{"id":1065,"date":"2018-07-05T05:22:03","date_gmt":"2018-07-05T05:22:03","guid":{"rendered":"http:\/\/procedural-audio.com\/blog\/?p=1065"},"modified":"2022-01-06T10:44:11","modified_gmt":"2022-01-06T10:44:11","slug":"world-of-sound","status":"publish","type":"post","link":"http:\/\/procedural-audio.com\/blog\/2018\/07\/05\/world-of-sound\/","title":{"rendered":"World of Sound"},"content":{"rendered":"

As part of the R&D services<\/a> we provide, Tsugi was recently asked to develop a demo showcasing the various features of the CRIWARE<\/a> plug-in for Unity, such as the interactive music and sound effects functions offered by ADX2 but also the video encoding and playback capabilities of Sofdec2: simultaneous movies, alpha-channel support, projection on surfaces, cue points etc.<\/p>\n

We built the \u201cWorld of Sound\u201d demo, which contains a number of scenes in different locations and time periods, such as Kyoto in 1030 A.D. or Los Angeles in 2070 A.D., shown below, allowing us to demonstrate a large variety of features.<\/p>\n\n

\n
\n\"WorldOfSound0\"
\n<\/a>\n
\n\"WorldOfSound1\"
\n<\/a>\n
\n\"WorldOfSound3\"
\n<\/a>\n<\/div>\n\n

(Should you need help demonstrating your latest technology, develop an audio engine for your game, or a super-creative sound design tool; don\u2019t hesitate to <\/em>contact our talented R&D team<\/em><\/a>!)<\/em><\/p>\n

 <\/p>\n

Using GameSynth<\/h3>\n

Of course the sound effects have all been generated by Tsugi\u2019s sound design tools, starting with GameSynth<\/a>! Since the \u201cWorld of Sound\u201d demo is so varied (from prehistoric beasts to electronic blips and peaceful ambiences), all GameSynth models were put to contribution: Modular, Whoosh, Retro etc.<\/p>\n\n

\n
\n\"GameSynth
\n<\/a>\n
\n\"GameSynth
\n<\/a>\n
\n\"GameSynth
\n<\/a>\n<\/div>\n\n

 <\/p>\n

Because the goal was to demonstrate the ADX2 features, GameSynth was used as a sound design tool rather than a real-time game audio engine: the patches were rendered as wave files and automatically exported towards ADX2 (similar features exist in GameSynth for Wwise, FMOD Studio, Unity\u2026).<\/p>\n\n

\n
\n\"exporter
\n<\/a>\n
\n\"Exporter
\n<\/a>\n
\n\"exporter
\n<\/a>\n<\/div>\n\n

 <\/p>\n

Further editing was then applied in AtomCraft itself (ADX2\u2019s authoring tool), such as adjusting envelopes and filters, assigning random ranges to pitch and volume or setting 3D positioning parameters for example. To implement various sonic behaviors, all the different types of Cues from ADX2 were used: Polyphonic, Sequential, Random, Random No Repeat, Shuffle, Switch, and ComboSequential. Of course the demo also makes good use of other ADX2 features such as REACT for auto-ducking, AISAC for real-time parameter control, blocks for interactive music etc.<\/p>\n\n

\n
\n\"atomcraft1\"
\n<\/a>\n
\n\"atomcraft2\"
\n<\/a>\n
\n\"atomcraft3\"
\n<\/a>\n<\/div>\n\n

 <\/p>\n

Using Alto Studio<\/h3>\n

Some of the sound effects are robotic voices. They were entirely created in Tsugi\u2019s Alto Studio<\/a>. First, the text was typed in a .txt file. Then the Speech Synthesizer was used to generate the voices from that text. Finally, the resulting wave files were batch-processed in the included VoiceFX tool that allows the creation of robots, monsters, aliens, stadium announcements, radio transmissions and much more\u2026<\/p>\n\n

\n
\n\"AltoStudio1\"
\n<\/a>\n
\n\"AltoStudio2\"
\n<\/a>\n<\/div>\n\n

 <\/p>\n

Using DSPAnime<\/h3>\n

We even used DSP Anime<\/a> for some rare sounds. For example, in the Kyoto scene, you draw shape in the sand of a Japanese garden to unlock new items and musical phrases. Each time a new garden object is unlocked, a magical sound is played, for which we simply used the Magic category of DSP Anime!<\/p>\n\n

\n
\n\"DSPAnime1\"
\n<\/a>\n
\n\"DSPAnime2\"
\n<\/a>\n<\/div>\n
\n <\/p>\n

Example<\/h3>\n

Here is a short video of the LosAngeles scene. Note that the music was composed separately in Ableton Live.
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