Fanshawe College lecture on video game post-production

8. Music driving gameplay elements. New Super Mario Bros (Nintendo DS 2006) (Koji Kondo)

16. Working With Constraints: Commodore 64 Track 1 (e.g. “Level_One”) Instrument 1 (envelope, waveform, effect filters, etc.) Instrument 2 (envelope, waveform, effect filters, etc.) Rob Hubbard’s Module Format Pattern 1 (sequence of notes) Pattern 2 (sequence of notes) Pattern 3 (sequence of notes)

17. Combining modules (in MIDI) with control statements MIDI and the Creation of iMUSE Land, Michael Z. and Peter N. McConnell. Method and Apparatus for Dynamically Composing Music and Sound Effect Using a Computer Entertainment System . US Patent No. 5,315,057. 24 May, 1994.

18. Super Mario World (Nintendo 1991) (Koji Kondo) Musical layering technique Mario jumps on Yoshi & gets extra layer of music (SNES).

25. Interactive Audio: Footsteps Enemy music cue

27. Adaptive Audio Change in music day to night Wolf, crow

28. IMPACT OF ADAPTIVE/ INTERACTIVITY ON MUSIC

30. Solution: transitions: Cross fade

31. Cross Fades

38. IMPACT OF INTERACTIVITY ON SOUND EFFECTS

40. Solution: Granular Synthesis

43. MIXING IN GAMES

44. Mixing Problems: -too many sounds poor dynamic range -poor variation -unpredictable timings -no “post production” mixing : results in “muddy”, clash of sounds

45. Dynamic range … in a popular film … in a popular game Graphics adapted from those supplied by Rob Bridgett of Swordfish Studios .

48. Variable volume

52. Problem: Mixing: Unpredictability, Variability

64. Audio Middleware

66. TECHNOLOGICAL CONSTRAINTS (MOBILE)