Game Development Reference
In-Depth Information
years, increasingly complex and intricate props and machines have since
been used to create a wide range of sounds both onstage and of .
From Italian composer Luigi Russolo's fantastical mechanical sound-
making devices called intonarumori in 1913, to the rise in popularity of
radio and real time sound ef ects to enhance the drama in live theatrical
productions, the creative use of sound became an integral part of the
mystique of the middle of the twentieth century.
If you're curious
and want to learn
more about this
phenomenon, and
to experience it
i rsthand, just go to
the application, click
on the Videos area and
choose Animation
Fascination!
Thomas Edison's original phonograph used wax cylinders and could both record and play back
sound without the use of any electronics.
Credit: John Guano.
These sounds were originally made fresh and could not be stored by
themselves, but as recording technology developed over the years,
so did storage technology. Starting with the i rst wax cylinders and
progressing to today's modern digital workstations, the sound of almost
everything you can think of in the world has been captured, stored
for playback, and made readily available for later use in a plethora of
productions.
In the game design industry, the term sound designer may mean many
things. The sound designer may only create sound ef ects, or may also
integrate the audio into the i nal product. For the purposes of this topic,
we will explore the basic concepts that sound designers should be
familiar with. In addition we'll also highlight important tips to keep in
mind when you're given the task of designing audio for a game.
Sound fundamentally changes the way we perceive things. Games
contain a lot of animations, and animated movement without sound can
frequently be perceived dif erently than animation with sound.
Do these objects collide with each other or pass through
each other?
 
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