1 / 14

Mixing It Up The Last Great Challenge For Game Audio

Mixing It Up The Last Great Challenge For Game Audio. Garry Taylor Audio/Video Manager Sony Computer Entertainment Europe. Overview. Introduction What Is Mixing? Getting The Tools Monitoring Case Studies Summary. Introduction. Lots of money spent on recording/acquiring audio assets

KeelyKia
Download Presentation

Mixing It Up The Last Great Challenge For Game Audio

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript


  1. Mixing It UpThe Last Great Challenge For Game Audio Garry Taylor Audio/Video Manager Sony Computer Entertainment Europe

  2. Overview • Introduction • What Is Mixing? • Getting The Tools • Monitoring • Case Studies • Summary

  3. Introduction • Lots of money spent on recording/acquiring audio assets • Implementation of those assets is just as important • In the past, mixing has not been given enough attention

  4. What Is Mixing? The technical answer: • Achieving clarity The artistic answer: • Focusing and manipulating the player

  5. What Is Mixing? • Active Mixing • Triggering changes in the mix through in-game events • Passive Mixing • Routing and the configuration of dynamics processors and how they interact with each other

  6. Getting The Tools • Prioritization of Sound Effects • Effective Sub-Grouping • The ability to save mixer snapshots and recall them via in-game events • Dynamics processors

  7. Routing Example

  8. Monitoring • Ideally, you should mix your game in a critical listening environment • If you don’t have a suitable room, hire one! • Consumer surround systems are very variable.

  9. Case Studies

  10. Case Study • 12 Vehicles • 12 Surfaces • Mix states for each type of event (i.e. Heavy Collision) • Configurable transition times between states

  11. Case Study • Maximum of 192 Voices • Maximum of 31 Subgroups • 3 main mix groups: Music/Dialogue/SFX • Mixer zones specified within Maya correspond to mixer snapshots • Cutscenes have their own mixer snapshots

  12. Summary • A good mix is extremely important • Mixing = clarity and focus • Invest in the right tools • Monitor in an accurate environment

More Related