Update July 2017
If you are using Unity or another big engine that has an asset management system, don't request Ogg Vorbis from your sound designers and composers. Get WAVs or AIFFs.
Unity and Unreal are structured to work with high quality bounces and then apply compression settings per-platform. Having the source asset as Ogg or Mp3 means you are double-...
First, read these questions:
Where can I find free sounds for my game?
How are sound effects made?
Game Sound Effects Availability
What are good sites that provide free media resources for hobby game development?
Where can I find free music for my game?
Second, there are so many musicians and sound designers of all skill levels (and expecting various ...
They can be everything. This is one of my favorite things to experiment with. I don't worry about "This could be a --- sound" I only worry that "this sounds interesting" at all times. For example Overgrowth has blood squirts from only slightly modified recordings of them squeezing a pineapple's insides by hand.
My bone cracking sound in my game is from ...
There are many sound banks on the Internet providing sound effects or musics for games. It can be free or not, in all formats and quality you want. An example: Findsounds
You can mix those samples, or modify them to create new sounds. A fridge sound can be transformed in a spaceship laser sfx. Some softwares are quite easy to use to do that, such as ...
When you are asking for "all the rights", then you need to ask youself if you really need "all the rights". I don't know your long-term business plan, so I don't know which of these rights you actually need:
Use the music for your current game (ok, that's obvious)
Use the music for any future games
Be the only one who is allowed to use the music for a game
Sure you can, it's just not trivial to get it sounding "nice".
I don't know how to do it in Linux, but if you can play a PCM buffer, all you have to do is fill it with whatever you want.
So supposing your buffer is set to play in monaural, signed 16-bit samples, at 44100 samples per second, creating a pure (sinusoidal) A4 sound (440 Hz) is as simple as
TV Tropes calls this Voice Grunting:
Voice acting is ubiquitous in video games today, but in the old days,
when budgets were smaller, sound hardware was more basic, and
disk/cartridge space was limited, developers had to resort to text. In
games where story was emphasized, they figured some of the drama was
lost when a potentially emotional scene ...
How the industry works with the sound, I'm not sure.
But looking through my games, most of them wrap it in some dat file or otherwise.
Here are a few bits of audio I could pull:
Deus Ex: Human Revolution (Main Menu [song]) mp3 44100Hz 320kb/s
Portal 2 (4000 Degrees Kelvin [song]) mp3 44100Hz 128kb/s
Portal 2 (Portal Gun fizzle [soundfx]) wav 44100Hz ...
From your question, it sounds as though you have no problem designin/acquiring sound effects, and just need to understand implementation approaches.
How would you organize and use sound effects?
There's one major principle you need to understand when it comes to game audio which is obvious in hindsight, but not everyone gets on their first approach:
Sound production for games is not that much different from film or animation. While the game isn't chronological (which poses a bigger challenge to music composers) the sound effects are usually short and played at certain events.
In most of the cases, you don't want to record your sounds outside. A studio environment is preferable where you can align your ...
Recording sound effects is an expensive process, and requires sound-proofing, expensive equipment and professional actors / real life objects.
Game studios and Film studios generally have huge sound banks from which they take basic sounds and mix, filter, compress and generally manipulate the basic sounds to their needs.
The Wilhelm Scream is a great ...
There is a brilliant FrutiLoops like software, check it out,
Linux MultiMedia Studio
sorry, no specific order or anything. Just a big list,
I don't think a path finder is necessary, just ray cast to each AI in the area, if there's a wall in the way, they don't hear it. This would work best with some sort of scene graph + spacial partitioning
In the Scene view, you will find a little toggle, near the 2D toggle, at the right of the lightning toggle (with a little sun icon).
Try to uncheck it to mute the sound in the scene.
Otherwise, in the Game window, you have a toggle called "Mute Audio", between "Maximize on play" and "Stats" toggles, just check it!
If you want this toggle to be turned on ...
I've bought music from this group before.
They often have sales for large collections (~20 tracks, with 4 variants of each track including loopable 1 minute sections) going for $8.41, or short samples (~40seconds) going for ~$5.
Their collections are generally grouped by theme/atmosphere, with Scifi ...
Found the answer myself :)
Apparently you have to do this:
SoundEffectInstance qwe = yourSound.CreateInstance();
And that state will contain... well, the state of the sound.
Also SoundEffectInstance countains bunch of other useful data.
I think you are on the right track. Your proposed system of distance-based attenuation should work if you
always use the in-game distance to the object from the player, which remains fixed regardless of the zoom level (don't use the "on-screen" distance, which changes as you zoom) and
set up your attenuation system to begin playing an object's sounds as ...
Do playtesting and see how the testers react to it. Possible complains the testers could have:
Unnecessary or even misleading voiceovers distract from the gameplay
Bad or inappropriate voiceovers break immersion
Voiceovers which are repeated multiple times become annoying.
Important voiceovers aren't understood because the player is distracted when they ...
There is a video here which is a live recording of some guys from Dark Sector making sound effects for the game. In the clip they use:
back of hammer on watermelon (splat)
back of hammer on catelope (thud)
ripping open watermelon (dismemberment)
green onions, celery, cabbage (neck snap). Note how the sound they use is the one generated by ...
Places that I currently get sound effects from:
http://ccmixter.org (Samples->Browse, there are various recordings of crowds/rain/instruments/etc).
There is certainly a need for sound effects in the indie game community. Hopefully those sites will give you a sense of what is currently ...
I decided to give this problem another try today and finally managed to load an OGG file at runtime into a SoundEffect object. Here's what I did! First download the library below which contains a class capable of decoding OGG files:
Prerequisite - Download library
The library already has an example, but it uses ...
I'm not an expert on this field, but this is what my intuition tells me, both from a technical and from a more subjective point of view.
From a technical point of view, in order to preserve quality, you should start by authoring your audio files as loud as possible but making sure not to exceed a certain volume threshold which would induce ...
1) Assumes that both objects are moving on the same line - (this is explained in the wikipedia page you linked) your conclusion is correct, in this situation, with constant velocities, the frequency shift is constant. For the frequency shift to change, the relative velocities need to change, hence formula 2), for the situation where Vs is constant but not ...
It seems like a reasonable idea, do remember though, this is a gameplay feature, don't make it more complicated than what is required for gameplay.
I'd change your scheme to have the sound spread immediately, as that is probably easier to program and seems more consistent with the fast spread of real sound.
This is essentially a pathfinding problem, and it'...
Seems strange to pick apart on just the fact that you could hear sound. There's a good deal of things that many space games do that doesn't relate to reality:
Maximum velocity even with sustained acceleration
Faster than light travel
The stresses of extreme acceleration are ignored
and so on.
The point is to remove ...
From Technical Note TN2199, relative to the use of OpenAL
Use the alBufferDataStatic API, found in the oalStaticBufferExtension.h header file, instead of the standard alBufferData function. This eliminates extra buffer copies by allowing your application to own the audio data memory used by the buffer objects.
If your application renders several audio ...
In my experience (mostly mobile titles), the audio quality should be as low as as possible without overt negative side effects so that you have more in memory for other things.
Keep in mind that just because there's compression involved doesn't necessarily mean that your quality is too low. Your audience isn't going to be doing side by side comparisons ...
I'm not familiar with SharpDX but I know a bit about the native xaudio C++ API.
You can't call DestroyVoice() in a callback at least in the native API which I assume StreamEnd delegate is a just a thin wrapper for OnStreamEnd() callback in the native API.
A workaround may be queuing the sourceVoice to a "deleteList" in the OnStreamEnd callback and deleting ...