Game Audio

Unity 2D Fighter Audio – C# Scripting

Unity 2D Fighter Audio – C# Scripting

About The Project

*Be Sure to check out both levels*

Download for Windows or Mac:
https://drive.google.com/open?id=12dPaOZ0d1AeUhrciXLAnjKLi2dji2SGZ

As of November 2019, this has been my most ambitious project yet. As always, all sound design, music, and voiceover are original. This was my first real go at C# scripting in Unity. While some of my previous Unity projects featured custom scripts, they were not written by me. I would simply edit public variables in the inspector.

The original Unity project this game is based off of comes from this tutorial https://www.youtube.com/playlist?list=PL1bPKmY0c-wmOi4Ki-6ryydPeHEcQpul0

The original game features absolutely no sound and no public variables in the game’s script to simply add my sounds. It was required of me that I get a solid understanding of C#, and after around ten hours of tutorials, I had enough knowledge to accomplish *most* of what I wanted to do.

I still had a few limitations. For example, I wanted to add a different sound when the player lands from a jump versus landing from a heavy attack. Theoretically, there may be a way to code based on velocity, but that level of coding is currently beyond me. I also wanted to alter certain sounds based on level terrain, but I was unable to determine a way to do this using Unity’s audio engine. Theoretically, I could have used Wwise to fairly easily solve this dilemma, but I still would have needed to determine the correct locations in the script to add cues for Wwise. As a coding beginner, I figured it would be best to focus on Unity’s audio engine, which I will likely need to use if I work with a small developer who cannot afford Wwise’s licensing fees.

In order to make the sound design a bit more interesting than just music and punches, I added some simple background imagery to the levels to better set a scene, allowing me to add some additional ambiances. The lack of special moves in the game made my sound design even more limited.

Thank you for checking out this project. Feel free to download the game and play it yourself: https://drive.google.com/open?id=12dPaOZ0d1AeUhrciXLAnjKLi2dji2SGZ

Audio Post-Production

Audio Replaced: Crimestoppers Ad (5:1 Mix Below)

Audio Replaced: Crimestoppers Ad (5:1 Mix Below)

About The Project

Download a 5:1 Surround Sound Mix: drive.google.com/open?id=1HA9ThjmWKiPcCfH3YwgLNqxb4dchMxAB

All sound design and music are original. Voiceover and ADR were recorded by me at ARU Chicago.

Loudness is at -24 LUFS for compatibility with television.

The new tool for this project was Reformer by Krotos Audio. The electronic sounds were generated by convoluting traditional typing keyboard sounds.

Audio Post-ProductionGame Audio

All Audio Replaced: Lego Worlds Trailer – Original SFX/Score

All Audio Replaced: Lego Worlds Trailer – Original SFX/Score

About The Project

What makes this piece special is the fact that there is not one non-original or unaltered sound effect in this trailer. I recorded, layered, synthesized, manipulated, or generated every sound effect for the purpose of this trailer, with not one stock sound coming directly from a library. In addition to the sound effects, I composed an orchestral score, digitally performed by Miroslav Philharmonik 2. As an extra touch, the final section of the score features electric guitar, which I played and recorded.

Here is a version of the trailer with only sound effects:

One sound effect I am particularly proud of is the sound of the tools the player uses to construct with Lego bricks. The sound can be heard at 00:13, where the player is manipulating tens of Lego bricks at once. To create this sound, I recorded upwards of forty individual finger snaps, all of which were cleanly edited and assigned a midi note in an FM Sampler in Reaktor. The FM Sampler allows me to adjust the frequency of the samples without shifting midi notes, as a normal pitch-shift would. I then made a Pure Data patch which randomly spits out midi notes. Every time a note is “banged,” the clock BPM changes in order to avoid musical consistency. Here is an image of the patch and ensemble:

The dragon sound comes from a really strange door screech I recorded. You can download the original sound here: https://freesound.org/people/adaup1/sounds/464782/

Audio Post-Production

All Audio Replaced: Prisoners – “Go to the Hospital” – Original SFX, Score, ADR, Mix

All Audio Replaced: Prisoners – “Go to the Hospital” – Original SFX, Score, ADR, Mix

About The Project

All sound design, music, and ADR were replaced in this scene from the movie Prisoners. The score is also 100% original, but the orchestra is synthesized due to not having access to a real one. The editing and mixing took place in Pro Tools 12. Sound design also utilized Ableton Live and Native Instruments Reaktor. The primary engine utilized Reaktor by sampling a loop of my car’s engine and was frequency-shifted based on acceleration.

For further questions, feel free to reach out to me at adaup1@unh.newhaven.edu.

Game Audio

Unity: 3D Environments

Unity: 3D Environments

Audio Post-ProductionMusic

Audio Replaced: A Scene from Chinatown

Audio Replaced: A Scene from Chinatown

About The Project

This scene from the film Chinatown serves as more of a backdrop to the music than vice-versa. Rather than placing my focus on sound effects or dialog, I wanted to attempt a more experimental, looser form of composition. This scene, with no dialog and slow movement, served as a great template. The score contains no key nor time signature. Over a dozen synthesizer layers move with no regard to each other, in half-step motion. A loose piano tops the score.

Game Audio

Unity – Third Person Topdown Shooter

Unity – Third Person Topdown Shooter

About The Project

This project features sound design consisting primarily of layering and synthesis, with some original recordings. The primary purpose of the project was to further expand upon usage of tools in Unity, with a focus on procedural audio, adding greater variation to the sound design. As always, the music is original, granted, not the primary focus of this project.

Audio Post-Production

All Audio Replaced: 5ive Gum Commercial – Original SFX (w/ Kyma), Music, Mix

All Audio Replaced: 5ive Gum Commercial – Original SFX (w/ Kyma), Music, Mix

About The Project

All sound design and music are original. Many of the sounds were created using Kyma by Symbolic Sound. Everything was edited and mixed in Pro Tools 12. If you have any questions, feel free to reach out to me at adaup1@unh.newhaven.edu

Audio Post-Production

All Audio Replaced: Boardwalk Empire Teaser – Original SFX, Music, Mix

All Audio Replaced: Boardwalk Empire Teaser – Original SFX, Music, Mix

About The Project

All the music and sound design for this trailer is original, as well as edited, mixed, and mastered by me. The music, which I refer to as “granulated horns,” because I pretty much granulated synthesized horns, can be downloaded individually here: https://freesound.org/people/adaup1/sounds/445028/

Audio Post-Production

All Audio Replaced: American Horror Story Teaser

All Audio Replaced: American Horror Story Teaser

About The Project

This is one of the earlier pieces of media for which I redid the audio. I experimented with a variety of atmospheres, but for the music, I opted for a fairly simple beat with some aggression to it. For me, the sonic highlight is from 00:17 -00:20. This moment was a great experiment in perspectives. This is the only piece I have uploaded where I cannot take credit for recording ADR (I used screams and moans from a sample library). However, my voice can be heard saying the title of the show at the very end.

Game Audio

Unity – FM Roguelike

Unity – FM Roguelike

About The Project

For this project in Unity 3D, all sounds and music were made using exclusively FM synthesis. Most modern FM synth plugins feature filter sections. In order to create an atmosphere of an early 90’s game, I worked exclusively with FM synthesizer ensembles in Reaktor, of which I removed any filter sections need be.

Game Audio

Unity – 8 Bit Shooter

Unity – 8 Bit Shooter

About The Project

This is the first project I did in Unity 3D. For the audio, I mimicked the hardware limitations of the NES using Reaktor. Obviously, the graphics are not 8 Bit, but the music and sound effects are. As an introductory project, I did not duck out any sounds to mimic NES hardware limitations, but the audio serves as a general demonstration.

Music

lowercaseLullaby EP

lowercaseLullaby EP

About The Project

I produced all of the instrumentals, as well as recorded, mixed, and mastered this synth-pop EP. I also co-wrote the songs. You can listen to the entire record on Bandcamp, or you can check out a sampler I created, below:

https://lowercaselullaby.bandcamp.com/

Music

Proxima Centauri Demo

Proxima Centauri Demo

About The Project

I recorded, edited, and mixed three demos for a three-piece mathcore band called Proxima Centauri. The record consists of the traditional guitar, bass, and drums. Currently, only one song has been made available to the public. You can listen on Bandcamp or below:

https://proximacentaurict.bandcamp.com/releases

MiscellaneousMusic

Nyctopia – A Musical Experiment in Kyma

Nyctopia – A Musical Experiment in Kyma

About The Project

Listen to Nyctopia:

Nyctopia is an experimental piece of music I composed in Kyma. Every single sound in this piece derives from a single sample: rubbing hands across a digital piano, turned off, in glissando fashion.

You can listen to the original, unedited sample here:

Miscellaneous

Fight-stick + Pure Data + Ableton: The King of Fighters ’98

Fight-stick + Pure Data + Ableton: The King of Fighters ’98

About The Project

This performance, from Spring 2018, served to act more-so as an experiment than an actual musical composition or performance. I used HID features in Pure Data Extended to make this PS3 Arcade stick function as a midi controller. Due to having limited buttons, midi notes were only generated by a combination of stick and button inputs. Moving the stick in a certain direction would provide me with one set of numbers which could be added to numbers generated by the buttons. I then mapped the outputs to Ableton Live.

 

Miscellaneous

Phader – Reaktor Ensemble

Phader – Reaktor Ensemble

About The Project

Download: https://www.native-instruments.com/en/reaktor-community/reaktor-user-library/entry/show/11995/

I am excited to share my first contribution to the Reaktor User Library, Phader.
From a literal perspective, Phader functions as a traditional subtractive synthesizer. What makes Phader special is its user interface. Each control is designed to dramatically change the sound. These changes are performed primarily through the use of crossfaders.

Oscillator Strips:

The gui of Phader is designed to encourage the user to treat each oscillator strip as its own synthesizer, and then use the primary crossfader to combine the sounds. Each oscillator strip contains six generator options, each containing two of the most common waveforms (sine, triangle, pulse, sawtooth). Each strip can produce up to 16 waveforms at once. More on that later.

Filter: Each oscillator strip also contains a single-knob filter. When you turn the filter knob to the left, it acts as a low-pass cutoff. When you turn the knob to the right, it acts as a high-pass cutoff. A preset resonance curve is also set to the knob. These preset functions, while theoretically not as customizable as a traditional multi-knob system, exist to speed up the sound creation process.

Phat: Each oscillator strip contains three “Phat” knobs. Each knob brings two slightly detuned duplicates of the crossfaded waveforms. The process is essentially the same as having multiple oscillator strips each with a detune knob which you can layer, but streamlined.

Ring Modulator: Each oscillator strip contains a ring modulator. This ring modulator is fed all the other information on the strip, including duplicate generations from the Phat knobs. The ring modulator was meticulously designed to avoid phase cancellation. This was done by having each generated waveform get individually multiplied by an octave of itself, rather than having the entire output of the oscillator strip get multiplied by itself.

Center Section:

The center section of Phader is really the star of the show. It features your traditional ADSR, as well as an envelope filter which can be turned on and off. The envelope filter affects both oscillator strips. The center section also includes a noise generator with a “color” knob to tweak the frequency spectrum of the noise.

At the bottom of the center section, you will notice a long crossfader. This crossfader is so long to allow the finest tweaks when combing the oscillator strips. The oscillator strips don’t have their own level controls, so if you want one silent, move the fader all the way to the opposite side.

The center section gives you three options on how you want the crossfading to function. The first option is normal fader placement (how you would normally use a crossfader). The second option is an LFO that when selected, bounces between the oscillator strips. When the depth is low, you will always have a bit of each oscillator strip in the mix. When the depth is high, the changes will be more abrupt. The third option is to control the fade based on the ADSR envelope. A long attack on the ADSR will slowly crossfade from left to right, allowing you to start the sound with one synth sound and end on a completely different one.

I have many ideas on how I can expand upon this concept. This version of Phader is designed to be streamlined and quick to use, but future versions may include more controls, especially within the center section.

Thank you for downloading. I hope you enjoy Phader.

Update 1.0.1: Now includes “More Richness” snap bank made by user Paule.

Update 1.0.2: Adds five “SciFi” presets.