game music
DESCRIPTION
GAME MUSIC. ADAM J SPORKA DCGI/CTU PRAGUE PHA 2013/14. Outline. Purpose of music in games Static music soundtracks Music design Dynamic music soundtracks Approaches, management Music production technology How the actual music is made. Purpose of Music. Tradition - PowerPoint PPT PresentationTRANSCRIPT
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GAMEMUSIC
ADAM J SPORKADCGI/CTU PRAGUE
PHA 2013/14
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Outline
• Purpose of music in games• Static music soundtracks
– Music design• Dynamic music soundtracks
– Approaches, management• Music production technology
– How the actual music is made
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Purpose of Music
• Tradition– Present in most of the released titles– Why not in yours?
• Affirmation of the genre– “Yes, this is an 8bit retro.”– “Indeed, cowboys in spaceships.”– “Yay, manga.”
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Purpose of Music
• Presenting the emotion– Easygoing, happy-go-lucky, …– Depressing, sad, …
• Setting the expectations– Level difficulty
• Status monitoring– Changes of music over time indicate changes in game
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Purpose of Music
• Essence of the gameplay– Dance Dance Revolution (1998)– Guitar Hero (2005)– Pugs Luv Beats (2011)
• http://www.youtube.com/watch?v=V0i18_--8Yc
– Not covered by this talk
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Game Music Components
• Theme Music– Often synchronized with visual events on the
screen– Cinematic experience
• Underscore– In-game music– User interface background
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Game Music Components
• Stingers– Specific music triggered by an event– Transition music– Level Notification, “Game Over” Screen, “Game Won”
Screen
– Fallout New Vegas:Pulling out / holstering Magnum
• http://youtu.be/sWLpSpZR6J4?t=41s
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Soundtrack
• Diegetic sounds– Sounds in story space– On-screen or off-screen– Voices of characters, sounds of objects, music coming
from objects
• Non-diegetic sounds– Not implied to be present in the action– Narrator, sounds for dramatic effect, underscore
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Soundtrack
• From concrete to abstract:– Voices, diegetic sound effects– Diegetic ambience– Non-diegetic ambience– Underscore Utility decreases
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Game Music Characteristics
• Theme music is feature– Recognizable theme– Elaborate– Genre announcer– Everyone will hear this
• Underscore is background– Mood setter– Does not distract– Can be listened to throughout the gameplay
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Game Music Characteristics
• Silence– “Dosage” of music
• Used to emphasize music
– Keep the ambient sounds present– Nothing present “something wrong”
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Game Music Interactivity
• Static soundtrack– Predefined and unchanging– Loops– Assigned to specific screens / levels
• Dynamic soundtrack– More complex control of the music playback– Engine “aware” of the state of the game
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Static Soundtrack
• Early and simple games
• Pengon (1984, Atari 800XL)– http://www.youtube.com/watch?v=MDhLxRLvwvY – One music loop– Game over stinger
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Static Soundtrack
• Supaplex (1991, MS-DOS)– Played throughout the game– http://www.youtube.com/watch?v=yknubWX2KYI
• Goonies (1985, Atari 800XL)– Two loops, one used for title, then alternating
with each level• Jazz Jackrabbit (1994)
– Separate tracks for levels
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Static Soundtrack
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Case Study: Nimble Quest
• 2013; NimbleBit; iOS, Android• Arcade / RPG• Early 2000s pixel art graphics
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Case Study: Nimble Quest
• Music by Whitaker Blackall• Contents:
– Title / menu– Loop per level
• Genre:– Contemporary chiptune– http://wtrebella.bandcamp.com/album/nimble-quest
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Case Study: Nimble Quest
• Typical length of a loop: 2’• Unobtrusive• Reflects the increasing difficulty of the levels
– L1 http://www.youtube.com/watch?v=6mh7qJgnpJI– L2 http://www.youtube.com/watch?v=2hAtghKVK7I – L4 http://www.youtube.com/watch?v=YKIDg8VkF0A
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Case Study: Nimble Quest
• Sounds good on small speakers– Chiptune sounds– Lot of square waves / triangles
• Better estimation of pitch by the humanlow- as well as high-pitched tones
• General remark:• PC gamers often don’t spend money on a high-
quality speakers
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Case Study: Quido (2013)
• Experimental arcade game– Developed at DCGI/CTU
• Showcasing non-standard haptic modalities– Exhibition item on Designblok 2013
• http://ulab.cz/naviterier/quido/ • Genre:
– Contemporary chiptune– https://quido.bandcamp.com/
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Quido: Technology used
• Reaper• VSTs
– SuperWave (leads / chords / bass)– EXD-80 (beats)– Some reverb, some volume compressor
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Quido: Music
• Theme music– Exposition of the main theme– Happy, easygoing
– Not used in the end• Explicit request from the exhibition organizer: Silence
between the games
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Quido: Music
• Level 1: Theme Park– A player will be likely to be receiving instructions
from a fellow player– Expected playtime: 3—4 minutes– Not “dense”– Diverse in terms of the structure– Performance of the main theme
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Quido: Music
• Level 2: City– Variation of the theme.– Structure: [A B A Bbr Avoid]– Expected playtime: 2 minutes– Continuous music
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Quido: Music
• Level 3: Sky (Heaven)– Variation of the theme. Barroque.– Continuous music– Expected playtime: 2 minutes
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Quido: Music
• Level completed– Joyous jingle
• Advancing to the next level– Expectation
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Quido: Music
• Game Over– Definitive– Not too tragic
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Quido: Music
• Game won– Player enters their initials– Reiteration of the main theme
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Adaptive Music Styles
• Resequencing– Selecting what to play next
• Reorchestration– Selecting which instruments to play
• Modulation– Modifying the timbres of notes– Related to Data Sonification
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Reorchestration
<Demo 1: Quido reorchestration>
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The Space Game
• Game loops:– Menu / Idle– The enemy is approaching– The enemy opens fire
• <demo>– http://www.candystand.com/play/the-space-game
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Reorchestration
• Fallout: New Vegas– 2010, Obsidian Entertainment, Bethesda
Softworks– Three renderings of the same track
• “low”, “mid”, “high”– <demo; NewCaliforniaRepublic>
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Resequencing
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Resequencing
• Identical tempo• Precise timing of transitions
• <demo>
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Resequencing and Reorchestration
• Example: Monkey Island 2– 1991, LucasArts– http://www.youtube.com/watch?
v=Nsc5nTrCzmw#t=322
– iMUSE system• Parallel tracks for different locations• Transition patterns to return back
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Modulation
• Analog variables in the game– Health– Completion– …
• Parameters of sound synthesis– Volume– Low-pass filter cut-off– …
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Modulation
• Mappinggame state sound synthesis
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Data Sonification
• Synthesis of sound controlled by input data
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Sonification
http://www.youtube.com/watch?v=iSmMaPT9VI8
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Sonification
http://www.youtube.com/watch?v=Oa5eq5pHIF0
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Sonification
http://www.youtube.com/watch?v=REzFMYtHbdQ
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Music Production
• Music is typically created aside from the entire project
• Game is defined• Timing is known
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Music Production
• Input– Artistic intent– Gameplay description
• List of supported locations• List of supported situations
– Available technology• Platform, available storage, …
– Legal considerations• Licensing of the game
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Music Production
• Orchestration– What instruments are used
• Structure– Duration, planning
• Production– Composing
• Mixdown / Mastering– “Locking in” the music– Optimizing the volumes, polishing
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Music Production
• Practical problems– Multiple stakeholders– Tons of files (as with any content development)
– Hiring composers– Finding instrumentalists
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Wwise
• Audio development platform• Support of multiple audio tasks
– Authoring, editing, setting up the adaptive behavior– Support of a number of platforms
• Example:– http://www.youtube.com/watch?
v=Zvnt3tbL3OU&feature=youtu.be&t=10m28s– http://www.youtube.com/watch?
v=STAdQwgDYHQ&feature=youtu.be&t=4m57s
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8-bit Music
• Synthesizers with digital control• Typically 8-bit values (or less)
– Discrete volume levels (16 on ATARI)– Discrete tuning
• Sound Sources:– ATARI 800 XL (POKEY)
• http://asma.atari.org/ – Commodore 64 (SID)– Nintento Entertainment System (Famicom)
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8-bit Music: ATARI 800
• 4 oscillators– 3 wave forms
• 16 discrete volumelevels
• Discrete tuning
• Common tweaks:– Arpeggio– Chorus
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8-bit music: RMT
Music tracker<demo>
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Module Music
• (a.k.a. tracker music)• Late 1980s; Wave audio• First format specification: MOD
– Amiga computer platform– 4 channels, up to 15 instruments
• Main components:– Instruments (available sounds in the song)– Tracks (how these sounds should be
sequenced)
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Module Music: Instruments
• Instrument in a MOD file– Uncompressed audio wave– Defined reference playback frequency– Pitch control: Changes of the playback
frequency• Limited resources (memory, computation)
– Lower sampling frequency of the samples
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Module Music: Tracks
• Matrix-like music representation– Columns: Channels– Rows: Equidistant points in time– Cell:
• Note On (pitch, instrument, command)• Note Off• Nothing
VolumePanTremolloPortamentoRetrigTempo…
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Module Music: Notable Work
• Future Crew: Second Reality– 1993– Demoscene– http://www.youtube.com/watch?v=8G_aUxbbqWU
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Module Music: Notable Work
• Jazz Jackrabbit– http://www.youtube.com/watch?v=b16upFloYak
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Module Music: Demo
<demo>