The document provides definitions for various sound design and production terms as part of an assignment for a games design course. It includes definitions for terms like foley artistry, sound libraries, file formats like .wav and .aif, lossy compression, and .mp3 files. For each term, it provides a short definition from an online source as well as a brief description of how the term relates to the student's own production practice.
This document provides definitions for various terms related to sound design and production for computer games. It includes a glossary with terms like Foley artistry, sound libraries, file formats like .wav and .aiff, compression types, audio hardware components, and recording systems. For each term, it provides a short definition from an online source as well as a description of how the term relates to the author's own production practice.
This document contains a glossary of terms related to sound design and production for a games design course. It provides definitions for terms like Foley artistry, sound libraries, file formats like .wav and .aiff, audio limitations involving sound cards and processors, and other concepts. For each term, it gives a short definition from an online source and asks the student to describe how the term relates to their own production practice.
The document provides definitions for terms related to sound design and production. It includes a glossary with terms like Foley artistry, sound libraries, sound file formats (.wav, .aiff, .au, .smp), and lossy compression. For each term, it provides a short definition from an online source and describes how the term relates to the author's own production practice.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley artistry, sound libraries, file formats like .wav and .aiff, lossy compression and formats like .mp3, limitations of hardware like sound processor units and digital sound processors, requirements for random access memory, and descriptions of mono versus stereo audio. Each term's definition includes a short summary and link to the source, as well as the student's thoughts on how the term relates to their own production practice.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for over 20 key terms, sourced from online references. For each term, the student also provides a brief description of how the term relates to their own production practice, such as formats and file types used, software and hardware employed, and recording and editing techniques.
Kyle Fielding produced a glossary of terms related to sound design and production for a games design course. The glossary contains definitions for terms like Foley artistry, sound libraries, audio file formats like .wav and .aiff, lossy compression formats like .mp3, audio hardware limitations such as sound processor units and digital sound processors, and audio techniques including mono, stereo, and surround sound. Kyle explained how each term is relevant to his own production practice, such as using sound libraries to organize sounds and common file formats when saving and opening files.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for over 20 terms researched by the student from online sources. For each term, the student provides a short definition found on the internet along with the URL source, and also describes how the term relates to their own production practice if applicable. The terms cover areas such as sound file formats, audio limitations, recording systems, and MIDI instruments.
1) The document provides definitions and descriptions of various audio and sound design terms, sourced from online research. It includes terms related to sound file formats, audio recording systems, audio limitations, and more.
2) For each term, the document provides a short definition from an online source, as well as the student's own experience with that term in their production practice.
3) The student has experience using various sound file formats like .WAV and uncompressed formats for game sound programming. They have also used techniques like foley artistry and lossy compression for game audio.
This document provides definitions for various terms related to sound design and production for computer games. It includes a glossary with terms like Foley artistry, sound libraries, file formats like .wav and .aiff, compression types, audio hardware components, and recording systems. For each term, it provides a short definition from an online source as well as a description of how the term relates to the author's own production practice.
This document contains a glossary of terms related to sound design and production for a games design course. It provides definitions for terms like Foley artistry, sound libraries, file formats like .wav and .aiff, audio limitations involving sound cards and processors, and other concepts. For each term, it gives a short definition from an online source and asks the student to describe how the term relates to their own production practice.
The document provides definitions for terms related to sound design and production. It includes a glossary with terms like Foley artistry, sound libraries, sound file formats (.wav, .aiff, .au, .smp), and lossy compression. For each term, it provides a short definition from an online source and describes how the term relates to the author's own production practice.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley artistry, sound libraries, file formats like .wav and .aiff, lossy compression and formats like .mp3, limitations of hardware like sound processor units and digital sound processors, requirements for random access memory, and descriptions of mono versus stereo audio. Each term's definition includes a short summary and link to the source, as well as the student's thoughts on how the term relates to their own production practice.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for over 20 key terms, sourced from online references. For each term, the student also provides a brief description of how the term relates to their own production practice, such as formats and file types used, software and hardware employed, and recording and editing techniques.
Kyle Fielding produced a glossary of terms related to sound design and production for a games design course. The glossary contains definitions for terms like Foley artistry, sound libraries, audio file formats like .wav and .aiff, lossy compression formats like .mp3, audio hardware limitations such as sound processor units and digital sound processors, and audio techniques including mono, stereo, and surround sound. Kyle explained how each term is relevant to his own production practice, such as using sound libraries to organize sounds and common file formats when saving and opening files.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for over 20 terms researched by the student from online sources. For each term, the student provides a short definition found on the internet along with the URL source, and also describes how the term relates to their own production practice if applicable. The terms cover areas such as sound file formats, audio limitations, recording systems, and MIDI instruments.
1) The document provides definitions and descriptions of various audio and sound design terms, sourced from online research. It includes terms related to sound file formats, audio recording systems, audio limitations, and more.
2) For each term, the document provides a short definition from an online source, as well as the student's own experience with that term in their production practice.
3) The student has experience using various sound file formats like .WAV and uncompressed formats for game sound programming. They have also used techniques like foley artistry and lossy compression for game audio.
This document provides definitions for key terms related to sound design and production. It includes a glossary with over 20 terms defined, each with a short definition and URL for reference. Examples of defined terms include Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations like sound cards, digital audio techniques like PCM, audio recording systems such as analog and digital, MIDI, software sequencers, and concepts of audio sampling like bit-depth and sample rate. For many terms, the document also provides a brief description of how the term relates to the author's own production practice.
The document is a glossary created by a student, Steph Hawkins, for a unit on sound design and production. It contains definitions for over 15 key terms related to sound design methodology, file formats, audio limitations, and audio recording systems. For each term, Steph provides a short internet-researched definition and URL source, and also describes how the term relates to their own production practice.
Ig2 task 1 work sheet (improved version)NeilRogero
The document provides definitions and explanations of various terms related to sound design and production for computer games. It includes a glossary with over 15 terms defined, with each definition citing a source URL. For each term, the author also provides a short description of how the term relates to their own production practice. The terms cover areas such as sound file formats, audio limitations, audio recording systems, and more. The document appears to be an assignment where the author was asked to research and define sound design terms as part of their studies.
This document contains a glossary of terms related to sound design and production for computer games. It provides definitions for terms like foley artistry, sound libraries, uncompressed and lossy file formats like .wav and .mp3, limitations of audio like memory and mono vs stereo sound, audio recording systems such as analog, digital and MIDI, and concepts of audio sampling like bit-depth and sample rate. For each term, the student provided a short definition from an online source as well as how the term relates to their own production practice.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley Artistry, Sound Libraries, file formats like .wav and .mp3, audio limitations like Sound Processor Unit and Stereo Audio, audio recording systems like Analog and Digital Audio Tape, and audio sampling concepts like Bit-depth and Sample Rate. For each term, it provides a short definition from an online source as well as how the term relates to the author's own production practice.
We could use software sequencers and MIDI files to create musical pieces on our computers. MIDI allows us to record notes, lengths, dynamics and other parameters to create digital music. We can then use software instruments and plugins to alter sounds and playback our musical performances through our computers. We may also use various file formats like .wav, .mp3, and lossy compression to ensure our sound files don't take up too much storage space but still sound high quality. Different recording and playback systems like analogue, CDs, and digital audio tape allow storage of audio files in different portable formats. Understanding these concepts is important for effective sound design and production.
The document is a glossary assignment for a games design course requiring definitions of sound design and production terms. It contains research definitions from online sources for over 20 terms related to sound file formats, audio limitations, recording systems, sampling, and more. For each term, the student provided a short definition from an online source along with the URL to fulfill the assignment requirements.
David Hall completed a glossary of terms related to sound design and production. He researched definitions from online sources and described how each term relates to his own production practice. Some key terms he defined included Foley effects, sound libraries, audio file formats like .wav and .mp3, audio limitations such as sound cards and RAM, audio recording systems, MIDI, software sequencers, and plugins. The document provides an overview of foundational concepts in sound design through David's research and application to his own work.
1) The document is a glossary of terms related to sound design and production for computer games. It contains definitions of terms researched by the student along with descriptions of how each term relates to their own production work.
2) The terms defined include Foley artistry, sound libraries, uncompressed and lossy audio file formats, limitations of sound processors and memory, mono/stereo/surround sound, analog and digital audio recording systems, MIDI, software sequencers, plugins, and sampling constraints.
3) For each term, the student provided a short internet definition and URL, and explained how the concept was relevant to audio work they had done for classes or projects.
The document is a glossary of terms related to sound design and production for computer games. It provides definitions for terms like Foley artistry, sound libraries, file formats like .wav and .mp3, hardware like sound cards, and software tools like MIDI, plugins, and sequencers. For each term, it also describes how the term relates to the student's own production work, such as using Foley sounds to make scenes more realistic, compressing files for size, or using plugins to experiment with MIDI sounds.
The document is a glossary created by Robert Hillard-Linney for a unit on sound design and production. It contains definitions for over 20 key terms related to sound design methodology, file formats, audio limitations, audio recording systems, audio sampling, and MIDI instruments. Each definition includes a short researched definition from an online source and Robert's description of how the term relates to his own production practice.
Hayden Parkes produced a glossary of key terms related to sound design and production for computer games. He provided definitions from online research for terms like foley artistry, sound libraries, file formats like .wav and .aiff, compression types, audio hardware like sound cards and MIDI keyboards, and concepts like sampling rates and bit depths. For each term, he described how the concept relates to his own work producing game audio, such as using uncompressed formats, stereo recording, and software plugins and sequencers.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations involving hardware, recording systems, sampling, and more. For each term, it provides a short definition from an online source as well as any relevance to the author's own production practice.
The document defines and describes various terms related to sound design for computer games. It provides short definitions for terms like Foley artistry, sound libraries, uncompressed and lossy file formats like WAV and MP3. It also discusses audio hardware components like sound processor units, digital signal processors and limitations like random access memory. Methods of audio playback and recording are covered, such as mono, stereo, surround sound, and analogue recording. The student explains the relevance of each term to their own production work for the games design course and unit.
This document provides a glossary of terms related to sound design and production for computer games. It defines terms such as foley artistry, sound libraries, file formats like .wav and .mp3, audio limitations involving sound processors and memory, audio recording systems using analog and digital methods, MIDI, software plugins, sampling keyboards, and factors that influence file size like bit depth and sample rate. The student created their own sample library and uses .wav files, and discusses how some of the researched terms relate to their own production practice.
Nathan Mather has produced a glossary of terms related to sound design and production. The glossary contains definitions for terms such as foley artistry, sound libraries, uncompressed audio files, .wav files, .aiff files, .au files, .smp files, lossy compression, .mp3 files, sound processor units, digital sound processors, random access memory, mono audio, stereo audio, and surround sound. For each term, Nathan provides a short definition from an online source as well as his own experience with how the term relates to his production practice.
The document provides definitions for various audio and sound design terms. It includes a glossary with over 20 terms defined, along with the relevance of each term to the individual's own sound production practice. Some of the key terms defined include Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations such as sound processor units and digital sound processors, audio recording systems, audio sampling constraints, and MIDI keyboards. For each term, a short definition is given from an online source along with the individual's description of how the concept relates to their own work.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for over 20 key terms, sourced from online references. For each term, the student briefly explains how the concept relates to their own work producing game audio, such as using sound libraries and MIDI to create custom sounds, and software sequencers to assemble soundtracks.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for over 20 key terms with URLs linking to where the definitions were obtained. For each term, the student also provides a short explanation of how the term relates to their own production practice, such as using sound libraries to add pre-made sounds to their work in GTA. Common file formats, limitations of audio hardware, recording systems, MIDI, sampling, and other core concepts are defined and linked to the student's projects.
This document contains a glossary of terms related to sound design and production for computer games. It includes definitions that Adam Copeland researched for terms like Foley artistry, sound libraries, common audio file formats like .wav and .mp3, audio limitations of hardware like the Sound Processor Unit and Digital Signal Processor, and audio techniques like mono, stereo, and surround sound. For each term, Copeland provides a short definition from an online source and describes how the term relates to his own production practice.
A survey was conducted asking gamers about their gaming preferences. Most respondents played on Xbox and were male. First person shooters, sports games, and racing games were most popular genres. Most gamers also watch YouTube videos. The document concludes that a gamers forum could be successful if marketed properly given the size of the gaming market and lack of competition.
This document provides definitions for key terms related to sound design and production. It includes a glossary with over 20 terms defined, each with a short definition and URL for reference. Examples of defined terms include Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations like sound cards, digital audio techniques like PCM, audio recording systems such as analog and digital, MIDI, software sequencers, and concepts of audio sampling like bit-depth and sample rate. For many terms, the document also provides a brief description of how the term relates to the author's own production practice.
The document is a glossary created by a student, Steph Hawkins, for a unit on sound design and production. It contains definitions for over 15 key terms related to sound design methodology, file formats, audio limitations, and audio recording systems. For each term, Steph provides a short internet-researched definition and URL source, and also describes how the term relates to their own production practice.
Ig2 task 1 work sheet (improved version)NeilRogero
The document provides definitions and explanations of various terms related to sound design and production for computer games. It includes a glossary with over 15 terms defined, with each definition citing a source URL. For each term, the author also provides a short description of how the term relates to their own production practice. The terms cover areas such as sound file formats, audio limitations, audio recording systems, and more. The document appears to be an assignment where the author was asked to research and define sound design terms as part of their studies.
This document contains a glossary of terms related to sound design and production for computer games. It provides definitions for terms like foley artistry, sound libraries, uncompressed and lossy file formats like .wav and .mp3, limitations of audio like memory and mono vs stereo sound, audio recording systems such as analog, digital and MIDI, and concepts of audio sampling like bit-depth and sample rate. For each term, the student provided a short definition from an online source as well as how the term relates to their own production practice.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley Artistry, Sound Libraries, file formats like .wav and .mp3, audio limitations like Sound Processor Unit and Stereo Audio, audio recording systems like Analog and Digital Audio Tape, and audio sampling concepts like Bit-depth and Sample Rate. For each term, it provides a short definition from an online source as well as how the term relates to the author's own production practice.
We could use software sequencers and MIDI files to create musical pieces on our computers. MIDI allows us to record notes, lengths, dynamics and other parameters to create digital music. We can then use software instruments and plugins to alter sounds and playback our musical performances through our computers. We may also use various file formats like .wav, .mp3, and lossy compression to ensure our sound files don't take up too much storage space but still sound high quality. Different recording and playback systems like analogue, CDs, and digital audio tape allow storage of audio files in different portable formats. Understanding these concepts is important for effective sound design and production.
The document is a glossary assignment for a games design course requiring definitions of sound design and production terms. It contains research definitions from online sources for over 20 terms related to sound file formats, audio limitations, recording systems, sampling, and more. For each term, the student provided a short definition from an online source along with the URL to fulfill the assignment requirements.
David Hall completed a glossary of terms related to sound design and production. He researched definitions from online sources and described how each term relates to his own production practice. Some key terms he defined included Foley effects, sound libraries, audio file formats like .wav and .mp3, audio limitations such as sound cards and RAM, audio recording systems, MIDI, software sequencers, and plugins. The document provides an overview of foundational concepts in sound design through David's research and application to his own work.
1) The document is a glossary of terms related to sound design and production for computer games. It contains definitions of terms researched by the student along with descriptions of how each term relates to their own production work.
2) The terms defined include Foley artistry, sound libraries, uncompressed and lossy audio file formats, limitations of sound processors and memory, mono/stereo/surround sound, analog and digital audio recording systems, MIDI, software sequencers, plugins, and sampling constraints.
3) For each term, the student provided a short internet definition and URL, and explained how the concept was relevant to audio work they had done for classes or projects.
The document is a glossary of terms related to sound design and production for computer games. It provides definitions for terms like Foley artistry, sound libraries, file formats like .wav and .mp3, hardware like sound cards, and software tools like MIDI, plugins, and sequencers. For each term, it also describes how the term relates to the student's own production work, such as using Foley sounds to make scenes more realistic, compressing files for size, or using plugins to experiment with MIDI sounds.
The document is a glossary created by Robert Hillard-Linney for a unit on sound design and production. It contains definitions for over 20 key terms related to sound design methodology, file formats, audio limitations, audio recording systems, audio sampling, and MIDI instruments. Each definition includes a short researched definition from an online source and Robert's description of how the term relates to his own production practice.
Hayden Parkes produced a glossary of key terms related to sound design and production for computer games. He provided definitions from online research for terms like foley artistry, sound libraries, file formats like .wav and .aiff, compression types, audio hardware like sound cards and MIDI keyboards, and concepts like sampling rates and bit depths. For each term, he described how the concept relates to his own work producing game audio, such as using uncompressed formats, stereo recording, and software plugins and sequencers.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations involving hardware, recording systems, sampling, and more. For each term, it provides a short definition from an online source as well as any relevance to the author's own production practice.
The document defines and describes various terms related to sound design for computer games. It provides short definitions for terms like Foley artistry, sound libraries, uncompressed and lossy file formats like WAV and MP3. It also discusses audio hardware components like sound processor units, digital signal processors and limitations like random access memory. Methods of audio playback and recording are covered, such as mono, stereo, surround sound, and analogue recording. The student explains the relevance of each term to their own production work for the games design course and unit.
This document provides a glossary of terms related to sound design and production for computer games. It defines terms such as foley artistry, sound libraries, file formats like .wav and .mp3, audio limitations involving sound processors and memory, audio recording systems using analog and digital methods, MIDI, software plugins, sampling keyboards, and factors that influence file size like bit depth and sample rate. The student created their own sample library and uses .wav files, and discusses how some of the researched terms relate to their own production practice.
Nathan Mather has produced a glossary of terms related to sound design and production. The glossary contains definitions for terms such as foley artistry, sound libraries, uncompressed audio files, .wav files, .aiff files, .au files, .smp files, lossy compression, .mp3 files, sound processor units, digital sound processors, random access memory, mono audio, stereo audio, and surround sound. For each term, Nathan provides a short definition from an online source as well as his own experience with how the term relates to his production practice.
The document provides definitions for various audio and sound design terms. It includes a glossary with over 20 terms defined, along with the relevance of each term to the individual's own sound production practice. Some of the key terms defined include Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations such as sound processor units and digital sound processors, audio recording systems, audio sampling constraints, and MIDI keyboards. For each term, a short definition is given from an online source along with the individual's description of how the concept relates to their own work.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for over 20 key terms, sourced from online references. For each term, the student briefly explains how the concept relates to their own work producing game audio, such as using sound libraries and MIDI to create custom sounds, and software sequencers to assemble soundtracks.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for over 20 key terms with URLs linking to where the definitions were obtained. For each term, the student also provides a short explanation of how the term relates to their own production practice, such as using sound libraries to add pre-made sounds to their work in GTA. Common file formats, limitations of audio hardware, recording systems, MIDI, sampling, and other core concepts are defined and linked to the student's projects.
This document contains a glossary of terms related to sound design and production for computer games. It includes definitions that Adam Copeland researched for terms like Foley artistry, sound libraries, common audio file formats like .wav and .mp3, audio limitations of hardware like the Sound Processor Unit and Digital Signal Processor, and audio techniques like mono, stereo, and surround sound. For each term, Copeland provides a short definition from an online source and describes how the term relates to his own production practice.
A survey was conducted asking gamers about their gaming preferences. Most respondents played on Xbox and were male. First person shooters, sports games, and racing games were most popular genres. Most gamers also watch YouTube videos. The document concludes that a gamers forum could be successful if marketed properly given the size of the gaming market and lack of competition.
The document discusses several key components used in gaming including RAM, CPU, graphics processors, display/output, sound/audio, storage media, power supplies, operating systems, networking, wireless technologies, caching, media processors, 2D and 3D graphics processing, subscription TV, enhanced TV, APIs, programming languages, object-oriented programming, and scripting languages. It provides details on what each component is and how it is used in gaming.
There are two main types of RAM, DRAM and SRAM, that differ in how they hold data, with DRAM being more common. The CPU processes instructions and computations, and its strength affects game performance. The GPU handles graphically intensive tasks like rendering 3D scenes to reduce strain on the CPU. It was pioneered by NVIDIA and is important for showing game graphics. Storage media like hard drives are used to store game files and programs.
The document discusses several key components used in gaming including RAM, CPU, graphics processor, display, sound, storage media, power supply, operating system, networking, and cache. It explains that RAM is used for temporary storage and comes in DRAM and SRAM types. The CPU processes instructions and computations. The graphics processor handles graphics processing to reduce strain on the CPU. Displays are needed for users to see output. Sound and audio involve processing sound files and output. Storage media stores game files and data. Power supplies provide electricity to components. Operating systems run the underlying software. Networking such as LANs allow components to connect. Cache stores recently used data for faster access.
Franklin arrives at Martin's mansion to discuss a job. Martin shows Franklin police costumes and a plan to break into the police station and steal evidence for a client, using hacked police profiles to avoid detection. Franklin questions the risky plan but agrees when learning the pay is $1,000,000. Martin and Franklin prepare to head to the police station to carry out the evidence theft.
Graphics cards perform math calculations to improve graphics and come in a wide range of prices from £50 to £300. Faster graphics card speeds can significantly boost performance by allowing higher graphics settings. Graphics cards have their own cache memory designed to speed up access to frequently used data. 2D cards can only process 2D pixels while 3D cards can process polygons and textures in 3D space to render objects in front of each other with lighting and perspective. The PS4 uses an x86 CPU while the Xbox One uses 768 shader cores.
Unit 73 ig3 assignment programming sound assets to a game 2013_y1thomasmcd6
This document provides an assignment brief for a student to complete tasks involving sound design and programming for a computer game. The student must select sound effects and music they have produced, document the process of programming these sounds into their game, and create a video demonstrating the gameplay and soundtrack. The tasks are mapped to learning outcomes that involve describing sound design, creating sound assets, and applying sounds to a game following industry practices. Sources of information and the assessor are also provided.
Unit 73 ig1 assignment computer game audio cut sequence production 2013_y1thomasmcd6
The document provides an assignment brief for a unit on sound design for computer games. The assignment requires students to record field recordings, analyze existing game cut sequences, write and record an audio script, and use audio editing software to create sound effects and a 2-minute cut sequence for a Grand Theft Auto 5 mission expansion pack. The assignment aims to teach portable and studio audio recording, audio post-production techniques, and the creation of technically proficient sound assets for computer games.
This assignment brief outlines 3 tasks for students to complete to assess their understanding of games console hardware and software technologies. Task 1 requires students to produce comparison tables of the key features of existing games consoles and mobile gaming devices. Task 2 involves designing specs and concept artwork for an open-source games console, including proposed hardware components and controller design. Task 3 is to create a glossary defining important hardware and software terms used in games technologies and providing examples of their usage. The assignment aims to evaluate students' ability to explain hardware and software technologies for games platforms using appropriate terminology.
Unit 73 ig1 assignment computer game audio cut sequence production 2013_y2thomasmcd6
This document provides an assignment brief for a unit on sound design for computer games. Students will complete 7 tasks to understand sound design principles, record field samples, analyze existing game audio, script and record an original cut scene, and use editing software to add effects and compose a final audio track for a Grand Theft Auto expansion. The goals are to learn industry standard recording and editing techniques and create a technically proficient 2-minute audio piece for a computer game cut scene.
This treatment outlines a proposal for a gaming forum targeted at males aged 16-25. It includes copying the logo into the document, explaining the target audience and why they were chosen, outlining costs for necessary equipment like cameras and computers totaling around £23,955.93, and how the forum content will be researched through a paid researcher. Marketing will be done through social media, YouTube ads, and gaming magazines. The treatment predicts the forum will be successful by filling a gap in the market for gaming forums and could earn enough through increased traffic to cover the startup costs.
This document discusses the specifications and features of a new console. It includes surround sound equipment without an additional cost. The console has an i7-3770k processor that can compete with high-end PCs, though this increases the cost. Users will also be able to supply their own CPU. The included CPU is expected to last at least 3 years. Storage includes 1TB of space on discs rather than digital downloads. Memory includes two 8GB DDR3 RAM modules for speed.
The apprentice will work as part of a product development team at a technology company, assisting with testing and validating Android applications. Their responsibilities will include testing applications on various devices, following test plans, logging bug reports, and maintaining test plans as the company's portfolio of 12 Android apps is regularly updated. They will report directly to the Technology Manager.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley artistry, sound libraries, uncompressed audio, WAV and AIFF file formats, lossy compression, MP3 files, sound cards, digital sound processors, RAM, mono audio, stereo audio, surround sound, PCM, analog audio, digital mini discs, and compact discs. For each term, it provides a short internet-sourced definition and links, as well as describing the relevance of the term to the author's own production practice where possible.
This document contains a glossary of terms related to sound design and production for computer games. It defines key terms such as Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations involving sound cards and RAM, audio recording systems involving analog, digital, and MIDI, and concepts of audio sampling like bit-depth and sample rate. For each term, the glossary provides a short definition from an external source as well as how the term relates to the author's own production practice.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley artistry, sound libraries, file formats like .wav and .aiff, lossy compression formats like .mp3, audio hardware like sound processor units and digital sound processors, memory formats like RAM, and audio formats like mono and stereo. For each term, it provides a short definition from an online source as well as a description of how the term relates to the author's own production practice.
This document contains a glossary of terms related to sound design and production. It provides definitions for terms like foley artistry, sound libraries, uncompressed audio formats (like .wav and .aiff), lossy compression formats (like .mp3), and components of sound hardware like sound processor units, digital sound processors, RAM, and mono audio. For each term, it gives a short definition from an online source as well as a brief description of how the term relates to the author's own audio production practice.
Brandon McNamara produced a glossary of 15 terms related to sound design and production for computer games. For each term, he provided a short definition from an online source along with details about how the term relates to his own production practice. Some of the key terms he defined and related to his work included Foley artistry, which he will use to add most sounds to his game, sound libraries which will be used to create most of his sounds, and software sequencers and plug-ins which he uses to edit most of the sounds.
Shaun Warburton produced a glossary of sound design and production terms. He researched definitions from online sources and described how each term relates to his own production practice. Some key terms he defined and related to his work include foley artistry, sound libraries, uncompressed audio file formats like .wav and .aiff, lossy compression formats like .mp3, limitations of early sound technology like Sound Processor Units, and digital audio recording systems like MIDI keyboards.
Jordan Smith has produced a glossary of terms related to sound design and production for computer games. The glossary contains definitions for terms like Foley Artistry, Sound Libraries, audio file formats like .wav and .mp3, limitations like RAM and mono audio, recording systems such as CDs and MIDI, sampling constraints like bit depth and sample rate, and tools like plug-ins and MIDI keyboards. Jordan provides context for each term and how it relates to his own production work where possible.
This document contains a glossary of terms related to sound design and production for computer games. It includes definitions that Adam Copeland researched for terms like Foley artistry, sound libraries, common audio file formats like .wav and .mp3, audio limitations of hardware like the Sound Processor Unit and Digital Signal Processor, and audio techniques like mono, stereo, and surround sound. For each term, Copeland provides a short definition from an online source as well as how the term relates to his own production practice, such as recording sounds for editing and using different file formats.
This document contains a glossary of terms related to sound design and production. It defines terms such as Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations including mono and stereo audio, audio recording systems like analog and digital, MIDI, software sequencers, plugins, and MIDI keyboard instruments. For each term, it provides a short definition and URL source, as well as describing the relevance of the term to the author's own production practice, such as using .wav files and mono audio when editing sounds, and using MIDI for creating custom music tracks.
This document contains a glossary of terms related to sound design and production for computer games. It includes definitions for terms like Foley artistry, sound libraries, file formats like .wav and .mp3, audio limitations such as memory and processors, recording systems like analog and digital audio tape, and more. For each term, the student provided an internet definition source and described how the term relates to their own production practice, such as using sound libraries to store recorded sounds and rendering files into different formats for various uses.
This document provides definitions for key terms related to sound design and production for computer games. It includes a glossary with over 20 terms defined, each with a short definition and link to the source. The student has also provided details on how several of the terms relate to their own production practice, such as using .wav and .mp3 file formats, MIDI keyboards to create sounds, and sample rates and bit depths when rendering sounds.
This document contains a glossary of terms related to sound design and production. It provides definitions for terms like Foley artistry, sound libraries, file formats like .wav and .aiff, audio limitations like RAM, and audio recording systems like analog, CDs, and MIDI. For each term, the student explained their relevance to their own production practice, noting experiences recording sounds and music, editing files, using virtual instruments, and more. The glossary contains over 20 terms and will help the student in their study of sound design.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for over 20 key terms, gathered from online research sources. For each term, the student provided a short definition from an online source, as well as their own description of how the term relates to their production practice or may be useful in the future. The glossary covers areas such as sound file formats, audio limitations, audio recording systems, audio sampling, and more.
1. The document provides definitions for key terms related to sound design and production for computer games. It includes definitions for terms like foley artistry, sound libraries, audio file formats (wav, aiff, au, smp), lossy compression (mp3), sound processors (SPU, DSP), memory (RAM), mono/stereo/surround sound, direct audio techniques like pulse code modulation, and analogue recording systems.
2. For each term, it gives a short definition from an online source and describes how the term relates to the individual's own audio production practice, discussing experiences using tools like sound libraries, different file formats, compression types, and pan techniques.
3. The glossary
This document contains a glossary of terms related to sound design and production for computer games. It provides researched definitions from online sources for terms like foley artistry, sound libraries, wav files, midi keyboards, sample rates, and more. For each term, it also describes how the definition relates to the author's own production practice. The goal is to research and gather technical definitions of sound design terms to expand knowledge in this area.
This document provides a glossary of terms related to sound design and production for computer games. It defines terms such as foley artistry, sound libraries, file formats like .wav and .aiff, compression types, audio hardware limitations, and audio configurations like mono, stereo, and surround sound. For each term, it provides a short definition and links to external sources, as well as describing the relevance of the term to the document author's own production practice. The glossary is intended to research and gather definitions for provided terms as part of a BTEC course assignment on sound design for computer games.
The document is a glossary of terms related to sound design and production for computer games. It contains definitions for terms like Foley artistry, sound libraries, audio file formats like .wav and .aiff, compression types like lossy compression and mp3, audio hardware like sound processor units and digital sound processors, audio formats like mono, stereo and surround sound, audio recording systems like analogue and digital mini disc. For each term, it provides a short definition from an online source as well as a description of how the term relates to the author's own production practice when possible.
This document contains a glossary of terms related to sound design and production. It defines terms like foley artistry, sound libraries, file formats like .wav and .mp3, audio limitations involving sound processor units and digital sound processors, audio recording systems, audio sampling concepts, and how they relate to the student's own production practice of manipulating sounds to create new sounds. The student researched definitions for each term and explained how some of the concepts, like using MIDI keyboards and sound sequencers, directly applied to their work, while other terms they were unfamiliar with or did not use in their projects.
Jordan Smith has produced a glossary of terms related to sound design and production for computer games. The glossary contains definitions for terms such as Foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations including sound processor units and random access memory, audio recording systems like analog and digital, MIDI, software sequencers, and audio sampling concepts like bit depth and sample rate. For each term, Jordan has provided a researched definition from an online source as well as his own comments on the relevance of the term to his production practice where possible.
_ig5 assignment final major project 2014 to 2015thomasmcd6
This document outlines the tasks and assessment criteria for a student's final major project. The project requires the student to:
1) Independently devise and manage a creative media production from pre-production to post-production. The project must relate to at least one discipline such as video, audio, motion graphics, photography or graphic design.
2) Develop initial ideas using techniques like mind maps and pitch a proposal for their chosen project.
3) Conduct research and pre-production planning including risk assessments, storyboards, schedules and test materials.
4) Produce the final media product according to their proposal and brief.
5) Evaluate their work by gathering audience feedback and analyzing the technical
Secondary research source analysis sheet video 1 thomasmcd6
This tutorial video teaches the basics of making a game using Construct 2. It is presented from the perspective of a single instructor who created the video. The video provides factual information about Construct 2 by demonstrating how to set up events for a platform game, but may also include some opinions of the creator about preferred ways to approach certain tasks. The key question addressed is how to make a platform game using Construct 2. The most important information conveyed is how different events are structured in the game development tool. After watching the tutorial, the viewer would understand some basic techniques for building their own game, such as setting up events.
Secondary research source analysis sheet video 1thomasmcd6
This video tutorial teaches the basics of creating a platform game using Construct 2. The tutorial is presented by thenewboston and provides a factual overview of the Construct 2 game engine and how to build a simple example game. It addresses how to set up events and objects to control game mechanics and shows the different event types available to game developers. The most important information is the demonstration of how events can be used differently to program gameplay.
Secondary research source analysis sheet video 1thomasmcd6
This video tutorial teaches the basics of creating a platform game using Construct 2. The tutorial is presented by thenewboston and provides a factual overview of the Construct 2 game engine and how to build a simple example game. It addresses how to set up events to control game mechanics and demonstrates different event types. The most important information is how to structure events to control the game's flow and behavior.
Final major project production diary template 2014 2015 1thomasmcd6
This document contains weekly progress updates for the development of a platform game created using Construct 2. It details the ongoing work, such as completing tutorials, adding enemy sprites and movement, creating multiple levels, implementing scoring, health bars, and win/lose conditions. Problems encountered include bugs and slow enemy movement. Plans for future work include improving artwork, adding coins, teleportation, and animations.
Secondary research source analysis sheet video 2thomasmcd6
This secondary research analysis sheet summarizes a YouTube tutorial on creating a menu/title screen in Construct 2. The tutorial, created by ConstructTutorials, provides factual information from a single author on how to make a main menu in Construct 2. The most important information is the specific behaviors and steps shown to create the menu. The analysis concludes with information on how the student will design their own game menu after reviewing the tutorial.
Secondary research source analysis sheet please workthomasmcd6
This tutorial video teaches the basics of making a game using Construct 2. It is presented from the perspective of a single instructor who created the video. The video provides factual information on how to make a platform game in Construct 2, showing different events and how they relate to the game maker. The most important information is the demonstration of how events are programmed differently. After watching, the conclusion one could arrive at is having learned some basic techniques for their own game development in Construct 2.
Secondary research source analysis sheet video 1thomasmcd6
This tutorial video teaches the basics of creating a platform game background using Construct 2. The video is presented by thenewboston and shows how to add specific platformer behaviors like jumping. While the information provided is mostly factual about the game development process using Construct 2, it also reflects the presenter's opinions and preferences. The key question addressed is how to make a platform game in Construct 2. The most important information is the demonstration of specific platform game mechanics. After watching the video, the student concluded how they will develop the background for their own platform game project.
Secondary research source analysis sheet video 3thomasmcd6
This secondary research analysis sheet summarizes a YouTube tutorial on creating a menu/title screen in Construct 2. The tutorial, created by ConstructTutorials, provides factual information from a single author on how to make a main menu in Construct 2. The most important information is the specific behaviors and steps shown to create the menu. The analysis concludes with information on how the student will design their own game menu after reviewing the tutorial.
Secondary research source analysis sheet video 2thomasmcd6
This tutorial teaches how to make a main menu in Construct 2. The video provides factual information from the perspective of the creator of the tutorial, ConstructTutorials, on how to create a menu screen in Construct 2 by demonstrating specific behaviors and functions. It addresses the key question of how to make a main menu in Construct 2 and shows the most important information of the specific platformer behaviors needed to do so, concluding with how the information can be applied to creating a game menu.
Final major project production diary template 2014 2015 2thomasmcd6
This document contains weekly progress updates for a student's major creative media production project from January to June. It outlines the tasks completed each week such as finishing tutorials, adding gameplay elements like enemies and levels, debugging issues, and creating art assets. The student aims to complete the game by adding a boss battle, victory/game over screens, and final animations in the coming weeks.
Final major project production diary template 2014 2015thomasmcd6
This document contains weekly progress updates for the development of a platform game created using Construct 2. It details the ongoing work, including completing tutorials, adding gameplay elements like enemies, powerups, and levels, debugging issues, and improving graphics. The developer aims to finish animations and polish the game over the remaining weeks.
The document describes the process of designing a virtual environment in Unity. The creator first made a terrain and added mountains, sand, grass, and a waterfall. They then decided to focus on a medieval castle and added consistent cliff textures and a forest. Houses, boats, a bridge, and snowy mountains were placed to develop a town under siege. The castle was resized and the surrounding terrain adjusted for realism. Walls were added around the town for protection that could only be accessed past the castle.
Essentials of Automations: The Art of Triggers and Actions in FMESafe Software
In this second installment of our Essentials of Automations webinar series, we’ll explore the landscape of triggers and actions, guiding you through the nuances of authoring and adapting workspaces for seamless automations. Gain an understanding of the full spectrum of triggers and actions available in FME, empowering you to enhance your workspaces for efficient automation.
We’ll kick things off by showcasing the most commonly used event-based triggers, introducing you to various automation workflows like manual triggers, schedules, directory watchers, and more. Plus, see how these elements play out in real scenarios.
Whether you’re tweaking your current setup or building from the ground up, this session will arm you with the tools and insights needed to transform your FME usage into a powerhouse of productivity. Join us to discover effective strategies that simplify complex processes, enhancing your productivity and transforming your data management practices with FME. Let’s turn complexity into clarity and make your workspaces work wonders!
Let's Integrate MuleSoft RPA, COMPOSER, APM with AWS IDP along with Slackshyamraj55
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“An Outlook of the Ongoing and Future Relationship between Blockchain Technologies and Process-aware Information Systems.” Invited talk at the joint workshop on Blockchain for Information Systems (BC4IS) and Blockchain for Trusted Data Sharing (B4TDS), co-located with with the 36th International Conference on Advanced Information Systems Engineering (CAiSE), 3 June 2024, Limassol, Cyprus.
Goodbye Windows 11: Make Way for Nitrux Linux 3.5.0!SOFTTECHHUB
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HCL Notes und Domino Lizenzkostenreduzierung in der Welt von DLAUpanagenda
Webinar Recording: https://www.panagenda.com/webinars/hcl-notes-und-domino-lizenzkostenreduzierung-in-der-welt-von-dlau/
DLAU und die Lizenzen nach dem CCB- und CCX-Modell sind für viele in der HCL-Community seit letztem Jahr ein heißes Thema. Als Notes- oder Domino-Kunde haben Sie vielleicht mit unerwartet hohen Benutzerzahlen und Lizenzgebühren zu kämpfen. Sie fragen sich vielleicht, wie diese neue Art der Lizenzierung funktioniert und welchen Nutzen sie Ihnen bringt. Vor allem wollen Sie sicherlich Ihr Budget einhalten und Kosten sparen, wo immer möglich. Das verstehen wir und wir möchten Ihnen dabei helfen!
Wir erklären Ihnen, wie Sie häufige Konfigurationsprobleme lösen können, die dazu führen können, dass mehr Benutzer gezählt werden als nötig, und wie Sie überflüssige oder ungenutzte Konten identifizieren und entfernen können, um Geld zu sparen. Es gibt auch einige Ansätze, die zu unnötigen Ausgaben führen können, z. B. wenn ein Personendokument anstelle eines Mail-Ins für geteilte Mailboxen verwendet wird. Wir zeigen Ihnen solche Fälle und deren Lösungen. Und natürlich erklären wir Ihnen das neue Lizenzmodell.
Nehmen Sie an diesem Webinar teil, bei dem HCL-Ambassador Marc Thomas und Gastredner Franz Walder Ihnen diese neue Welt näherbringen. Es vermittelt Ihnen die Tools und das Know-how, um den Überblick zu bewahren. Sie werden in der Lage sein, Ihre Kosten durch eine optimierte Domino-Konfiguration zu reduzieren und auch in Zukunft gering zu halten.
Diese Themen werden behandelt
- Reduzierung der Lizenzkosten durch Auffinden und Beheben von Fehlkonfigurationen und überflüssigen Konten
- Wie funktionieren CCB- und CCX-Lizenzen wirklich?
- Verstehen des DLAU-Tools und wie man es am besten nutzt
- Tipps für häufige Problembereiche, wie z. B. Team-Postfächer, Funktions-/Testbenutzer usw.
- Praxisbeispiele und Best Practices zum sofortigen Umsetzen
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Welcome to UiPath Test Automation using UiPath Test Suite series part 5. In this session, we will cover CI/CD with devops.
Topics covered:
CI/CD with in UiPath
End-to-end overview of CI/CD pipeline with Azure devops
Speaker:
Lyndsey Byblow, Test Suite Sales Engineer @ UiPath, Inc.
Maruthi Prithivirajan, Head of ASEAN & IN Solution Architecture, Neo4j
Get an inside look at the latest Neo4j innovations that enable relationship-driven intelligence at scale. Learn more about the newest cloud integrations and product enhancements that make Neo4j an essential choice for developers building apps with interconnected data and generative AI.
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Best 20 SEO Techniques To Improve Website Visibility In SERPPixlogix Infotech
Boost your website's visibility with proven SEO techniques! Our latest blog dives into essential strategies to enhance your online presence, increase traffic, and rank higher on search engines. From keyword optimization to quality content creation, learn how to make your site stand out in the crowded digital landscape. Discover actionable tips and expert insights to elevate your SEO game.
Unlock the Future of Search with MongoDB Atlas_ Vector Search Unleashed.pdfMalak Abu Hammad
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* What is Vector Search?
* Importance and benefits of vector search
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* Step-by-step implementation guide
* Live demos with code snippets
* Enhancing LLM capabilities with vector search
* Best practices and optimization strategies
Perfect for developers, AI enthusiasts, and tech leaders. Learn how to leverage MongoDB Atlas to deliver highly relevant, context-aware search results, transforming your data retrieval process. Stay ahead in tech innovation and maximize the potential of your applications.
#MongoDB #VectorSearch #AI #SemanticSearch #TechInnovation #DataScience #LLM #MachineLearning #SearchTechnology
UiPath Test Automation using UiPath Test Suite series, part 6DianaGray10
Welcome to UiPath Test Automation using UiPath Test Suite series part 6. In this session, we will cover Test Automation with generative AI and Open AI.
UiPath Test Automation with generative AI and Open AI webinar offers an in-depth exploration of leveraging cutting-edge technologies for test automation within the UiPath platform. Attendees will delve into the integration of generative AI, a test automation solution, with Open AI advanced natural language processing capabilities.
Throughout the session, participants will discover how this synergy empowers testers to automate repetitive tasks, enhance testing accuracy, and expedite the software testing life cycle. Topics covered include the seamless integration process, practical use cases, and the benefits of harnessing AI-driven automation for UiPath testing initiatives. By attending this webinar, testers, and automation professionals can gain valuable insights into harnessing the power of AI to optimize their test automation workflows within the UiPath ecosystem, ultimately driving efficiency and quality in software development processes.
What will you get from this session?
1. Insights into integrating generative AI.
2. Understanding how this integration enhances test automation within the UiPath platform
3. Practical demonstrations
4. Exploration of real-world use cases illustrating the benefits of AI-driven test automation for UiPath
Topics covered:
What is generative AI
Test Automation with generative AI and Open AI.
UiPath integration with generative AI
Speaker:
Deepak Rai, Automation Practice Lead, Boundaryless Group and UiPath MVP
HCL Notes and Domino License Cost Reduction in the World of DLAUpanagenda
Webinar Recording: https://www.panagenda.com/webinars/hcl-notes-and-domino-license-cost-reduction-in-the-world-of-dlau/
The introduction of DLAU and the CCB & CCX licensing model caused quite a stir in the HCL community. As a Notes and Domino customer, you may have faced challenges with unexpected user counts and license costs. You probably have questions on how this new licensing approach works and how to benefit from it. Most importantly, you likely have budget constraints and want to save money where possible. Don’t worry, we can help with all of this!
We’ll show you how to fix common misconfigurations that cause higher-than-expected user counts, and how to identify accounts which you can deactivate to save money. There are also frequent patterns that can cause unnecessary cost, like using a person document instead of a mail-in for shared mailboxes. We’ll provide examples and solutions for those as well. And naturally we’ll explain the new licensing model.
Join HCL Ambassador Marc Thomas in this webinar with a special guest appearance from Franz Walder. It will give you the tools and know-how to stay on top of what is going on with Domino licensing. You will be able lower your cost through an optimized configuration and keep it low going forward.
These topics will be covered
- Reducing license cost by finding and fixing misconfigurations and superfluous accounts
- How do CCB and CCX licenses really work?
- Understanding the DLAU tool and how to best utilize it
- Tips for common problem areas, like team mailboxes, functional/test users, etc
- Practical examples and best practices to implement right away
HCL Notes and Domino License Cost Reduction in the World of DLAU
Ig2 task 1 work sheet
1. Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
IG2 Task 1
1
Produce a glossary of terms specific to the methods and principles of sound design and production. Using a provided template, you must
research and gather definitions specific to provided glossary terms. Any definitions must be referenced with the URL link of the website you
have obtained the definition.
You must also, where possible, provide specific details of how researched definitions relate to your own production practice.
Name: Thomas Mcdonagh RESEARCHED DEFINITION (provide short internet researched
definition and URL link)
DESCRIBE THE RELEVANCE OF THE
RESEARCHED TERM TO YOUR OWN
PRODUCTION PRACTICE?
SOUND DESIGN
METHODOLOGY
Foley Artistry "A sound effects technique for synchronous effects or live effects"
http://filmsound.org/foley/
A Foley Artist is a person who creates (or re-creates) sounds for
movies. For example, if the sound of an actor's footsteps were not
recorded well or lost when the voice was re-recorded, a Foley artist
will recreate them. In fact, except for dialogue and music, almost all
the sounds you hear in Hollywood films is Foley sound.Foley artists
work in a Foley studio, a room with many props, a viewing screen and
recording equipment. The artist watches the film and creates the
sound in real time. In most cases several different tracks are recorded,
for example:
A "move track", which includes the sounds of general movement,
clothes swishing, etc.
Footsteps
"Specifics" — individual sound effects for particular actions on screen,
e.g. fights, etc.
http://www.mediacollege.com/employment/film/foley-artist.html
I think that a Foley artist changes audio
when audio was not recorded well or
does not fit with the film you can see
Sound Libraries A sample library is a collection of digital sound recordings, known as
samples, for use by composers, arrangers, performers, and producers
of music. The sound files are loaded into a sampler - either hardware
or computer-based - which is then used to create music.
http://en.wikipedia.org/wiki/Sample_library
I think a sample library is sounds you
can use in your own work
SOUND FILE FORMATS Uncompressed Compressed files take up less storage space and can be transferred to These are the type files that are made
2. Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
IG2 Task 1
2
other computers more quickly than uncompressed files. You can work
with compressed files and folders in the same way that you work with
uncompressed files and folders. You can also combine several files into
a single compressed folder. This makes it easier to share a group of
files
http://windows.microsoft.com/en-gb/windows/compress-
uncompress-files-zip-files#1TC=windows-7
in reaper before you render them
.wav Waveform Audio File Format (WAVE, or more commonly known as
WAV due to its filename extension) (rarely, Audio for Windows[9]) is a
Microsoft and IBM audio file format standard for storing an audio
bitstream on PCs. It is an application of the Resource Interchange File
Format (RIFF) bitstream format method for storing data in "chunks",
and thus is also close to the 8SVX and the AIFF format used on Amiga
and Macintosh computers, respectively. It is the main format used on
Windows systems for raw and typically uncompressed audio. The usual
bitstream encoding is the linear pulse-code modulation (LPCM) format.
http://en.wikipedia.org/wiki/WAV
I normally render the audio sounds I
have done in Reaper
.aiff Audio Interchange File Format (AIFF) is an audio file format standard
used for storing sound data for personal computers and other
electronic audio devices. The format was developed by Apple Inc. in
1988 based on Electronic Arts' Interchange File Format (IFF, widely
used on Amiga systems) and is most commonly used on Apple
Macintosh computer systems.
The audio data in a standard AIFF file is uncompressed pulse-code
modulation (PCM). There is also a compressed variant of AIFF known as
AIFF-C or AIFC, with various defined compression codecs.
Unlike the better-known lossy MP3 format, AIFF is uncompressed
(which aids rapid streaming of multiple audio files from disk to the
application), and is lossless. Like any uncompressed, lossless format, it
uses much more disk space than MP3—about 10MB for one minute of
stereo audio at a sample rate of 44.1 kHz and a bit depth of 16 bits. In
addition to audio data, AIFF can include loop point data and the
musical note of a sample, for use by hardware samplers and musical
applications.
I think that aifff is how you store data
onto your computer. Also that the date
is uncompressed
3. Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
IG2 Task 1
3
The file extension for the standard AIFF format is .aiff or .aif. For the
compressed variants it is supposed to be .aifc, but .aiff or .aif are
accepted as well by audio applications supporting the format.
http://en.wikipedia.org/wiki/Audio_Interchange_File_Format
.au
.smp
An ".smp" file may be one of several different types of audio file. For
example, it could be a SampleVision audio sample file. This 16-bit audio
file was originally used by Turtle Beach SampleVision; you can open it
with Adobe Auction, Sound Forge Pro or Awave Studio. It could also be
a sample file for AdLib Gold, a PC sound card released in 1992; Scream
Tracker, a mid-1990s music editing program; or Swell. Reason, a music
recording and production program, uses the ".smp" extension for
sampler instrument patches.
An ".smp" file may also be an image file used by Xionics Document
Technologies, a company that develops software for copying, scanning,
printing and related tasks. This black-and-white image file is very rare.
You can open it with the freeware program XnView. In addition, the
photo editing program PhotoExpress uses the extension ".smp" for
gallery files showcasing a number of photos.
Several file types used in editing or viewing images use the ".smp" file
extension. For example, the program IDRISI Taiga uses it extension for
palette files. These files store color information for satellite images,
which are stored in the ."rst" format. PhotoImpact, an image editing
program, uses the ".smp" extension for files storing the program's
presets.
An ".smp" file may be a playlist for Sprintbit Playlist Manager, a
program used to create and manage playlists of music and video files.
It could also be a project file for Screensaver Maker, a program for
creating your own screensavers. Finally, it could be an email message
file for the email program IMail Server. Due to the number of different
programs that use the ".smp" extension, no listing may be complete
I think a smp file is 3 things. You can
run old programme on it, it is a way
that a company scans pictures. It could
also v a playlist for Sprintbit playlist
manager
4. Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
IG2 Task 1
4
http://www.ehow.com/info_12198596_file-smp.html
Lossy Compression In information technology, "lossy" compression is the class of data
encoding methods that uses inexact approximations (or partial data
discarding) for representing the content that has been encoded. Such
compression techniques are used to reduce the amount of data that
would otherwise be needed to store, handle, and/or transmit the
represented content. The different versions of the photo of the dog at
the right demonstrate how the approximation of an image becomes
progressively coarser as more details of the data that made up the
original image are removed. The amount of data reduction possible
using lossy compression can often be much more substantial than
what is possible with lossless data compression techniques.
Using well-designed lossy compression technology, a substantial
amount of data reduction is often possible before the result is
sufficiently degraded to be noticed by the user. Even when the degree
of degradation becomes noticeable, further data reduction may often
be desirable for some applications (e.g., to make real-time
communication possible through a limited bit-rate channel, to reduce
the time needed to transmit the content, or to reduce the necessary
storage capacity).
Lossy compression is most commonly used to compress multimedia
data (audio, video, and still images), especially in applications such as
streaming media and internet telephony. By contrast, lossless
compression is typically required for text and data files, such as bank
records and text articles. In many cases it is advantageous to make a
master lossless file that can then be used to produce compressed files
for different purposes; for example, a multi-megabyte file can be used
at full size to produce a full-page advertisement in a glossy magazine,
and a 10 kilobyte lossy copy can be made for a small image on a web
page.
http://en.wikipedia.org/wiki/Lossy_compression
I think Lozzy Compression is a group of
data encoding methods that uses
approximations for representing the
content that has been encoded.
.mp3
The name of the file extension and also the name of the type of file for
MPEG, audio layer 3. Layer 3 is one of three coding schemes (layer 1,
I used these to download audio sounds
from YouTube to listen to
5. Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
IG2 Task 1
5
layer 2 and layer 3) for the compression of audio signals. Layer 3 uses
perceptual audio coding and psychoacoustic compression to remove all
superfluous information (more specifically, the redundant and
irrelevant parts of a sound signal. The stuff the human ear doesn't hear
anyway). It also adds a MDCT (Modified Discrete Cosine Transform)
that implements a filter bank, increasing the frequency resolution 18
times higher than that of layer 2.The result in real terms is layer 3
shrinks the original sound data from a CD (with a bit rate of 1411.2
kilobits per one second of stereo music) by a factor of 12 (down to 112-
128kbps) without sacrificing sound quality.Because MP3 files are small,
they can easily be transferred across the Internet.
http://www.webopedia.com/TERM/M/MP3.html
AUDIO LIMITATIONS Sound Processor Unit (SPU) A sound card (also known as an audio card) is an internal computer
expansion card that facilitates the input and output of audio signals to
and from a computer under control of computer programs. The term
sound card is also applied to external audio interfaces that use
software to generate sound, as opposed to using hardware inside the
PC. Typical uses of sound cards include providing the audio component
for multimedia applications such as music composition, editing video
or audio, presentation, education and entertainment (games) and
video projection.Sound functionality can also be integrated onto the
motherboard, using basically the same components as a plug-in card.
The best plug-in cards, which use better and more expensive
I would have automatically used these
since they are inside the computer
6. Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
IG2 Task 1
6
components, can achieve higher quality than integrated sound. The
integrated sound system is often still referred to as a "sound card".
http://en.wikipedia.org/wiki/Sound_processing_unit
Digital Sound Processor (DSP) Digital Signal Processors (DSPs) take real-world signals like voice, audio,
video, temperature, pressure, or position that have been digitized and
then mathematically manipulate them. A DSP is designed for
performing mathematical functions like "add", "subtract", "multiply"
and "divide" very quickly.Signals need to be processed so that the
information that they contain can be displayed, analyzed, or converted
to another type of signal that may be of use. In the real-world, analog
products detect signals such as sound, light, temperature or pressure
and manipulate them. Converters such as an Analog-to-Digital
converter then take the real-world signal and turn it into the digital
format of 1's and 0's. From here, the DSP takes over by capturing the
digitized information and processing it. It then feeds the digitized
information back for use in the real world. It does this in one of two
ways, either digitally or in an analog format by going through a Digital-
to-Analog converter. All of this occurs at very high speeds.
http://www.analog.com/en/content/beginners_guide_to_dsp/fca.html
I think that DSP is a way to manipulate
something that was already made
Random Access Memory (RAM) RAM (pronounced ramm) is an acronym for random access memory, a
type of computer memory that can be accessed randomly; that is, any
byte of memory can be accessed without touching the preceding bytes.
RAM is the most common type of memory found in computers and
other devices, such as printers.
http://www.webopedia.com/TERM/R/RAM.html
You always use ram whenever you do
anything on the computer
Mono Audio Mono (Monaural or monophonic sound reproduction) has audio in a
single channel, often centered in the “sound field”. i.e. and stereo
(Stereophonic) are classification of sound.
I think Mono Audio is one of the ways
to get Audio on a computer
7. Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
IG2 Task 1
7
http://www.diffen.com/difference/Mono_vs_Stereo
Stereo Audio Stereophonic sound or, more commonly, stereo, is a method of sound
reproduction that creates an illusion of directionality and audible
perspective. This is usually achieved by using two or more independent
audio channels through a configuration of two or more loudspeakers
(or stereo headphones)in such a way as to create the impression of
sound heard from various directions, as in natural hearing.[1] Thus the
term "stereophonic" applies to so-called "quadraphonic" and
"surround-sound" systems as well as the more common two-channel,
two-speaker systems. It is often contrasted with monophonic, or
"mono" sound, where audio is in the form of one channel, often
centered in the sound field (analogous to a visual field). Stereo sound is
now common in entertainment systems such as broadcast radio and
TV, recorded music and the cinema.
http://en.wikipedia.org/wiki/Stereophonic_sound
Used this when listen to my sounds in
reaper
Surround Sound Surround sound is a technique for enriching the sound reproduction
quality of an audio source with additional audio channels from
speakers that surround the listener (surround channels), providing
sound from a 360° radius in the horizontal plane (2D) as opposed to
"screen channels" (centre, [front] left, and [front] right) originating
only from the listener's forward arc.
Surround sound is characterized by a listener location or sweet spot
where the audio effects work best, and presents a fixed or forward
perspective of the sound field to the listener at this location. The
technique enhances the perception of sound spatialization by
exploiting sound localization; a listener's ability to identify the location
or origin of a detected sound in direction and distance. Typically this is
achieved by using multiple discrete audio channels routed to an array
of loudspeakers.
There are various surround sound based formats and techniques,
varying in reproduction and recording methods along with the number
and positioning of additional channels.
http://en.wikipedia.org/wiki/Stereophonic_sound
I used this when I was using my
surround sound
Direct Audio (Pulse Code Pulse-code modulation (PCM) is a method used to digitally represent I thimk Direct Audio is way that mayny
8. Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
IG2 Task 1
8
Modulation – PCM) sampled analog signals. It is the standard form of digital audio in
computers, Compact Discs, digital telephony and other digital audio
applications. In a PCM stream, the amplitude of the analog signal is
sampled regularly at uniform intervals, and each sample is quantized to
the nearest value within a range of digital steps.
Linear pulse-code modulation (LPCM) is a specific type of PCM where
the quantization levels are linearly uniform.[5] This is in contrast to
PCM using, for instance, A-law algorithm or μ-law algorithm where
quantization levels vary as a function of amplitude. Though PCM is a
more general term, it is often used to describe data encoded as LPCM.
PCM streams have two basic properties that determine their fidelity to
the original analog signal: the sampling rate, which is the number of
times per second that samples are taken; and the bit depth, which
determines the number of possible digital values that each sample can
take
http://en.wikipedia.org/wiki/Pulse-code_modulation
things use what have sound. For
example computers
AUDIO RECORDING SYSTEMS Analogue log (or analogue) recording (Greek, ana is "according to" and logos
"relationship") is a technique used for the recording of analog signals
which among many possibilities include audio frequency, analog audio
and analog video information for later playback. Analog recording
methods store signals as a continual wave in or on the media. The
wave might be stored as a physical texture on a phonograph record, or
a fluctuation in the field strength of a magnetic recording. This is
different from digital recording of which among many possibilities
include digital audio and digital video, which digital signals are
represented as data or discrete numbers
. http://en.wikipedia.org/wiki/Analog_recording
I think Analougue is way to record
analog signals. You can store it on
physical media
Digital Mini Disc ulse-code modulation (PCM) is a method used to digitally represent
sampled analog signals. It is the standard form of digital audio in
computers, Compact Discs, digital telephony and other digital audio
applications. In a PCM stream, the amplitude of the analog signal is
sampled regularly at uniform intervals, and each sample is quantized to
the nearest value within a range of digital steps.
Linear pulse-code modulation (LPCM) is a specific type of PCM where
I think DIgitaial Mini disc is a way
todidgitaly represent sampled analogue
signnals
9. Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
IG2 Task 1
9
the quantization levels are linearly uniform.[5] This is in contrast to
PCM using, for instance, A-law algorithm or μ-law algorithm where
quantization levels vary as a function of amplitude. Though PCM is a
more general term, it is often used to describe data encoded as LPCM.
http://en.wikipedia.org/wiki/Pulse-code_modulation
Compact Disc (CD) Compact Disc Digital Audio (CDDA or CD-DA) is the standard format for
audio compact discs. The standard is defined in the Red Book, one of a
series of "Rainbow Books" (named for their binding colors) that contain
the technical specifications for all CD formats. The Red Book specifies
the physical parameters and properties of the CD, the optical "stylus"
parameters, deviations and error rate, modulation system (eight-to-
fourteen modulation, EFM) and error correction facility (cross-
interleaved Reed–Solomon coding, CIRC), and the eight subcode
channels. These parameters are common to all compact discs and used
by all logical formats, such as CD-ROM. The standard also specifies the
form of digital audio encoding: 2-channel signed 16-bit Linear PCM
sampled at 44,100 Hz. Although rarely used, the specification allows
for discs to be mastered with a form of emphasis.
http://en.wikipedia.org/wiki/Compact_Disc_Digital_Audio
I think a Compact Disc it a format for
audio compact discs
Digital Audio Tape (DAT) DAT (Digital Audio Tape) is a standard medium and technology for the
digital recording of audio on tape at a professional level of quality. A
DAT drive is a digital tape recorder with rotating heads similar to those
found in a video deck. Most DAT drives can record at sample rates of
44.1 kHz, the CD audio standard, and 48 kHz. DAT has become the
standard archiving technology in professional and semi-professional
recording environments for master recordings. Digital inputs and
outputs on professional DAT decks allow the user to transfer
recordings from the DAT tape to an audio workstation for precise
editing. The compact size and low cost of the DAT medium makes it an
excellent way to compile the recordings that are going to be used to
create a CD master.
http://whatis.techtarget.com/definition/DAT-Digital-Audio-Tape
I think DAT is a way of audio on tape at
professional quality.
MIDI MIDI short for Musical Instrument Digital Interface) is a technical
standard that describes a protocol, digital interface and connectors
and allows a wide variety of electronic musical instruments, computers
and other related devices to connect and communicate with one
I think a MIDI is a way that allows
different channels of information to
connect with each other.
10. Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
IG2 Task 1
10
another.[1] A single MIDI link can carry up to sixteen channels of
information, each of which can be routed to a separate device.
MIDI carries event messages that specify notation, pitch and velocity,
control signals for parameters such as volume, vibrato, audio panning,
cues, and clock signals that set and synchronize tempo between
multiple devices. These messages are sent to other devices where they
control sound generation and other features. This data can also be
recorded into a hardware or software device called a sequencer, which
can be used to edit the data and to play it back at a later time.[2]:4
MIDI technology was standardized in 1983 by a panel of music industry
representatives, and is maintained by the MIDI Manufacturers
Association (MMA). All official MIDI standards are jointly developed
and published by the MMA in Los Angeles, California, US, and for
Japan, the MIDI Committee of the Association of Musical Electronics
Industry (AMEI) in Tokyo.Advantages of MIDI include compactness (an
entire song can be coded in a few hundred lines, i.e. in a few kilobytes),
ease of modification and manipulation and choice of instruments
http://en.wikipedia.org/wiki/MIDI
Software Sequencers Realtime sequencers record the musical notes in real-time as on audio
recorders, and play back musical notes with designated tempo,
quantizations, and pitch. For editing, usually "punch in/punch out"
feature originated in the tape recording is provided, although it
requires enough skills to obtain desired result. For detailed editing,
possibly another visual editing modes under graphical user interface
may be more suitable. Anyway, this mode provides usability similar to
the audio recorder already familiarized by musicians, and it is widely
supported on software sequencer, DAW, and built-in hardware
sequencers.
http://en.wikipedia.org/wiki/Music_sequencer
I think software sequencers record the
musical notes in real time similar to
audio recorders and can play back
musical notes
Software Plug-ins Though software plug-ins might not make your room smell as nice as
the scented ones you stick in an outlet, they are still useful. A software
plug-in is an add-on for a program that adds functionality to it. For
example, a Photoshop plug-in (such as Eye Candy) may add extra filters
that you can use to manipulate images. A browser plug-in (such as
Macromedia Flash or Apple QuickTime) allows you to play certain
multimedia files within your Web browser. VST plug-ins add effects for
audio recording and sequencing programs such as Cubase and Logic
I used plug ins while making my audio
in reaper
11. Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
IG2 Task 1
11
Audio.
Most graphics and audio programs today support plug-ins since they
are a convenient way to expand the capabilities of the program.
Though some plug-ins may be shipped with the program, most are
developed by third-parties and are sold separately. Because companies
that make browser plug-ins are often competing for a standard (such
as Flash and QuickTime), these plug-ins are usually available as free
downloads from the Internet
http://www.techterms.com/definition/plugin
MIDI Keyboard Instruments A Musical Instrument Digital Interface (MIDI) keyboard is a
musical instrument like a piano keyboard. The MIDI portion
indicates that the instrument has a communication protocol
built in that allows it to communicate with a computer or other
MIDI-equipped instrument.The MIDI interface is now so easy
to implement that almost all keyboards sold today are some
type of MIDI keyboard. This ranges from a simple 100 US
dollar (USD) MIDI keyboard sold at the local department store
to a 30,000 USD grand piano with a built-in controller. Every
type can connect to any other type of musical instrument that
sports a MIDI interface. The 30,000 USD instrument will
sound much better than the 100 USD instrument, but both
can be controlled by the computer or other instrument in the
sameway.http://www.wisegeek.com/what-is-a-midi-
keyboard.htm#didyouknowout
I always use this in reaper as this is the
only to make the sounds I want
AUDIO SAMPLING File Size Constraints - Bit-
depth
In digital audio, there has to be a certain value set for describing the
resolution of the sound data (samples) that is to be captured and
stored in an audio file -- this attribute is called Bit Depth. Similarly for
video files (images, videos), this measurement range is also used to
determine the resolution of a picture -- the higher the bit depth (e.g.
16 bit versus 24 bit) the better the image will be. This attribute is
exactly the same for digital audio and thus a higher bit depth will give a
much more detailed sound recording.
I think File size constraints are the
different type of files you can have. For
example you might might to have low
quality file on your computer if it is
nearly out of memory space or if it
wasn’t’ you could have a 1080p file
File Size Constraints - Sample The file size limitation of a 32bit application is 2GB. In a way I would use this because when
12. Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
IG2 Task 1
12
Rate
The maximum duration of a single audio file can be calculated like this:
16 Bit = 2 Byte
Stereo = 2 channels
192 KHz = 192000 samples per second
2 * 2 * 192000 Bytes/sec = 768000 Bytes/sec
60 sec * 768000 Bytes = 46080000 Bytes/min = ~44 MB/min
44 MB * 46 min = ~2GB
Additional Information
Maximum duration of a single file at different sample frequencies
(stereo, 16-bit):
44,1 KHz: ~203 min (10 MB/min)
48 KHz: ~186 min (11 MB/min)
88,2 KHz: ~101 min (20 MB/min)
96 KHz: ~93 min (22 MB/min)
192 KHz: ~46 min (44 MB/min)
https://www.ableton.com/en/articles/maximum-file-size/
I make the sounds I would not be able
to make it to big but in reaper the files
are very small