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Institute
Foley and Ambience
(2026)
This lesson introduces the concepts of foley and ambience. It demonstrates how the technique of foley can be used to create sounds for video games. A brief guide on producing foley summarizes this topic. Field recording is discussed as a method for creating ambiences, covering different microphones and recording techniques.
Implementation of Noises
(2026)
In computer games, there are numerous gameplay situations where sounds (such as engine noises or spaceship sounds) change noticeably with player actions. It is not feasible to provide a separate sound for every possible operational state in a library. Typically, a "sampling-pitch-blend container" approach is used. In this lesson, this method is introduced to students using two examples.
This lesson presents the general sound design process, game elements, and the functions of sound in games. The differences between linear and nonlinear sound design are discussed and illustrated with examples. The key stages of the sound design process sourcing, designing and implementation are explained in detail. Additionally, the important concept of layering is introduced and supported by sound examples. The six game elements as well as methods for setting the mood, creating a sense of space and providing sonic feedback are presented.
Spatial Audio 1
(2026)
In this lesson, the concept of spatial audio is introduced. This is the first part of a two-part series focusing on the basics of surround sound, such as 5.1 and 7.1 setups. Additionally, the technique of Ambisonics is explained and illustrated with examples. These examples utilize Head-Related Transfer Functions to emulate a spatial experience on standard headphones. In the final part of the lesson, different virtual acoustics are presented, showing how sound interacts with acoustic textures in a game engine.
Managing Voices and Language Localizations, Voice Recording, Scripting. In this lesson, the process of implementing spoken language in games is presented. This includes the definition of different types and use cases. Cue sheets, which are used to guide the recording of spoken language, are discussed, followed by the process of editing the recordings. Finally, various dialogue systems for video games are introduced.
Dynamic Mixing
(2026)
Mixing audio for video games requires a different approach than traditional mixing. This dynamic mixing approach is presented in this lesson, with the overall aim of minimizing the use of computer resources. Concepts such as voice limiting, prioritization, and volume thresholds are explained. Additionally, various implementation techniques are introduced to provide an efficient mixing workflow.
In this lesson, so-called authoring systems are presented, which are used to support the implementation and design of audio for video games. In addition to typical game engines, middleware is used to act as a bridge between audio and visuals. The general workflow is explained to provide a fundamental overview that can be applied in software such as Wwise or FMOD. This includes the principles of events, game syncs, and game objects.
Vermittelte Themen: Sounddrones sind als wummerndes Drönen und unheimlicher Hintergrundklangteppich aus vielen Kinofilmen und Computerspielen bekannt. Dem Studierenden sollen neben den Methoden der Klangsynthese auch Instrumente wie das sogenannte Waterphone oder Techniken wie das deutlich verlangsamte Abspielen von Aufnahmen natürlicher Geräusche in dieser Lerneinheit vermittelt werden.
Spatial Audio II
(2026)
In this lesson, the concept of spatial audio is explored. This is the second part of a two-part series focusing on the basics of object based audio, such as Dolby Atmos. Additionally, the technique of Vector-Based Amplitude Panning is explained to deepen the technical understanding of object based audio. These examples use Head-Related Transfer Functions to emulate a spatial experience on standard headphones and build the fundamentals of binaural rendering.
Interactive music is background music in computer games that adapts in volume, rhythm, and mood to different elements of the game. This lesson covers topics such as horizontal resequencing, working with music loops, and creating transitions and stingers. It also introduces the technical implementation of interactive music in a computer game.