Processing sound reference2/5/2024 Take music as an example, the master should have a frequency response of press quality and full dynamics. This is the rule of thumb for loudness control. Therefore, the first step in the process is to ensure that we make room in terms of loudness and frequency response for other sounds. This is what sets mass production apart from artistic creation.Ĭontrol over asset frequency responses must serve the whole mix, whatever categories of assets at hand, including music and dialogue. ![]() While it can be affordable to handle 10 or 100 assets, balancing the frequency responses and loudness of tens of thousands of assets in games is on a whole different level. Therefore, what I present here is for further discussion with you, the readers! Every experienced designer will have his/her own methodology related to this topic some can be very personal, others by industry standards. Due to such complexity, I found it extremely challenging to explain this topic clearly. We cannot adjust the dynamics and frequency response of any small segment at will, as we do when producing for film or television. In a game, each individual sound contributes to the overall output loudness. We deal with complex sounds most of the time. Translation from Chinese to English by: BEINAN LI , Product Expert, Developer Relations - Greater China at Audiokinetic ![]() Please stay tuned for more in the future. Closing the series with a post-mortem case study of a released Chinese project, we hope that our effort has helped readers gain a first look at game audio practice in China, as a massive yet under-explored market. This is the finale of the three-piece series Loudness Processing Best Practice for Games by the Chinese game audio designer Digimonk, originally published on.
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