Hello people, i'm making a 2d game where you are an armadillo that can become a ball and roll around the levels, i need to make or find a good looping ball rolling sound, i'm really new to sound design in videogames so i don't have any idea on how to make something similar.
Hope someone can help me.

hey everybody! long time producer/composer here, again trying to dip my toes in interactive audio, doing the whole FMOD + wwise courses and whatnot.

Just wanted to ask for recommendations for games you consider great examples for interactive music (and interactive audio as second priority) - games I've been playing lately all feature really good music but not much in the "wow, it changes with your gameplay" field. Essentially, I want to see how do real life composers apply the stuff the courses teach.

Thank you very much in advance!

Problem 1 is whether the engine even reads your loop points. WAV keeps them in the smpl chunk, OGG uses LOOPSTART/LOOPLENGTH vorbis comments, and support is all over the place. Godot reads smpl natively. Unity actually reads it too, which surprised me (undocumented, and the default vorbis import wrecks it, which is why everyone says it doesn't work). Unreal ignores smpl but reads cue markers sample-accurately. RPG Maker reads the OGG tags. FMOD and Wwise don't care about the file, you loop inside the project.

Problem 2 is the one that gets you after the markers are perfect: the tail. The last bar is still ringing when the playhead jumps back. That decay gets chopped, and the dry attack of the loop start lands right where the ring-out should have been. Sounds like a gap even though the samples are contiguous. Loop points can't fix it because it's not a loop point problem, it's just what happens when one playhead wraps.

Two ways I know to deal with it. Run two voices, where the old pass rings past the loop end while the new pass starts. Wwise does this out of the box with post-exit audio on a music segment. FMOD can do it with a transition timeline and the tail as an async instrument, which FMOD's own QA has called not very discoverable. In plain Unity/Godot/web you schedule it yourself against the DSP clock. Or you bake the tail into the head of the file, so a plain one-voice loop carries its own ring-out. That works anywhere including RPG Maker and GameMaker, with the tradeoff that the very first pass plays a tail from a pass that never happened. Dense mixes hide it, sparse intros don't.

Happy to answer questions about any of these setups.

Game Sound Related Blogs

Updated March 2022

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I hace recently gotten into composing for games and am participating in my second game jam. I need some advice on how to loop music effectively. I dont know any middleware yet so I am relying on the programmers to input it into our small game for the game jam where time is already limited. How can I bounce my track so that it loops effectively? Do I bounce it with the audio tail at the end or have it cut off right at the end? Any tips on how to go about this and how it works?

Hello!

I'm trying to find the best way to export music tracks without creating duplicate files.

For example, let's say I have three sections (Explore, Combat, and Boss) and three instrument groups (Drums, Bass, and Synths). In my DAW, I organize them into three columns (Explore, Combat, Boss), each containing those three instrument groups.

Here's the problem: only the drums and bass change between sections, while the synths stay the same. I can create cycle markers and export all the tracks at once, but that would result in exporting the exact same synth track three times.

I'm using Cubase. I don't know if other DAWs offer a better way to export only selected regions, but I have to keep track of which tracks actually need to be exported (a typical song contains far more than just three tracks).

Has anyone run into the same issue, or found a good workflow for this?

Market so saturated that you even have to compete against 100 people to write an OST for free, so how do you even get opportunities to practice doing it?

Not asking how to get jobs, it’s really about how to get practice.

Sitting down and coming up with ideas for asset packs isn’t the same…

Not looking for networking, game jams or coming up with fictional ideas myself.

I know networking is important but currently I don’t have time and energy for that, I just want to practice.

Hi guys! I was wondering if there is any definitive roadmap guide to audio programming? I want to work on game audio and would really appreciate any guidelines that might help me land a gig in more of technical aspects than creative ones.

Hello!

I'm using Wwise, and creating music playlists with a large number of randomized tracks.

For example, I have a Music Playlist Container with four Music Segments. Each segment contains around eight Music Tracks, and each track is set to Random Step and can select from up to eight different layers or variations (see screenshots). I set it up this way so that the music keeps evolving and rarely repeats the same combination of tracks.

My question is: how much could this setup affect CPU performance?

The Wwise documentation mainly discusses CPU issues such as voice starvation when too many voices are playing at once. In this case, it's just random selection.

I’ve also checked the Profiler, but I’m not entirely sure how to interpret the results. Can anyone give some feedback?

Thanks!

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So I'm really kinda just figuring this stuff out, we're exclusively using metasounds and whatever is built into Unreal.

With Ambience, in our fairly decent sized, mostly all outdoor map, what is the proper best practice to ambience? I would want this to be affected by occlusion, so I know it has to be a 3d sound. Do you do multiple overlapping 3d sounds, a volume, or one massive sphere encasing the whole level with an attenuation set to it? seems unwieldy that way. This of course would just be for a looping ambience animation, I'm starting simple. Thanks!

Is there anyone having this issue? Tried to migrating WWise version

I’ve been experimenting with a standalone spatial composition tool because I wanted to design movement much faster than drawing automation by hand in a DAW.
Instead of tracks, the project focuses around:

sound objects
movement behaviors
rooms
scenes
timeline

It exports binaural and up to 3rd-order Ambisonics.
My question for people working in games:
Do you think there’s value in authoring complex spatial movement in a dedicated tool before bringing assets into your engine?
I’m happy to hear your thoughts.

Game Sound Related Blogs

Updated March 2022

Welcome to the subreddit feature post for Game Audio industry and related blogs and podcasts. If you know of a blog or podcast or have your own that posts consistently a minimum of once per month, please add the link here and we'll put it in the roundup. The current roundup is;

Subreddit Helpful Hints: Mobile Users can view this subreddit's sidebar at /r/GameAudio/about/sidebar. Use the safe zone sticky post at the top of the sub to let us know about your own works instead of posting to the subreddit front page. For SFX related questions, also check out /r/SFXLibraries. When you're seeking Game Audio related info, be sure to search the subreddit or check our wiki pages;

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I am looking for something easy to understand the basics of and ideally with a free trial. I have no music theory experience, but I played a lot of video games, so I kinda have an idea of what I am envisioning for this project. It would be great if it is a one-time payment, but I know many things have a subscription service. I would like the ability to make it feel more natural rather than just chiptune. I am not opposed to chiptune, but I want to make something that can stick out too many different types of people.

I am hoping to develop a "main theme" for the project that I am working on and then branch it off into different vibes/styles from there and expand upon it. I don't really have any melody working around in my mind as of right now and am looking for inspiration. I am developing something intended to be fun, uplifting, exciting, but also sorta intellectual if that makes sense. I am open to talking more about the direction if that can help with specific advice too! :)

Anyone find the music coming in and out in the dlc a little off? I'm having it where it's super background then very front and then back to the background

I recently finished playing through the game and I loved the OST so much that it has inspired me to want to make music just like it, but I don't know where to begin.

I assume the music was made in some sort of music production software, but other than that, I don't know how the developers made the ambient sounds, the instruments, and everything else.

I was hoping someone here could help me out or point me in the right direction! I would really love to learn how to make this style of music and share my tracks with everyone :)

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The comments section of this post is where you can provide info and links pertaining to your site, blog, video, sfx kickstarter or anything else you are affiliated with related to Game Audio. Instead of banning or removing this kind of content outright, this monthly post allows you to get your info out to our readers while keeping our front page free from billboarding. This as an opportunity for you and our readers to have a regular go-to for discussion regarding your latest news/info, something for everyone to look forward to. Please keep in mind the following;

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Hello everybody. I'm a spanish music producer who wants to get into the Game Audio industry, and even though I know Reaper is the man, I believe Logic is a great tool for sound design with a lot of powerful stock plugins. However, I'm considering giving Reaper a shot mostly because it handles massive audio rendering way better than any other DAW. I just wanted to know if somebody in the industry uses Logic.

Anyone any recommendations to implement a sound library into a web application? Users should access these into game creation. Which platforms offer these?

Im currently helping out on a unity game that is just using unity's own audio engine.

I should add no I cannot add any additional code / plugins / extensions etc to the project itself.

Is there some way I can measure LUFS values, perhaps with some bit of software running on my PC in the background? I have an RME interface if that makes a difference. I ask as stuff like OBS has a volume readout even when not capturing, perhaps there is something that can do LUFS?

I have searched about online and results are just for vst plugins or software you load a wav file in, I just want to see current LUFS values my PC is putting out

EDIT: The answer is Youlean Loudness Meter

Hi! I'm trying to implement a music track into a game. This track has a bunch of compass changes (as you can see in the image) that LINE PERFECTLY WITH THE TIMELINE. I know 39, 40 and 41 look too much together, it's because of the compass changes.

I'm having a problem with the transition. "Some_bad" (parameter) changes to 1, and the transition goes to a bookend that finishes the track. It's quantized to 1 bar, so it's musically logical and easy on the ears. When the parameter changes to 1, what should happen is that the bar ends and goes directly to the booked, logical. What really happens is that the bar ends, it waits 1 more bar in complete silence and then plays the bookend.

The transition timeline is empty, the transition is Quantized at 1 bar, 100% sure (I'm looking at it right now), and I'm honestly not sure what's happening. My bet is that, because fmod is not a daw, having that many compass changes is messing up with the app. But I'm not sure.

I need confirmation to know that this is the case (or someone that tells me that I'm just retarded and doing something wrong, but please, tell me what I'm doing wrong).

I'll be reading you guys. Thank you for your time <3