iFanzine Interview

The folks at iFanzine — specifically a reporter with a brilliant name (Sean!) — interviewed me for iFanzine. This is the link.

How To Use TestFlight with Unity

I wrote an article and posted some code to use the TestFlight SDK with Unity over on the Wicked Games site: http://wickedgames.net/2011/11/22/how-to-use-testflight-with-unity/

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Unity Music Loader

Here’s a tutorial and some source code I put together for loading, caching, and streaming audio from Amazon Cloudfront into Unity and Unity iPhone. It lets you keep those gi-normous backing audio files out of your core game distribution, but then persists them to your players’ local systems after the first request; it also manages iPhone playback through a native player (but controlled from your Unity script) to work around some Unity AudioSource issues on the iPhone.

Although the iPhone audio playback mechanism is native, it doesn’t require a plugin from Unity, so it ought to work with Unity iPhone Basic (although I believe plugins are expected to be available for free once 3 is out of beta). Anyway, some of that code originally came from the awesome power that is Jeff Murray at Psychic Parrot Games (http://psychicparrotgames.com/) who in turn was inspired (I think) by a tutorial from the amazing guys at Blurst (http://blurst.com).

I updated the objective-c and added a bunch of things, so obviously anything that breaks is my fault, not theirs.

Here’s a zip archive containing the source files and documentation. After you extract it, open the index.html file in the docs directory for all the details.

It’s free for any kind of use you like, commercial or otherwise, and you can make any changes to it that you desire (standard BSD license, to be specific).

MusicLoader_Unity.zip

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Suggestions for Composers wrt Indie Games

Lately I’ve received several emails from folks trying to break in as composers writing music for video games, mostly in the indie game market. I am not sure I’m at a point where I should give advice — but nevertheless, here are a few suggestions from my perspective:
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Multiplayer Sound Design

When implementing a soundscape for games, it is not enough to attach audio clips to the correct game objects and hope the game engine handles the audio placement in 3D space correctly. Unless the engine includes a sound propagation engine and advanced audio occlusion and DSP API’s (and an audio engineer who can use them well), the result of merely tagging audio in space are usually weak, watered-down sounds, particularly for the local player in a multiplayer game.

It’s also subtly disconcerting to have a single sound — an explosion, for example — with the exact same waveform representing both local and remote audio, even though that is realistic; that is, it’s often more effective to diverge from realism in some cases, and employ different filters and even sometimes different waveforms altogether. I won’t argue for this statement intellectually, but we can trust our ears to tell us when it is true.
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