Game Audio with FMOD and Unity

PDF Game Audio with FMOD and Unity 12 mars 2019

Book author
  1. Ciarán Robinson
123
Description:
Game Audio with FMOD and Unity introduces readers to the principles and practice of game audio through the process of creating their own First Person Shooter (FPS) game.

All the basics are covered, as well as a simple introduction to coding. Using the free software Unity and FMOD Audio Middleware, the reader will be able to create a game of their own and develop a portfolio that demonstrates their capacities in interactive sound design.

Perfect for classroom use or independent study, Game Audio with FMOD and Unity also comes with a full suite of audio assets provided on a companion website.

Preface:


Welcome to Game Audio with FMOD and Unity!

Several years ago, I was asked to design a university course on game audio. I agreed – without really realizing what I was getting into! Luckily, this coincided with the change in the way Game Engines were marketed. Suddenly, all of the tools used to make games were available for free. All I had to do was to learn how to use them…

This is the book that I needed then. It introduces the concepts behind game audio, and gives you the chance to put them into practice in your own game.

It is aimed at readers with a background in audio production who wish to expand into the area of computer game sound (though it will also be useful for game makers who wish to learn more about audio design and implementation).

The video game industry is huge. It now makes nearly double the money of the film and music industries combined! As well as the obvious improvements in graphics and gameplay, audio has come a long way since the bloops and bleeps of the 1980s. Gamers now expect fully immersive sound, so there’s a real need for designers who understand the requirements of games, and who have the skills to put them into practice.

Though there’s some overlap with film and TV sound, game sound designers need a unique set of abilities. Sound effects and music need to be interactive, responding to changes and events in the game.

This book focuses on the design and creation of game sound, but also looks at how it is implemented. This means that we have to use code.

Coding isn’t necessarily the job of the sound designer – an audio programmer has the responsibility of getting the sounds to work withthe game. However, if you want to see your work in action, you’re going to have to get your hands dirty!
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Tokyo
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