game-audio
starsforks
How to install game-audio?
one-man-company/skills-contextmanager/game-audio
$npx -y skills add One-Man-Company/Skills-ContextManager --skill game-audioGame audio principles. Sound design, music integration, adaptive audio systems.
SKILL.md
| 1 | # Game Audio Principles |
| 2 | |
| 3 | > Sound design and music integration for immersive game experiences. |
| 4 | |
| 5 | --- |
| 6 | |
| 7 | ## 1. Audio Category System |
| 8 | |
| 9 | ### Category Definitions |
| 10 | |
| 11 | | Category | Behavior | Examples | |
| 12 | |----------|----------|----------| |
| 13 | | **Music** | Looping, crossfade, ducking | BGM, combat music | |
| 14 | | **SFX** | One-shot, 3D positioned | Footsteps, impacts | |
| 15 | | **Ambient** | Looping, background layer | Wind, crowd, forest | |
| 16 | | **UI** | Immediate, non-3D | Button clicks, notifications | |
| 17 | | **Voice** | Priority, ducking trigger | Dialogue, announcer | |
| 18 | |
| 19 | ### Priority Hierarchy |
| 20 | |
| 21 | ``` |
| 22 | When sounds compete for channels: |
| 23 | |
| 24 | 1. Voice (highest - always audible) |
| 25 | 2. Player SFX (feedback critical) |
| 26 | 3. Enemy SFX (gameplay important) |
| 27 | 4. Music (mood, but duckable) |
| 28 | 5. Ambient (lowest - can drop) |
| 29 | ``` |
| 30 | |
| 31 | --- |
| 32 | |
| 33 | ## 2. Sound Design Decisions |
| 34 | |
| 35 | ### SFX Creation Approach |
| 36 | |
| 37 | | Approach | When to Use | Trade-offs | |
| 38 | |----------|-------------|------------| |
| 39 | | **Recording** | Realistic needs | High quality, time intensive | |
| 40 | | **Synthesis** | Sci-fi, retro, UI | Unique, requires skill | |
| 41 | | **Library samples** | Fast production | Common sounds, licensing | |
| 42 | | **Layering** | Complex sounds | Best results, more work | |
| 43 | |
| 44 | ### Layering Structure |
| 45 | |
| 46 | | Layer | Purpose | Example: Gunshot | |
| 47 | |-------|---------|------------------| |
| 48 | | **Attack** | Initial transient | Click, snap | |
| 49 | | **Body** | Main character | Boom, blast | |
| 50 | | **Tail** | Decay, room | Reverb, echo | |
| 51 | | **Sweetener** | Special sauce | Shell casing, mechanical | |
| 52 | |
| 53 | --- |
| 54 | |
| 55 | ## 3. Music Integration |
| 56 | |
| 57 | ### Music State System |
| 58 | |
| 59 | ``` |
| 60 | Game State → Music Response |
| 61 | │ |
| 62 | ├── Menu → Calm, loopable theme |
| 63 | ├── Exploration → Ambient, atmospheric |
| 64 | ├── Combat detected → Transition to tension |
| 65 | ├── Combat engaged → Full battle music |
| 66 | ├── Victory → Stinger + calm transition |
| 67 | ├── Defeat → Somber stinger |
| 68 | └── Boss → Unique, multi-phase track |
| 69 | ``` |
| 70 | |
| 71 | ### Transition Techniques |
| 72 | |
| 73 | | Technique | Use When | Feel | |
| 74 | |-----------|----------|------| |
| 75 | | **Crossfade** | Smooth mood shift | Gradual | |
| 76 | | **Stinger** | Immediate event | Dramatic | |
| 77 | | **Stem mixing** | Dynamic intensity | Seamless | |
| 78 | | **Beat-synced** | Rhythmic gameplay | Musical | |
| 79 | | **Queue point** | Next natural break | Clean | |
| 80 | |
| 81 | --- |
| 82 | |
| 83 | ## 4. Adaptive Audio Decisions |
| 84 | |
| 85 | ### Intensity Parameters |
| 86 | |
| 87 | | Parameter | Affects | Example | |
| 88 | |-----------|---------|---------| |
| 89 | | **Threat level** | Music intensity | Enemy count | |
| 90 | | **Health** | Filter, reverb | Low health = muffled | |
| 91 | | **Speed** | Tempo, energy | Racing speed | |
| 92 | | **Environment** | Reverb, EQ | Cave vs outdoor | |
| 93 | | **Time of day** | Mood, volume | Night = quieter | |
| 94 | |
| 95 | ### Vertical vs Horizontal |
| 96 | |
| 97 | | System | What Changes | Best For | |
| 98 | |--------|--------------|----------| |
| 99 | | **Vertical (layers)** | Add/remove instrument layers | Intensity scaling | |
| 100 | | **Horizontal (segments)** | Different music sections | State changes | |
| 101 | | **Combined** | Both | AAA adaptive scores | |
| 102 | |
| 103 | --- |
| 104 | |
| 105 | ## 5. 3D Audio Decisions |
| 106 | |
| 107 | ### Spatialization |
| 108 | |
| 109 | | Element | 3D Positioned? | Reason | |
| 110 | |---------|----------------|--------| |
| 111 | | Player footsteps | No (or subtle) | Always audible | |
| 112 | | Enemy footsteps | Yes | Directional awareness | |
| 113 | | Gunfire | Yes | Combat awareness | |
| 114 | | Music | No | Mood, non-diegetic | |
| 115 | | Ambient zone | Yes (area) | Environmental | |
| 116 | | UI sounds | No | Interface feedback | |
| 117 | |
| 118 | ### Distance Behavior |
| 119 | |
| 120 | | Distance | Sound Behavior | |
| 121 | |----------|----------------| |
| 122 | | **Near** | Full volume, full frequency | |
| 123 | | **Medium** | Volume falloff, high-freq rolloff | |
| 124 | | **Far** | Low volume, low-pass filter | |
| 125 | | **Max** | Silent or ambient hint | |
| 126 | |
| 127 | --- |
| 128 | |
| 129 | ## 6. Platform Considerations |
| 130 | |
| 131 | ### Format Selection |
| 132 | |
| 133 | | Platform | Recommended Format | Reason | |
| 134 | |----------|-------------------|--------| |
| 135 | | PC | OGG Vorbis, WAV | Quality, no licensing | |
| 136 | | Console | Platform-specific | Certification | |
| 137 | | Mobile | MP3, AAC | Size, compatibility | |
| 138 | | Web | WebM/Opus, MP3 fallback | Browser support | |
| 139 | |
| 140 | ### Memory Budget |
| 141 | |
| 142 | | Game Type | Audio Budget | Strategy | |
| 143 | |-----------|--------------|----------| |
| 144 | | Mobile casual | 10-50 MB | Compressed, fewer variants | |
| 145 | | PC indie | 100-500 MB | Quality focus | |
| 146 | | AAA | 1+ GB | Full quality, many variants | |
| 147 | |
| 148 | --- |
| 149 | |
| 150 | ## 7. Mix Hierarchy |
| 151 | |
| 152 | ### Volume Balance Reference |
| 153 | |
| 154 | | Category | Relative Level | Notes | |
| 155 | |----------|----------------|-------| |
| 156 | | **Voice** | 0 dB (reference) | Always clear | |
| 157 | | **Player SFX** | -3 to -6 dB | Prominent but not harsh | |
| 158 | | **Music** | -6 to -12 dB | Foundation, ducks for voice | |
| 159 | | **Enemy SFX** | -6 to -9 dB | Important but not dominant | |
| 160 | | **Ambient** | -12 to -18 dB | Subtle background | |
| 161 | |
| 162 | ### Ducking Rules |
| 163 | |
| 164 | | When | Duck What | Amount | |
| 165 | |------|-----------|--------| |
| 166 | | Voice plays | Music, Ambient | -6 to -9 dB | |
| 167 | | Explosion | All except explosion | Brief duck | |
| 168 | | Menu open | Gameplay audio | -3 to -6 dB | |
| 169 | |
| 170 | --- |
| 171 | |
| 172 | ## 8. Anti-Patterns |
| 173 | |
| 174 | | Don't | Do | |
| 175 | |-------|-----| |
| 176 | | Play same sound repeatedly | Use variations (3-5 per sound) | |
| 177 | | Max volume |
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