By Todd M. Fay, Scott Selfon, Todor J. Fay
The de facto source on interactive sound and tune construction for home windows, this ebook covers subject matters vital to musicians and sound designers.
Read or Download DirectX Audio Exposed: Interactive Audio Development PDF
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Extra resources for DirectX Audio Exposed: Interactive Audio Development
Controlling secondary Segments are typically reserved for more advanced usage (for instance, changing the chord progression of the primary Segment, say, when an antagonist enters the same room as the hero in the game). Primary Segments are generally the main background music or ambience. Secondary Segments are often “one-shot” sounds or “stingers” that play over the primary — perhaps sound effects or musical motifs. Secondary Segments follow the primary’s chord progression, so musically motivated secondary Segments can play with appropriate transposition and voicing.
A famous example of adaptive audio in games occurs in Tetris. The music plays at a specified tempo, but that tempo will double if the player is in danger of losing the game. Avoiding repetition is an excellent first step in a strong audio implementation for games, as well as reintroducing music listeners to some potentially intriguing performance characteristics lost when listening to linear music. Continuing to focus on audio for games for a moment, audio content triggered out of context to game events is in many ways less desirable than simple repetition.
A Segment can be either primary or secondary. Only one primary Segment may play at a time; starting a new primary Segment will implicitly stop and replace any previously playing primary Segment. Primary Segments typically dictate tempo, groove level, chord progression, and other big picture (aka “global”) performance-level events. By contrast, many secondary Segments may be playing at the same time. Secondary Segments typically layer on top of the primary Segment, picking up and using the primary Segment’s tempo and other settings.