world. Utilize spatial audio techniques to make sounds appear to come from specific locations in the game world. This enhances realism and immersion by allowing players to locate audio sources based on their positions. Here is some step of creating the sound trigger:
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" Begin by generating a geometric form, like a cube, to function as the triggering region within your scene.
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If the shape has a mesh renderer attached, you can safely remove it, as it won't be necessary for this particular purpose.
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Within the Collider component settings, ensure that the "Is Trigger" option is enabled.
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If the Player object doesn't possess a Rigidbody component already, you'll need to add one for this mechanism to function correctly.
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Lastly, designate the "Player Tag" on the Player object."(French, 2022)
Change 2D to 3D sound
In the last part of the video above, I changed some 2D sounds to 3D sounds. One of the most effective ways to change 2D sound into immersive 3D sound is by leveraging spatial audio technology and techniques. Spatial audio allows you to simulate sound sources in three dimensions, creating a realistic and dynamic audio environment. Assign 3D positions and orientations to audio sources. Ensure that each sound object in your game has spatial attributes to specify its location in the virtual world. Define listener objects representing the player's or camera's position and orientation within the game world. These listener objects are essential for calculating how sounds should be perceived relative to the listener's position. Implement distance attenuation for audio sources. Sounds should become quieter as the listener moves farther away from the source, mimicking real-world audio behaviour. Set up real-time parameter controls (RTPCs) to adjust audio parameters dynamically during gameplay. RTPCs enable you to modify volume, pitch, and other sound characteristics in response to in-game events and conditions. Ensure that audio sources in your game engine are correctly linked to corresponding sound objects in your spatial audio middleware. This linkage ensures that sounds are positioned accurately in the 3D world.
Feardemic Fearfest 2023
The game company that I collaborated with had an opportunity to create the gameplay trailer for showing in the FearFest event. The event began on 6th September 2023. The organiser is interested in Narin: The Orange Room game. The Fearfest event would show many horror game trailers, so our game was the one that showed in this event.
I used Reaper DAW to craft sounds for this gameplay trailer in this session. The components of this game trailer were Music, Ambience, and Sound effects. For music, I was not the one who composed it. I gave him references like the Little Nightmare theme song and our first game trailer. I analysed the Little Nightmare theme song, and I got the theme song features a dark, haunting melody that immediately captures the player's attention. Using minor key harmonies and dissonant chords creates a sense of unease and tension, setting the tone for the game's eerie and mysterious world. The music in "Little Nightmares" often employs a minimalistic arrangement, using a limited number of instruments and sounds. This minimalism adds to the feeling of isolation and vulnerability that the player experiences throughout the game. In addition to the melody, the theme song incorporates ambient soundscapes that further immerse the player in the game's eerie atmosphere. These soundscapes include distant whispers, creaking sounds, and other unsettling noises, enhancing the sense of foreboding. The theme song's mood and atmosphere reflect the narrative of the game, which follows a small, vulnerable character named Six as she navigates a disturbing and nightmarish world. The music mirrors Six's feelings of fear and vulnerability as she encounters various terrifying enemies and obstacles. The theme song is designed to evoke a range of emotions in the player, including fear, tension, and curiosity. It does this by using a combination of musical techniques such as dynamic shifts, sudden crescendos, and unexpected pauses. The theme song for "Little Nightmares" has become iconic and is often associated with the game itself. Its distinctive sound and mood have contributed to the game's lasting impact and popularity among players. So, I gave my friend, who is a composer, the instruments to use in this trailer and the previous Narin theme song for him as a guide. In this trailer, my duty was to craft all the sound effects to be assigned in the trailer. First, I started with all the ambience. I separated the ambience into four sections: the real world, the twilight, the focus scene, and the horror scene. Then, I created the sound effects by following the video. After that, I mixed it and bounced it into stereo.
Mastering
I used Izotope Ozone 9 to EQ, Maximiser, and Limiter in the mastering session. I used this plugin because iZotope Ozone 9 provides a complete suite of mastering tools, including EQ, dynamic processing, harmonic saturation, stereo imaging, and more. This comprehensive set of modules allows you to address various aspects of your audio mix during the mastering stage. Ozone 9 offers highly configurable Equalizer (EQ) and dynamic processors like the Maximizer and Dynamics modules. These tools allow you to sculpt the frequency balance, control dynamics, and ensure your master reaches optimal loudness levels without sacrificing quality. This feature allows you to adjust the levels of individual elements within a mix, making it easier to fine-tune your master without needing access to the original tracks. Ozone 9 enables you to import reference tracks, making it easier to compare your master to commercial tracks and ensure your final product matches industry standards. Ozone 9 has an intuitive and user-friendly interface that makes it accessible to both beginners and experienced audio engineers. Its visual feedback and metering tools help you make informed decisions during mastering.
" The initial step in the mastering process involves addressing unwanted frequencies, which may require the use of a high-pass filter set at an extremely low frequency below the range of human hearing. In iZotope Ozone, there's a convenient feature where you can hold down the ALT key and move your mouse across the spectrum while the music is playing. This action isolates the bandwidth corresponding to the frequency you hover over. This feature can be a valuable tool for identifying problematic frequencies that you need to reduce. If you're using a different mastering tool and want to replicate this technique, you can do so by configuring a narrow Q-value for your EQ band and sweeping it across the frequency spectrum until you hear any unpleasant or unwanted frequencies that you want to cut. It's important to remember that when making cuts, it's generally advisable to use a narrow bandwidth, while if you need to boost certain frequencies, it's better to apply a wider bandwidth to avoid introducing unnatural or exaggerated tonal changes to your audio. The next critical step in mastering involves iZotope Ozone's Maximizer module, which essentially functions as an advanced limiter plugin. Instead of increasing the gain knob, you reduce the threshold meter to control the limiting effect. To maintain the dynamic range of your mix, it's advisable not to exceed a reduction of 1 or 2 dB for the loudest portions of your song. However, if you aim to achieve maximum loudness, you can be more aggressive with the Maximizer settings. It's worth noting that it's generally recommended not to set the Ceiling parameter above -0.1 dB to prevent any potential clipping issues. While such issues are rare in Ozone, keeping the Ceiling slightly below 0 dB provides a safety margin in case any unexpected peaks occur during mastering. I've never encountered such problems in my years of using Ozone, but maintaining audio integrity's a good practice." (West, 2022)
Link to Feardemic Fearfest 2023:
Screenshots from Feardemic Fearfest 2023 [IGN]
Gameplay Sound Library
Binaural Soundscape of Twilight World
Binaural audio is a technology that replicates the story of the Twilight world to a three-dimensional sound. Together, we will explore the meticulous craft of crafting an immersive audio experience that transports listeners and submerges them in the story of the twilight world. As we unveil the secrets of this creative endeavour, you will gain insights into the art of selecting the right locations, capturing the subtle nuances of the environment, and bringing them to life with the precision of binaural recording techniques. This journey will be the story of someone who entered the twilight world before the game Narin: The Orange Room. The story is set inside a normal elementary school. However, the word "normal" changed after the incident inside the school, where students were slightly missing inside the school at the twilight time. The twilight world is the world where all strange flowers grow, the distant call of a night creature, and hiding is not the best choice to survive in this world. Through the magic of post-production, you will discover how to shape and mold these raw audio elements, placing them in space to evoke the immersive sensation of being present in the very heart of Twilight. Each decision, from meticulous editing to the addition of ambience and effects, will contribute to the final masterpiece, taking the listener on an unforgettable journey through sound. The "Creating a Binaural Soundscape of the Twilight World" journey is not just a technical exploration; it's an art form that invites you to blend creativity and technology to weave a symphony that transcends the confines of ordinary perception. Prepare to embark on this captivating voyage, where the boundaries of the ordinary blur with the extraordinary and where the art of sound meets the magic of twilight.
Recording
I booked the Neumann KU 100 Dummy Head 4528, Line Audio Omni1 Condenser Microphone, and Zoom H6 for recording my soundscape. The dummy head is placed in the spacious room to record the sound effects, such as the creature dragging the body bag, footsteps, and many sound effects that are used for the soundscape. Binaural recording with a dummy head creates a three-dimensional audio experience. When listeners wear headphones, they hear the sound as if they were physically present in the recording environment. Dummy head microphones are designed to replicate the way humans hear sound. By placing microphones inside the ears of the dummy head, you can capture audio with the same spatial cues and directionality that human ears provide. This results in highly realistic sound localization, allowing listeners to perceive sound sources' direction and distance accurately. Dummy head microphones offer precise control over the placement of sound sources within the stereo field. This allows you to create a spatially accurate representation of the environment or narrative you are recording. It's particularly effective for conveying the position and movement of objects or characters in a scene. Dummy head microphones allow creators to explore creative possibilities in sound design, storytelling, and immersive experiences. Using a dummy head microphone is advantageous when you want to create a highly immersive, realistic, and spatially accurate audio experience. It is especially valuable for projects where sound localization, 3D audio, and feeling present in a particular environment or narrative are essential." The KU 100 is a binaural microphone with a mannequin head design designed to provide an exceptionally immersive listening experience when using headphones. Despite its use of just two audio channels, its ability to convey spatial depth is astonishingly lifelike and three-dimensional. The KU 100 microphone proves to be an invaluable tool in the realms of music production and audio drama. Additionally, the recordings made with the KU 100 can be played back effectively through loudspeakers, making it versatile for various audio applications. Traditional recording techniques aim to replicate an acoustic event within the listener's space. However, this approach often falls short, as it essentially places the original room inside another room, resulting in less-than-satisfactory outcomes. In contrast, dummy head recordings offer a far more direct and immediate experience, effectively transporting the listener to the environment where the acoustic event originated. What's more, head-related stereo recordings provide a genuinely immersive experience: While standard stereo recordings are confined to the left and right audio channels, with, at best, a semblance of depth between the speakers, head-related recordings create a three-dimensional auditory landscape that envelops the listener."(Neumann, no date)
For the Line Omni 1 condenser microphone, I used it as a spare microphone when the dummy head got any unclear sounds. The line omni one is also used for recording specific sounds like door locked, shacking locker, etc. Condenser microphones are known for their high sensitivity and ability to capture subtle details in audio recordings. Condenser microphones typically have a wide frequency response, allowing them to accurately capture both low and high-frequency sounds. Generally, they have low self-noise levels, which means they produce minimal internal noise, resulting in cleaner recordings, especially in quiet or delicate audio situations." This omnidirectional microphone boasts a natural, detailed, and balanced response that makes it ideal for faithfully reproducing acoustical instruments. Whether it's capturing the rich tones of bowed and plucked string instruments, the grandeur of a piano, the brilliance of brass, the subtleties of drum overheads, the intricate rhythms of percussion, the harmonious choir, or the human voice, this microphone excels with minimal colouration. Its response is remarkably smooth and flat and exhibits exceptional off-axis performance. Designed for both professional studio work and live sound reinforcement, this microphone offers high-quality audio capture at a price point accessible to hobbyists and enthusiasts. Its compact size, roughly equivalent to a standard XLR plug, ensures easy placement without obstructing the performance area. In addition, its discreet black colour makes it nearly invisible when used on stage. For added convenience, the microphone comes with a foam windscreen and microphone clip/holder compatible with 3/8" and 5/8" microphone stands."(Line Audio, nodate)
Mixing
First, I started by creating a story where someone survived in the Twilight world. Then, I assigned a Twilight ambience and the main character's footsteps. The plugins that I used were aXpanner and a7monitor. The aXpanner is the plugin that is used to pan the sound around the head. "
The aXPanner is a specialized Ambisonic encoder designed to provide precise control over the positioning of sound sources in a three-dimensional audio space. With this plugin, you can adjust both the azimuth (horizontal direction), elevation (vertical direction), and the width between the stereo input channels, allowing for versatile sound placement and immersive audio experiences. It offers flexibility with two interfaces, including equirectangular and top-down views, to help you spatially position your audio elements and craft your immersive sonic environment.
The aXPanner plugin is available in three different variations:
1. First-order: This version offers basic control over the sound source's positioning in a 3D space, making it suitable for simpler immersive audio projects.
2. Third-order: The third-order variation provides more detailed control and precision in spatial placement, making it ideal for more complex immersive audio projects requiring higher spatial accuracy.
3. Seventh-order: The seventh-order version is the most advanced, offering the highest level of control and detail for immersive audio experiences. It is suitable for demanding projects where precise spatial positioning is crucial."(SSA Plugins, no date)
These variations cater to different levels of complexity and detail, ensuring that the aXPanner can meet the needs of various audio production scenarios, from basic spatial effects to highly sophisticated immersive audio projects.
The aXpanner worked with the aXmonitor plugin. The aXmonitor allowed you to listen to sound in binaural. " Ambisonics is a spatial audio technology that, to be experienced by listeners, typically requires a decoder to convert the encoded signals into loudspeaker or headphone playback, preserving the spatial information. The aXMonitor is a valuable tool that facilitates this process by offering two key functions:
1. Binaural 3D Audio for Headphones (HRTF Technology): With aXMonitor, you can listen to your Ambisonic signals using headphones. It employs Head-Related Transfer Function (HRTF) technology, which mimics the way sound interacts with the human head and ears. This creates a convincing three-dimensional audio experience, allowing you to accurately monitor and enjoy your Ambisonic audio content as if it were coming from various directions in space.
2. Decoding First-Order Signals to Stereo Loudspeakers: In addition to headphone monitoring, aXMonitor also enables decoding first-order Ambisonic signals for playback through stereo loudspeakers. This function allows you to distribute your immersive audio content in a more traditional audio format, making it accessible to listeners who may not have specialized headphones or equipment for Ambisonic playback."(SSA Plugins, no date)
By providing these capabilities, aXMonitor enhances the versatility of Ambisonic audio content, enabling creators to monitor and share their immersive audio projects effectively, whether the audience prefers headphone-based binaural experiences or stereo loudspeaker playback. It bridges the gap between the spatial richness of Ambisonics and conventional audio playback systems.
I used automation a lot to set up volume and effect automation. Automation in audio production refers to the process of automatically controlling various parameters of a digital audio workstation (DAW), mixing console, or audio hardware over time. Automation allows you to create dynamic changes in volume, panning, effects, and other settings throughout a recording or mix, adding depth, movement, and precision to your audio projects. Adjusting the volume levels of tracks or individual audio clips over time. This can involve gradual fades, volume boosts, or subtle adjustments to maintain a consistent balance. Automation in audio production significantly enhances creative control and precision, allowing you to bring your musical or audio ideas to life with intricate and dynamic changes over time. It is an essential tool for achieving professional-quality audio recordings and mixes. " One of the most common and widely used applications of automation in the mixing process is volume adjustment. This technique lets you dynamically control a particular track's level throughout a song. For instance, it allows you to emphasize an instrument momentarily and then smoothly decrease its volume when the lead vocal or another element takes prominence in the mix. In the example below, you can observe the automated movement of the fader on the left, which responds automatically to the specified automation curves on the track shown on the right."(Bawiec, 2021)
Soundscape library
References
‘5 Techniques to Write Scary Piano Music’ (no date) Piano With Jonny. Available at: https://pianowithjonny.com/piano-lessons/5-techniques-to-write-scary-piano-music/.
Ambisonics to Binaural Tutorial (Reaper) (2018). Available at: https://www.youtube.com/watch?v=MWzhIlYR-sk.
‘aXMonitor - Ambisonic Monitor - Ambisonic to Stereo & Binaural Decoder • SSA Plugins’ (no date) SSA Plugins. Available at: https://www.ssa-plugins.com/product/axmonitor/.
‘aXPanner - Ambisonic Encoder • SSA Plugins’ (no date) SSA Plugins. Available at: https://www.ssa-plugins.com/product/axpanner/.
Drones and ambient music in horror games | Gamemusic (2022). Available at: https://gamemusic.net/drones-and-ambient-music-in-horror-games/.
French, J. (2019) How to play audio in Unity (with examples), Game Dev Beginner. Available at: https://gamedevbeginner.com/how-to-play-audio-in-unity-with-examples/.
How to use sound effects to create tension and suspense (2022) Cinematic Sound Effects. Available at: https://www.cinematic-sfx.com/blogs/learn-sound-design/how-to-use-sound-effects-to-create-tension-and-suspense.
Implementing Footsteps with Wwise in Unity (no date) Alessandro Famà. Available at: https://alessandrofama.com/tutorials/wwise/unity/footsteps.
KM 184 (Series 180) - Miniature Microphone (no date). Available at: https://www.neumann.com/en-en/products/microphones/km-184-series-180/.
KU 100 - Dummy Head (no date). Available at: https://www.neumann.com/en-en/products/microphones/ku-100/.
Line Audio Design - Made in Sweden (no date). Available at: http://www.lineaudio.se/OM1.html.
‘Mastering with Ozone 9 | 5 Basic Steps to Produce a Lush Sound’ (2022), 10 March. Available at: https://calvinwest.com/blog/mastering-with-ozone-produce-a-full-sound/.
What Is Mix Automation? Everything You’ve Been Too Afraid to Ask (no date). Available at: https://www.izotope.com/en/learn/what-is-mix-automation.html.
Working with Switches (no date). Available at: https://www.audiokinetic.com/en/library/edge/?source=Help&id=working_with_switches_working_with_switches.
Wwise - Unity Integration: Footsteps Tutorial Part 1/4 (2020). Available at: https://www.youtube.com/watch?v=OrBVsgmhyfo.
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Ludlow, R - Audio Asset Management (no date). Available at: https://ubm-twvideo01.s3.amazonaws.com/o1/vault/gdc2018/presentations/Ludlow_Richard_Audio%20Asset%20Management.pdf
Collins, K.C. (2008) Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design. Cambridge, UNITED STATES: MIT Press. Available at: http://ebookcentral.proquest.com/lib/mmu/detail.action?docID=3338949.