Game Audio Principles
Sound design and music integration for immersive game experiences.
1. Audio Category System
Category Definitions
| Category |
Behavior |
Examples |
| Music |
Looping, crossfade, ducking |
BGM, combat music |
| SFX |
One-shot, 3D positioned |
Footsteps, impacts |
| Ambient |
Looping, background layer |
Wind, crowd, forest |
| UI |
Immediate, non-3D |
Button clicks, notifications |
| Voice |
Priority, ducking trigger |
Dialogue, announcer |
Priority Hierarchy
When sounds compete for channels:
1. Voice (highest - always audible)
2. Player SFX (feedback critical)
3. Enemy SFX (gameplay important)
4. Music (mood, but duckable)
5. Ambient (lowest - can drop)
2. Sound Design Decisions
SFX Creation Approach
| Approach |
When to Use |
Trade-offs |
| Recording |
Realistic needs |
High quality, time intensive |
| Synthesis |
Sci-fi, retro, UI |
Unique, requires skill |
| Library samples |
Fast production |
Common sounds, licensing |
| Layering |
Complex sounds |
Best results, more work |
Layering Structure
| Layer |
Purpose |
Example: Gunshot |
| Attack |
Initial transient |
Click, snap |
| Body |
Main character |
Boom, blast |
| Tail |
Decay, room |
Reverb, echo |
| Sweetener |
Special sauce |
Shell casing, mechanical |
3. Music Integration
Music State System
Game State → Music Response
│
├── Menu → Calm, loopable theme
├── Exploration → Ambient, atmospheric
├── Combat detected → Transition to tension
├── Combat engaged → Full battle music
├── Victory → Stinger + calm transition
├── Defeat → Somber stinger
└── Boss → Unique, multi-phase track
Transition Techniques
| Technique |
Use When |
Feel |
| Crossfade |
Smooth mood shift |
Gradual |
| Stinger |
Immediate event |
Dramatic |
| Stem mixing |
Dynamic intensity |
Seamless |
| Beat-synced |
Rhythmic gameplay |
Musical |
| Queue point |
Next natural break |
Clean |
4. Adaptive Audio Decisions
Intensity Parameters
| Parameter |
Affects |
Example |
| Threat level |
Music intensity |
Enemy count |
| Health |
Filter, reverb |
Low health = muffled |
| Speed |
Tempo, energy |
Racing speed |
| Environment |
Reverb, EQ |
Cave vs outdoor |
| Time of day |
Mood, volume |
Night = quieter |
Vertical vs Horizontal
| System |
What Changes |
Best For |
| Vertical (layers) |
Add/remove instrument layers |
Intensity scaling |
| Horizontal (segments) |
Different music sections |
State changes |
| Combined |
Both |
AAA adaptive scores |
5. 3D Audio Decisions
Spatialization
| Element |
3D Positioned? |
Reason |
| Player footsteps |
No (or subtle) |
Always audible |
| Enemy footsteps |
Yes |
Directional awareness |
| Gunfire |
Yes |
Combat awareness |
| Music |
No |
Mood, non-diegetic |
| Ambient zone |
Yes (area) |
Environmental |
| UI sounds |
No |
Interface feedback |
Distance Behavior
| Distance |
Sound Behavior |
| Near |
Full volume, full frequency |
| Medium |
Volume falloff, high-freq rolloff |
| Far |
Low volume, low-pass filter |
| Max |
Silent or ambient hint |
6. Platform Considerations
Format Selection
| Platform |
Recommended Format |
Reason |
| PC |
OGG Vorbis, WAV |
Quality, no licensing |
| Console |
Platform-specific |
Certification |
| Mobile |
MP3, AAC |
Size, compatibility |
| Web |
WebM/Opus, MP3 fallback |
Browser support |
Memory Budget
| Game Type |
Audio Budget |
Strategy |
| Mobile casual |
10-50 MB |
Compressed, fewer variants |
| PC indie |
100-500 MB |
Quality focus |
| AAA |
1+ GB |
Full quality, many variants |
7. Mix Hierarchy
Volume Balance Reference
| Category |
Relative Level |
Notes |
| Voice |
0 dB (reference) |
Always clear |
| Player SFX |
-3 to -6 dB |
Prominent but not harsh |
| Music |
-6 to -12 dB |
Foundation, ducks for voice |
| Enemy SFX |
-6 to -9 dB |
Important but not dominant |
| Ambient |
-12 to -18 dB |
Subtle background |
Ducking Rules
| When |
Duck What |
Amount |
| Voice plays |
Music, Ambient |
-6 to -9 dB |
| Explosion |
All except explosion |
Brief duck |
| Menu open |
Gameplay audio |
-3 to -6 dB |
8. Anti-Patterns
| Don't |
Do |
| Play same sound repeatedly |
Use variations (3-5 per sound) |
| Max volume everything |
Use proper mix hierarchy |
| Ignore silence |
Silence creates contrast |
| One music track loops forever |
Provide variety, transitions |
| Skip audio in prototype |
Placeholder audio matters |
Remember: 50% of the game experience is audio. A muted game loses half its soul.
When to Use
This skill is applicable to execute the workflow or actions described in the overview.
Limitations
- Use this skill only when the task clearly matches the scope described above.
- Do not treat the output as a substitute for environment-specific validation, testing, or expert review.
- Stop and ask for clarification if required inputs, permissions, safety boundaries, or success criteria are missing.
1---2name: game-audio3description: Game audio principles. Sound design, music integration, adaptive audio systems.4---5
6# Game Audio Principles
7
8> Sound design and music integration for immersive game experiences.
9
10---
11
12## 1. Audio Category System
13
14### Category Definitions
15
16| Category | Behavior | Examples |
17|----------|----------|----------|
18| **Music** | Looping, crossfade, ducking | BGM, combat music |
19| **SFX** | One-shot, 3D positioned | Footsteps, impacts |
20| **Ambient** | Looping, background layer | Wind, crowd, forest |
21| **UI** | Immediate, non-3D | Button clicks, notifications |
22| **Voice** | Priority, ducking trigger | Dialogue, announcer |
23
24### Priority Hierarchy
25
26```
27When sounds compete for channels:
28
291. Voice (highest - always audible)
302. Player SFX (feedback critical)
313. Enemy SFX (gameplay important)
324. Music (mood, but duckable)
335. Ambient (lowest - can drop)
34```
35
36---
37
38## 2. Sound Design Decisions
39
40### SFX Creation Approach
41
42| Approach | When to Use | Trade-offs |
43|----------|-------------|------------|
44| **Recording** | Realistic needs | High quality, time intensive |
45| **Synthesis** | Sci-fi, retro, UI | Unique, requires skill |
46| **Library samples** | Fast production | Common sounds, licensing |
47| **Layering** | Complex sounds | Best results, more work |
48
49### Layering Structure
50
51| Layer | Purpose | Example: Gunshot |
52|-------|---------|------------------|
53| **Attack** | Initial transient | Click, snap |
54| **Body** | Main character | Boom, blast |
55| **Tail** | Decay, room | Reverb, echo |
56| **Sweetener** | Special sauce | Shell casing, mechanical |
57
58---
59
60## 3. Music Integration
61
62### Music State System
63
64```
65Game State → Music Response
66│
67├── Menu → Calm, loopable theme
68├── Exploration → Ambient, atmospheric
69├── Combat detected → Transition to tension
70├── Combat engaged → Full battle music
71├── Victory → Stinger + calm transition
72├── Defeat → Somber stinger
73└── Boss → Unique, multi-phase track
74```
75
76### Transition Techniques
77
78| Technique | Use When | Feel |
79|-----------|----------|------|
80| **Crossfade** | Smooth mood shift | Gradual |
81| **Stinger** | Immediate event | Dramatic |
82| **Stem mixing** | Dynamic intensity | Seamless |
83| **Beat-synced** | Rhythmic gameplay | Musical |
84| **Queue point** | Next natural break | Clean |
85
86---
87
88## 4. Adaptive Audio Decisions
89
90### Intensity Parameters
91
92| Parameter | Affects | Example |
93|-----------|---------|---------|
94| **Threat level** | Music intensity | Enemy count |
95| **Health** | Filter, reverb | Low health = muffled |
96| **Speed** | Tempo, energy | Racing speed |
97| **Environment** | Reverb, EQ | Cave vs outdoor |
98| **Time of day** | Mood, volume | Night = quieter |
99
100### Vertical vs Horizontal
101
102| System | What Changes | Best For |
103|--------|--------------|----------|
104| **Vertical (layers)** | Add/remove instrument layers | Intensity scaling |
105| **Horizontal (segments)** | Different music sections | State changes |
106| **Combined** | Both | AAA adaptive scores |
107
108---
109
110## 5. 3D Audio Decisions
111
112### Spatialization
113
114| Element | 3D Positioned? | Reason |
115|---------|----------------|--------|
116| Player footsteps | No (or subtle) | Always audible |
117| Enemy footsteps | Yes | Directional awareness |
118| Gunfire | Yes | Combat awareness |
119| Music | No | Mood, non-diegetic |
120| Ambient zone | Yes (area) | Environmental |
121| UI sounds | No | Interface feedback |
122
123### Distance Behavior
124
125| Distance | Sound Behavior |
126|----------|----------------|
127| **Near** | Full volume, full frequency |
128| **Medium** | Volume falloff, high-freq rolloff |
129| **Far** | Low volume, low-pass filter |
130| **Max** | Silent or ambient hint |
131
132---
133
134## 6. Platform Considerations
135
136### Format Selection
137
138| Platform | Recommended Format | Reason |
139|----------|-------------------|--------|
140| PC | OGG Vorbis, WAV | Quality, no licensing |
141| Console | Platform-specific | Certification |
142| Mobile | MP3, AAC | Size, compatibility |
143| Web | WebM/Opus, MP3 fallback | Browser support |
144
145### Memory Budget
146
147| Game Type | Audio Budget | Strategy |
148|-----------|--------------|----------|
149| Mobile casual | 10-50 MB | Compressed, fewer variants |
150| PC indie | 100-500 MB | Quality focus |
151| AAA | 1+ GB | Full quality, many variants |
152
153---
154
155## 7. Mix Hierarchy
156
157### Volume Balance Reference
158
159| Category | Relative Level | Notes |
160|----------|----------------|-------|
161| **Voice** | 0 dB (reference) | Always clear |
162| **Player SFX** | -3 to -6 dB | Prominent but not harsh |
163| **Music** | -6 to -12 dB | Foundation, ducks for voice |
164| **Enemy SFX** | -6 to -9 dB | Important but not dominant |
165| **Ambient** | -12 to -18 dB | Subtle background |
166
167### Ducking Rules
168
169| When | Duck What | Amount |
170|------|-----------|--------|
171| Voice plays | Music, Ambient | -6 to -9 dB |
172| Explosion | All except explosion | Brief duck |
173| Menu open | Gameplay audio | -3 to -6 dB |
174
175---
176
177## 8. Anti-Patterns
178
179| Don't | Do |
180|-------|-----|
181| Play same sound repeatedly | Use variations (3-5 per sound) |
182| Max volume everything | Use proper mix hierarchy |
183| Ignore silence | Silence creates contrast |
184| One music track loops forever | Provide variety, transitions |
185| Skip audio in prototype | Placeholder audio matters |
186
187---
188
189> **Remember:** 50% of the game experience is audio. A muted game loses half its soul.
190
191## When to Use
192This skill is applicable to execute the workflow or actions described in the overview.
193
194## Limitations
195- Use this skill only when the task clearly matches the scope described above.
196- Do not treat the output as a substitute for environment-specific validation, testing, or expert review.
197- Stop and ask for clarification if required inputs, permissions, safety boundaries, or success criteria are missing.
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