• Advertisement
  • Popular Tags

  • Popular Now

  • Advertisement
  • Similar Content

    • By Vito Morlino
      Greetings, all!
      I am in the beginnings of my journey to become a gameplay programmer. I'm looking at current job listings and conducting a gap analysis for myself so I can see what I need to work on and develop a plan to improve my skills where they are lacking. I am comfortable working with multiple languages including Java, JavaScript, Python, C#, and a few others involved in game development, and I am most experienced and familiar with C++. Comparing the lists of skills required in gameplay programmer listings to my current skills, what I lack most is experience developing for consoles. Many of the job postings required experience developing for consoles (Xbox One and PS4). I looked around the internet and the only way I could find to get experience was to register with Sony/Microsoft as a developer, but that could only happen if I was already employed (or at least self-employed). Perhaps I was just looking in the wrong places - using the wrong keywords in my searches.
      Is there a way I can get some experience programming for these and future consoles as a student?
      How should I go about furthering my skills developing for consoles once I have access? What should I learn specific to these consoles (that I am not already learning from programming for PC)?
      How different is programming for Xbox/Playstation from programming for PC?
    • By a.gene
      My name is Aaron. I have been a software engineer/ programmer going on 8 years working with languages such as C++,C#, Java, JavaScript. Most of my development experience has been backend development. I always wanted to get envolved in gaming development just never found the time. I am a quick learner and looking for a experience where I could work with a team to learn about game development and also help create cool games.
      I could contribute 15-20 hrs a week mostly in the evenings I am currently located in Washington DC. If you have any projects that you are looking for some help on or think I have skills that could help please don't hesitate to reach out.
    • By Iain Knights
      When seeking a composer for your games, what is it that you will typically look for when hiring someone? What about their music makes you want to employ them? what do you look for in regards to professionality? I'm really curious as i'm seeking to get my foot in the door, but i want to know what i should be doing to impress you and get commissioned! thank you!
    • By Nick Poss
      My name is Nick Poss and I'm a professional Composer/Sound Designer.  I have experience writing in almost every genre of music, well..except zydeco, but if your making a cajun themed game I would be excited to try my hand at it :).  Anyways, here is some of my recent work https://www.nickposssounds.com/work, and here is a link to some more pieces I've written for sound libraries over the years https://artlist.io/?search=nick-poss.
      On the Sound Design side, I have some experience with Unity and I'm really interested in getting more experience creating audio assets outside of music (foley sound, environmental textures, etc.) and implementing them in games.  
      If you have any questions or would like more genre specific examples of my work shoot me a message.
    • By ilia.glushchenko
      Hello everyone!
      Please take my sincerest apologies for a somewhat unrelated topic. However, I found my self recently in a dire need of a dedicated game physics discord server. The reason is I would really love being able to talk or chat with people who have some real experience in the field, such as people that I could find here for example, and unfortunately I really struggled to find one. So I started one myself. If you have any knowledge that you could share, anything at all, or you would like to learn something, or just chat about some related things, we would be happy to welcome you there.
  • Advertisement
  • Advertisement

Recommended Posts

Hi, My name is Alex Mars from sound design studio AK Audio. In this video, I would like to show you an interesting approach I've made for making sounds in the game called Roundrick.

First of all, let me show you a quick clip of the gameplay. Pay attention to the sounds.


Here I split sounds into 3 categories:

  1. sounds of the gameplay,
  2. sounds of the map city builder,
  3. UI sounds.

To implement all sounds and music we use FMOD Studio. This program helped me implement all sounds without bothering the programmers' team.

Let's start with sounds we hear while we are on the map. Besides the music, we decided to create sounds for objects that you can see on the map. This is a forest level, so in order to make the background music more interesting we created a system with bird sound effects. I have recorded 11 samples of singing birds which fit each other. In FMOD Studio these samples play in random order with a random delay, pitch, volume, and panning. This creates a non linear ambiance of the forest from just 11 short samples. 

There are several background objects which live their own life: waterfall, sawmill, elixir farm and so on. When you scroll closer to any of these objects, the sound gets louder and clearer. 

We paid lots of attention to the sounds of resources.  Because resources are a very important part of the game, we decided to create variational sounds.

Sounds of gold, crystals, wood, and elixir sounds that reflect what happens on the screen. For example, for gold, I recorded the sound of dropping different coins. I recorded the sound of a single coin and a bunch of coins. When resources appear on the screen FMOD plays a random sound of a bunch of coins. But when coins are dropped to the player's wallet I created another simple system. I chose 8 coin samples and when the gold drops into the wallet, FMOD plays a random sample of a coin dropped with pitch and volume variation. This way it sounds like a different sample is played every time. As a result, no matter how much gold you have you'll continue to hear very nice and catchy sound of gold.

I used the same system for other resources. For example, for the elixir, I recorded the sound of perfume bottles. After processing I chose 6 different samples and programmed it like the gold. 

The windmill needs to be fixed in order to advance to the next map of the game. So to help the player figure this out we made the sound of the windmill get louder and clearer when you scroll closer to the mill. This sound is synced to the animation. When the gear is bouncing you can hear the sounds of knocking metal and broken mechanisms.

When you fix the mill the sound changes and it syncs to the moving blade's animation. For this sound, I've recorded whoosh sounds of a moving rope and lowered the pitch.

One more important object in the game is the daily treasure chest. When the chest is ready to be opened, it starts to glow. I created a magic sound which sounds louder when you get closer to the chest.  

Now let's talk about gameplay sounds.

In the main gameplay, most of the sounds are connected to the ball movement. When audio samples play over each other they can sometimes create phase distortions. That's why it's important that we have different sounds. 

For the sound of the bouncing ball, I've made 2 layers: sounds of two balls. Each layer has some variations. At the end, they layer with many different combinations. In each layer, sounds have random pitch and volume modulation. This way we have more variations.

The ball runs faster in the game by a specific algorithm, that's why I needed to change its sound compared to the speed of the ball. If the ball runs faster the sounds are brighter and louder.

A similar system is used on the impact sound when the ball hits the enemy. In this sound, we have 3 layers with different variations. This sound also changes compared to the speed of the ball. 

The sound we hear when we shoot the ball is also quite interesting. The player can shoot very fast, or slowly when finding the direction to start the ball. That's why this sound should follow the behavior. When the ball has been shot, the trigger OnStart is set. That makes FMOD move to the marker Start. When the player cancels the shot, the OnCancel is set and we no longer hear the sound of the shot.

All enemies also have their own variations. Each level contains the same type of enemies with the same type of sounds and variations. After a while, you'll grow tired of hearing the same enemy sounds. 

With FMOD Studio I not only have the possibility to implement sounds with variations but also control the overall mix, loudness. I also set different file size compressions on different events which help to decrease the size of the game. For example, less important mid frequency sounds have more compression to make them a smaller file size. 

You can find more information about AK Audio sound design studio at akaudio.com

Thanks for watching. I'll see you soon.

Share this post

Link to post
Share on other sites

  • Advertisement