Unit 73: Sounds for Computer Games

The Effects Of Music In Games

1. Dark Souls "Artorias boss fight theme"- this music has a highly ominous and threatening tone that immediately makes the player to just how tough the fight will be, it serves to intimidate the player and add atmosphere to an already brutal boss fight. But the song also has more sombre undertones to allude to the sad backstory of the boss your facing making the player also feel sorry for the boss as they slay it. This sense of sadness amidst fear of something greater than you also reflects the backstory of the boss and seems to have been done on part of the developer in an attempt to make the player feel akin to the character of Artorias as his fate of losing his mind and attacking all those he comes across parallels the fate that you have often been told you are doomed to face as an undead. I believe that the developers were successful in this as you have gained some small titbits of information on his back story and this works as a climax to bring all the pieces together. (https://www.youtube.com/watch?v=CbTI_Bzy29I).

2. Bioshock Infinite "Welcome to Colombia"- The music starts off with unsettling strings getting faster at a rapid rate which places a sense of fear into the player, reflecting what the protagonist, Booker DeWitt is feeling at the time. At the climax of the strings there is a slight pause before a calming piano piece begins, making the player feel safe and relaxed as they gaze over the new environment of the seeming utopia of Colombia. But towards the end of the song it seems somewhat sinister which makes the player keep their guard up and begin to question this supposed paradise. This is an effective piece that the developers have put in as it is deeply immersive and immediately makes the player feel what the developers had in mind for Booker. 
(https://www.youtube.com/watch?v=C8Y6_qq05Bg)

3. Silent Hill 2 "Promise Reprise"- Immediately this piece builds tension and suspense right from the beginning with its sinister and unnerving piano music. It swiftly makes the player begin to fear the unknown as they wander around the town of Silent Hill. this piece is clearly designed by the developers to make the player feel paranoia and question what’s around every corner and build up the atmosphere of isolation in a twisted and nightmarish town and does so to great effect, building tension that only heightens he player's fear and curiosity. 
(https://www.youtube.com/watch?v=8N_PXTGdlGw)

4. Metal Gear Solid 3 "Main Theme"- This song starts out quieter and uses sound effects that puts the listener in mind of a jungle, quickly giving the player a more immersive feeling for the game's setting of a jungle environment, Soon it's pace quickens and begins to play the epic orchestral section which places a sense of grand action and adventure in the player which reflects some of the more of the high action sequences the game holds. Part way through however the music it begins to slow and become less high intensity but raises the feeling of tension, in turn this reflects the main portion of gameplay as it puts the player more in mind of the stealth action that the series is famous for. It suddenly quickens its pace back to that of the intensity of the main part of the theme which seems to symbolise the way that the gameplay can shift in an instance from high tension stealth to quick passed action in an instant. After the music calms down again it becomes far more mellow and sad, alluding to the story and its more emotional moments. The music was composed by Harry Gregson Williams and serves as almost an auditory shorthand for what the game entails and how certain parts will make the player feel which I believe it does well. 
(https://www.youtube.com/watch?v=rNVCD1dsnJI)

5. Mega Man 2 “intro theme” – the opening screen of Mega Man 2 starts off at the base of a skyscraper with a soft and more relaxed opening piece of music to accompany it as text appears to give new players a basic idea on the backstory of the first game, after the text has finished the screen begins to pan upwards towards the top of the skyscraper and as it does so he music accompanying it also begins to increase in pace which helps to gradually build up the players excitement. As the screen reaches the top of the skyscraper the music suddenly increase to a very fast pace which swiftly gets the player even more excited for what they’re about to play, this use of music accompanying the game is a quick and effective way to get your player hyped up for it and more invested at the earliest possible stage which is what I believe the developer intended. I believe that the piece is highly effective at this purpose and has gone down as one of the most famous songs in gaming history.
(https://www.youtube.com/watch?v=ZT9DST_M_g8)

why is music and sound fx so important within games development?

Sound effects have an incredible influence on the overall game experience. While a game may be able to get by without music or dialogue, one without sound effects will be very disappointing. It’s inconceivable to think of players firing “silent” weapons or seeing soundless conflagrations erupt in their paths. Early games may have been rudimentary, but their designers always understood that sound effects are more than just entertainment. The complexity of today’s game sound has led to an entirely distinct job description and career path—involving the creation of nearly everything the player will hear.

Purpose of Game Sound Effects

Sound effects exist specifically to give feedback to players, immerse them inside the virtual realm, and provide an entertaining experience—all of which are key ingredients to a successful video game. Since a game is nothing more than lines of code and pixels of collared light, the sense of sound is what adds warmth and familiarity to what is happening on the screen. Although many current games employ 3D and even hyper realistic images, the player is still only looking at pixels; the only “real” sense fully experienced by the player is sound. Granted, players aren’t hearing a “real” bird chirp or weapon fire—but the sound they do hear is an actual recording of the real object or a close reproduction of it. Whether it is a “real” sound or not, the impact is the same and the sound plays its specific role.

http://designingsound.org/2010/10/aaron-marks-special-function-of-game-sound-effects/

What is waveform?

Amplitude: As waves travel, they set up patterns of disturbance. The amplitude of a wave is its maximum disturbance from its undisturbed position. Take care, the amplitude is not the distance between the top and bottom of a wave.

Frequency: The frequency of a wave is the number of waves produced by a source each second. It is also the number of waves that pass a certain point each second. The unit of frequency is the hertz (Hz). It is common for kilohertz (kHz), megahertz (MHz) and gigahertz (GHz) to be used when waves have very high frequencies. For example, most people cannot hear a high-pitched sound above 20 kHz, radio stations broadcast radio waves with frequencies of about 100MHz, while most wireless computer networks operate at 2.4GHz.

Wavelength: The wavelength of a wave is the distance between a point on one wave and the same point on the next wave. It is often easiest to measure this from the crest of one wave to the crest of the next wave, but it doesn't matter where as long as it is the same point in each wave.

Pitch: the quality of a sound governed by the rate of vibrations producing it; the degree of highness or lowness of a tone.

Hertz: Named after Heinrich Hertz and abbreviated as Hz or illustrated as the f symbol, hertz equals one (0.00000000125) cycle per second, measuring the waves or frequencies of electric changes each second. Hertz is commonly used to measure a computer monitor's refresh rate and in computer processors. In the picture below of a wave, one oscillation is a representation of a cycle or hertz.

Decibel level: The decibel (dB) is used to measure sound level, but it is also widely used in electronics, signals and communication. The dB is a logarithmic way of describing a ratio. The ratio may be power, sound pressure, voltage or intensity or several other things.

Sound Generation: Sound waves are generated by any vibrating body. For example, when a violin string vibrates upon being bowed or plucked, its movement in one direction pushes the molecules of the air before it, crowding them together in its path. When it moves back again past its original position and on to the other side, it leaves behind it a nearly empty space, i.e., a space with relatively few molecules in it.

Jack Foley: In 33 years jack Foley the sound-effects pioneer worked on stage 10 at universal studios, all the time he never received an on-screen credit for his own inventive and that cost his cost-saving contributions dearly, but the art he created by himself in the early days of sound technology they decided to name it after him and it is always featured in every film at all the cinemas.

Every sound we hear at the cinemas that isn’t music or dialog is always a sound effect, from the footsteps to being punched or kicked, from the clothes rustling in the wind, the sound we hear was either created by Foley himself or was placed there by a sound editor, they most likely went out and took it from a vast selection from a wide range of sound effects or they went out to record it themselves, they might have combined it with some others sounds and or altered the pitch.

Nearly all the sounds pictures have dialog and some sort of music but they are missing the noise of the movement and the sounds all around them,  soon some other the sound editors started using Foleys idea in their own movies and started to create footsteps for the actors but they would constantly use the same track over and over again, Foley then came up with the idea of projecting the moving image in a sound stage and syncing the sounds with the actors movement they started to use different surfaces and many different props they could find, it was then said that Foley could make it sound like there were three men walking by only using two feet and a cane.

WHAT IS TIMBRE?

Sounds may be generally characterized by pitch, loudness, and quality. Sound "quality" or "timbre" describes those characteristics of sound which allow the ear to distinguish sounds which have the same pitch and loudness. Timbre is then a general term for the distinguishable characteristics of a tone. Timbre is mainly determined by the harmonic content of a sound and the dynamic characteristics of the sound such as vibrato and the attack-decay envelope of the sound.

Some investigators report that it takes a duration of about 60 Ms to recognize the timbre of a tone, and that any tone shorter than about 4 Ms is perceived as an atonal click. It is suggested that it takes about a 4 dB change in mid or high harmonics to be perceived as a change in timbre, whereas about 10 dB of change in one of the lower harmonics is required.

http://hyperphysics.phy-astr.gsu.edu/hbase/sound/timbre.html

Legal considerations of using sound in games

The legal considerations of using sound in your project can be massive and when not done correctly can have massive implications and consequences. Things like copyright are one of the biggest things to take in to consideration when creating a game. Copyright is a system in which the creator of something has control over it and it can’t be used by just anyone to profit off of it. Things such as songs that are used in games often have lengthy legal processes before they are usable in the game, this is often where the creator and the people who wish to use it reach an agreement in which the creator will receive something in return for the use of their work, which most often takes the form of a fee demanded up front for its usage, royalties entitling the creator to a share of the proceeds the project generates, or a mix of the two. These agreements are a highly important part of the legal process. Another use is from royalty free sources, these are free for the public to use as they see fit. Sources of things like this include sites like freesound.org and often work based on the agreement that the creator will credited as is appropriate in the hopes of getting them publicity and recognition. Another way is to create the sounds yourself as you will not need any agreements or anything and will be able to be more independent and less likely to face any legal implications from doing so.