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Interested in game making? Start in Unity—a game engine for mobile and desktop games and real-time simulations. Author Adam Crespi shows techniques used in game development with Unity and introduces the basics of scripting and game functionality. First, learn how to import models and textures, organize your project and hierarchies, and add terrain, water, and foliage. Next, Adam explores how to use lighting to bring the game to life, and add rendering, particles, and interactivity. The end result is a sample game with a lush environment, fully animated characters, and some basic interactive gameplay.
Audio effects can shape the audio in a game as much as simply putting it in. What they allow us to do is to take the audio and make it even more positional to certain materials and situations. I'll put a Reverb Zone-in as an effect. And this way, when I put it on in the balcony between the two bridges, we'll get the idea of a little more concrete around, or a little more material reflecting the sound. To do this, I'll choose Game Object>Create other>Audio Reverb Zone. We can also put a component on an empty game object as a reverb zone if you'd like.
But I'll make the reverb zone as a standalone piece. Essentially, what it does is it makes that object, and puts the reverb zone component on, allowing me to choose how it reverberates. I'll move this one into position. Roughly on the balcony but not quite located with the others. I'll pull it up, maybe snapping it over and then moving it off that corner. This reverberation zone has a min and max distance, just like the other audio, and I'll pull back the min and max distance so it's really just in this situation.
I'll take the min distances down to five. And the max, I'm going to try at 15, and see how it behaves. 15 might be a little bit big, as it's almost getting into the other buildings, but I'll give it a shot. In the reverb preset then, we've got all kinds of different choices. Living rooms, concert halls, mountains, and quarries. And even user. Where if you'd like to get very specific in each little part of how the decay and reflection functions, you can. I'm going to choose a preset to begin. I'll pick mountains. So it's got that big open feel.
But kind of adds to the audio here. Now, I'll try it. Pressing Play, and seeing if I can detect how that sounds in this situation. There's a definite difference. As I'm out here, I can really hear the bigness of this particular water sound. Versus the other is a little more localized. There's a little more volume to it, a little more echo. The water sound over here on this balcony is definitely different. Where we're on those bridges, there's a noticeably difference because of the reverb zone. Anything that's triggered in there will also reverberate.
Say, if we had footsteps on the character, for example. As a note on that, a lot of folks want to jump to putting footsteps on a character and we tend to over emphasize them. One of the things to remember with sounds is that a lot of what we hear blends together. That we may not be able to hear each individual footstep. And it may get to be a little too much if we can really pick them out. We should just hear the change in footsteps in the white noise, when we change surfaces. Say, if we're going from pavement to gravel. There should be a little bit of crunching in the background, but it shouldn't be a giant sound in there.
So get in and use your effects and position your sound around your scene, bringing the world to life situationally, depending on where your player is and depending on the surfaces they're near.
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