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Game Audio Development with Unity 5.X

Game Audio Development with Unity 5.X

By : Micheal Lanham
4.5 (2)
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Game Audio Development with Unity 5.X

Game Audio Development with Unity 5.X

4.5 (2)
By: Micheal Lanham

Overview of this book

Game Audio is one of the key components in making a game successful and it is quite popular in the gaming industry. So if you are a game developer with an eye on capturing the gamer market then this book is the right solution for you. In this book, we will take you through a step by step journey which will teach you to implement original and engaging soundtracks and SFX with Unity 5.x. You will be firstly introduced to the basics of game audio and sound development in Unity. After going through the core topics of audio development: audio sources, spatial sound, mixing, effects, and more; you will then have the option of delving deeper into more advanced topics like dynamic and adaptive audio. You will also learn to develop dynamic and adaptive audio using the Unity Audio Mixer. Further, you will learn how professional third party tools like FMOD are used for audio development in Unity. You will then go through the creation of sound visualization techniques and creating your own original music using the simple yet powerful audio workstation Reaper. Lastly, you will go through tips, techniques and strategies to help you optimize game audio performance or troubleshoot issues. At the end of the book, you’ll have gained the skills to implement professional sound and music. Along with a good base knowledge audio and music principles you can apply across a range of other game development tools.
Table of Contents (12 chapters)
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Real-time character lip sync

Now, we are ready to pull all our previous work together and setup our real-time lip syncing character. However, before we do that, we probably should set some expectations on the negatives of using this method as well as the benefits. Take a look at the list of Negatives versus Benefits in the following table:

Negatives

Benefits

  • Vocals need to be tuned to the speaker or speakers vocal range. It may be possible for males to share vocal sound charts but not with a female.
  • Depending on the vocal range, there may still be some overlap in phoneme vocalizations. For instance, a speakers MMM and U vocalization may register the same, but the phonemes look completely different.
  • Real-time and dynamic character lip syncing that once tuned can be reused over and over again. Pre-recorded vocals can also played to generate character lip syncing as...

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