The folks at Valley Haunted House used one of my Hollow Oak Audio items and were kind enough to link me with the trailer they used it on. It’s very rare that you see or hear where your Audio Jungle items end up, so it’s great to see a finished product!
In my last post I explained how to attach an FMOD_StudioEventEmitter component to a game object, then, play it by adding a short line of code to the relevant script. Another method of playing FMOD events is attaching them to animations, this allows for much greater control with the ability to trigger sounds at any point along an animations timeline.
After a lot of trial and error, tutorials and trouble shooting I managed to get my first FMOD & Unity integration project working using the Space Shooter complete project from the Unity Asset Store.
The Space Shooter complete project comes with sound already in game using the Unity audio engine. The sounds are all basically one shot samples added to game objects via Unity Audio Source components. I could have just replaced each audio file with a new one of the same name, but I wanted to implement the sound with FMOD and take advantage of things like multi sound modules and pitch randomisation. This meant I had to replace
The last few days have mostly been about designing a new palette for the game I’ve been working on Button Up!. In its first iteration Button Up! was Molecule Match, the game mechanics are essentially the same (not accounting for the developments since then) but with a new theme. So as the theme changed from a science based game about molecules to a haberdashery-esc game about buttons, the SFX were in need of an overhaul.
This week I decided it was time to get my hands dirty and get to grips with Wwise. Reading through forum posts and various subreddits, whenever someone asks which implementation software they should learn theres nearly always a resounding answer of “ALL OF THEM”. I’ve had a play about with FMOD in the past but not actually used it to implement audio into a game (FMOD has a bunch of great tutorial videos on youtube that take you through it’s features). So after stumbling through some pretty grainy Wwise tutorial videos on YouTube, I was happy to discover the CRAS Wwise 101 Certification Course, and that during the course you will actually implement audio into the game Cube.
So from my personal experience, the course takes you from looking at Wwise and scratching your head, to at the very least feeling confident that you know what the nuts and bolts are.
For those of you who’ve never heard of The Sound Collectors’ Club, at its core it’s a hybrid of crowd sourcing and community based sharing of…sound effects. The club works on themeswhich are open to suggestion by the community and change every couple of months. For a small annual fee of £20 you can become a member and get involved.
To get access to the communities contributions to each theme, you need to submit at
A short while back I stumbled on a tweet from a fellow Sound Designer Jef Aerts. As the title shows, Jef had the great idea of building a crowd-sourced sound library of probably one of the most well known sound effects (you’d probably recognise it even if you didn’t know it by name), the Wilhelm Scream.
For years this sound effect has found it’s way into so many productions, here’s a
So, it turns out that the best time to record the sound of an empty passenger train is in the early hours of an Easter Sunday morning. Free from the noise pollution of hyped up geordies gobbing off about the match, I was able to get a nice clean recording.