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#11 | ||||||||
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Junior Member
Location: Frankfurt, Germany |
I read some of the dicussion here (didn't read every single post though
). I think that adaptive music is totally possible today. With our company we actually do it today. Although it is challenging from a musical point of view as well for the audio engine used, we can produce adaptive soundtracks. Modern audio engines like Audiokinetic's Wwise support us in cross-fading musical ideas on the beat without being noticed by the player. All these transitions or mixing of different sound layers can happen in reaction to any in-game event. Sure it is very challenging to compose music for interactivity and for such an engine - but it is also very rewarding in terms of emotional depth for the player. It is actually this interactivity that differentiates movie composers from game composers. I'm a bit sad that most of the game music today is produced by movie soundtrack makers. Sure, they know how to support emotions musically, but they usually have totally no grasp of interactivity. And don't even try to ask them to script some in-game events to trigger audio... . Composing for adaptive audio is a new challenge and we hope that music and game schools will recognize this and integrate adaptive composing into their curriculum. |
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#12 | ||||||||
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Junior Member
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Looking at the Mozart Dice Game referenced in the article, it would seem that many different styles and moods can be contained, ready to be selected as needed, and segue neatly with one another.
Adaptive music is certainly becoming noticeable in more games of late. De Blob had an interesting take on this, with a base track that had multiple solo 'flourishes' which could be layed on top, responding purely to player action. Different colours represent different instruments, and the act of colouring objects is the trigger. It's a very new field and the process is not defined yet, so it's daunting. But it is far from impossible. |
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#13 | ||||||||
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Junior Member
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Thanks so much for sharing the post.
taux pret auto - taux pret auto differe selon la rise en compte ... calculent automatiquement le taux pour un prêt automobile donne. |
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#14 | ||||||||
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Junior Member
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Adaptive music is good. BAD adaptive music, however... *shudders*
We have Lego Star Wars at our house, and that game has "adaptive" music. When you're just walking around, the different areas have different music. When you fight, it plays something more dramatic... like a fast-paced version of the SW theme song. Here's the problem- it does that even if you're invisible, or a Jedi ghost, or shooting from behind, or even if most of your enemies are dead. Problem? YES.
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Shiny. Let's be bad guys. :D |
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). I think that adaptive music is totally possible today. With our company we actually do it today. Although it is challenging from a musical point of view as well for the audio engine used, we can produce adaptive soundtracks. Modern audio engines like Audiokinetic's Wwise support us in cross-fading musical ideas on the beat without being noticed by the player. All these transitions or mixing of different sound layers can happen in reaction to any in-game event. Sure it is very challenging to compose music for interactivity and for such an engine - but it is also very rewarding in terms of emotional depth for the player. It is actually this interactivity that differentiates movie composers from game composers. I'm a bit sad that most of the game music today is produced by movie soundtrack makers. Sure, they know how to support emotions musically, but they usually have totally no grasp of interactivity. And don't even try to ask them to script some in-game events to trigger audio... 






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