Unity Audio

Retrieval Sources

Key Guidelines

AudioSource Fundamentals (2D vs 3D)

AudioSource.spatialBlend is the single most consequential property to set deliberately: 0 is fully 2D (UI, menu music — constant volume regardless of listener position), 1 is fully 3D positional (world SFX, attenuated and panned by distance/direction), and values in between blend both for near-field effects that shouldn't fully vanish at range. 3D sources are further shaped by rolloffMode (Logarithmic — physically accurate, loud up close then tapers slowly; Linear — even falloff to maxDistance; Custom — driven by the Volume distance curve), minDistance (the "stays at max volume" radius), and priority (0 = never stolen, 256 = stolen first; default 128). Route output through an AudioMixerGroup instead of leaving it at the default Audio Listener output so a category volume slider can affect it later.

using UnityEngine;

public class GunshotSource : MonoBehaviour
{
    [SerializeField] private AudioSource worldSfx;   // 3D
    [SerializeField] private AudioSource uiClickSfx;  // 2D

    void Awake()
    {
        // World SFX: fully 3D, physically-plausible falloff, never stolen for gameplay-critical cues.
        worldSfx.spatialBlend = 1f;
        worldSfx.rolloffMode = AudioRolloffMode.Logarithmic;
        worldSfx.minDistance = 2f;
        worldSfx.maxDistance = 40f;
        worldSfx.priority = 64; // more important than default 128

        // UI SFX: fully 2D, unaffected by camera position.
        uiClickSfx.spatialBlend = 0f;
    }
}

AudioMixer & Snapshots

An AudioMixer sits between AudioSources and the AudioListener, mixing signals through a hierarchy of AudioGroups independent of the scene graph. Distance-based 3D attenuation, Doppler, and reverb-zone mixing are applied at the Audio Source before the signal enters the mixer, so mixer-side effects should be reserved for category-wide mastering (ducking dialogue under music, a global underwater low-pass, a pause-menu low-pass-everything effect). Never drive category volume through each AudioSource.volume field — right-click a group parameter (Volume, Pitch, Send Level, Wet Level, or any effect parameter) in the AudioGroup Inspector and choose Expose to script, then drive it at runtime with AudioMixer.SetFloat(name, value). Exposed values on groups are in decibels, not linear 0–1, so convert a linear UI slider with Mathf.Log10(value) * 20. SetFloat returns false if the name doesn't match an exposed parameter — check it, since a typo fails silently otherwise. For discrete mood changes (paused, underwater, low-health) use Snapshots instead of scripting individual parameter writes: AudioMixerSnapshot.TransitionTo(timeToReach) (or AudioMixer.TransitionToSnapshots to blend multiple) interpolates every exposed parameter in that snapshot over the given duration, using each snapshot's configured transition curve (linear by default, overridable per-parameter). Note that a manually-set SetFloat value on a parameter is locked and stops responding to snapshot transitions until cleared with AudioMixer.ClearFloat.

using UnityEngine;
using UnityEngine.Audio;

public class MixerVolumeController : MonoBehaviour
{
    [SerializeField] private AudioMixer masterMixer;
    [SerializeField] private AudioMixerSnapshot normalSnapshot;
    [SerializeField] private AudioMixerSnapshot underwaterSnapshot;

    // Called from a UI slider (0..1 linear).
    public void SetMusicVolume(float linear01)
    {
        float dB = linear01 > 0.0001f ? Mathf.Log10(linear01) * 20f : -80f;
        if (!masterMixer.SetFloat("MusicVolume", dB))
            Debug.LogWarning("MusicVolume is not an exposed AudioMixer parameter.");
    }

    public void EnterWater() => underwaterSnapshot.TransitionTo(1.5f);
    public void ExitWater() => normalSnapshot.TransitionTo(1.5f);
}

Audio Import & Compression

Choose compression by clip role, not blanket policy: PCM for short, frequent SFX (uncompressed, cheapest on CPU, largest on disk/memory); ADPCM for mid-length, frequently-triggered SFX like footsteps and impacts (fixed ~3.5x compression, more CPU than PCM but far less than Vorbis, less suited to smooth music due to audible artifacts); Vorbis/MP3 for music and long ambience (best size/quality ratio via the Quality slider, higher CPU cost). Pair compression with Load Type: Decompress On Load for small frequent sounds (avoids per-play decode cost, but decompressing Vorbis uses ~10x more memory than staying compressed, ADPCM only ~3.5x — never use it for large files); Compressed In Memory when memory is the constraint over CPU (decompression happens on the mixer thread — watch DSP CPU in the Audio Profiler); Streaming for long music/dialogue (minimal memory, decode on a separate streaming thread, but every streamed clip carries a fixed ~200KB overhead even unloaded). Import settings can be scripted per-platform via AudioImporter/AudioImporterSampleSettings for batch pipelines.

using UnityEditor;
using UnityEngine;

public static class BatchAudioImportSettings
{
    [MenuItem("Tools/Audio/Apply SFX Compression Preset")]
    public static void ApplySfxPreset()
    {
        foreach (var guid in AssetDatabase.FindAssets("t:AudioClip", new[] { "Assets/Audio/SFX" }))
        {
            var path = AssetDatabase.GUIDToAssetPath(guid);
            var importer = AssetImporter.GetAtPath(path) as AudioImporter;
            if (importer == null) continue;

            var settings = new AudioImporterSampleSettings
            {
                loadType = AudioClipLoadType.CompressedInMemory,
                compressionFormat = AudioCompressionFormat.ADPCM,
                sampleRateSetting = AudioSampleRateSetting.PreserveSampleRate,
            };
            importer.SetOverrideSampleSettings("Standalone", settings);
            importer.SaveAndReimport();
        }
    }
}

Spatial / Ambisonic Audio

Standard 3D positional audio in Unity uses simple stereo panning driven by distance/angle — enough for most games. For higher-fidelity binaural output (VR/XR headphones), install an Audio Spatializer SDK plug-in, select it in Project Settings > Audio, then enable Spatialize (and optionally Spatialize Post Effect, to apply the spatializer after other Source effects) per AudioSource. Ambisonic audio is a different mechanism for 360° soundfields (skyboxes, VR ambience): import a multi-channel B-format WAV with ACN component ordering and SN3D normalization, enable Ambisonic on the clip's import settings, assign it to an AudioSource, select an Ambisonic Decoder Plugin project-wide, and disable Spatialize on that source — the ambisonic decoder already performs spatialization as part of decoding, so leaving both on double-processes or conflicts. Reverb zones are disabled for ambisonic clips by design.

using UnityEngine;

public class VrAmbientAudio : MonoBehaviour
{
    [SerializeField] private AudioSource pointSfx;      // regular 3D SFX, wants HRTF
    [SerializeField] private AudioSource ambisonicBed;  // 360 ambisonic skybox audio

    void Start()
    {
        // Binaural point source: rely on the installed spatializer plug-in.
        pointSfx.spatialize = true;
        pointSfx.spatializePostEffects = false;

        // Ambisonic bed: decoder handles spatialization — must NOT also spatialize.
        ambisonicBed.spatialize = false;
        ambisonicBed.Play();
    }
}

Pooling AudioSources

Never Instantiate a GameObject+AudioSource per sound effect — the GC churn and Instantiate/Destroy overhead is wasteful for anything that fires often (gunshots, footsteps, impacts). For truly fire-and-forget one-shots that share a source's output settings, AudioSource.PlayOneShot layers a clip on an existing source without interrupting what it's already playing. For overlapping, independently-controlled sounds (need their own volume/pitch/position or need to be stopped individually), maintain a small pool of reusable AudioSource components instead.

using System.Collections.Generic;
using UnityEngine;

public class AudioSourcePool : MonoBehaviour
{
    [SerializeField] private AudioSource sourcePrefab;
    [SerializeField] private int poolSize = 16;

    private readonly Queue<AudioSource> available = new();

    void Awake()
    {
        for (int i = 0; i < poolSize; i++)
        {
            var src = Instantiate(sourcePrefab, transform);
            src.gameObject.SetActive(false);
            available.Enqueue(src);
        }
    }

    public AudioSource PlayAt(AudioClip clip, Vector3 position, float volume = 1f)
    {
        if (available.Count == 0) return null; // all voices busy; drop or steal lowest-priority here

        var src = available.Dequeue();
        src.transform.position = position;
        src.clip = clip;
        src.volume = volume;
        src.gameObject.SetActive(true);
        src.Play();
        StartCoroutine(ReclaimWhenDone(src, clip.length));
        return src;
    }

    private System.Collections.IEnumerator ReclaimWhenDone(AudioSource src, float delay)
    {
        yield return new WaitForSeconds(delay);
        src.gameObject.SetActive(false);
        available.Enqueue(src);
    }
}

Audio Filters vs. Audio Effects (don't conflate them)

Unity documents two distinct DSP mechanisms that are easy to confuse. Audio Filters (AudioLowPassFilter, AudioHighPassFilter, AudioEchoFilter, AudioDistortionFilter, AudioReverbFilter, AudioChorusFilter) are components you attach directly to the same GameObject as an AudioSource or the AudioListener — they process only that one source's signal (or, on the Listener, everything reaching it). Audio Effects (Low/High Pass, Echo, Flange, Distortion, Normalize, Parametric EQ, Pitch Shifter, Chorus, Compressor, SFX Reverb) are DSP units added inside an AudioMixer group's effect chain — they process every source routed through that group at once, which is almost always the better tool for a category-wide change (e.g. "everyone sounds muffled underwater") since it's one mixer edit instead of toggling a filter component on every active source.

using UnityEngine;

public class UnderwaterMuffle : MonoBehaviour
{
    [SerializeField] private AudioLowPassFilter playerVoiceFilter; // per-source filter, narrow scope
    [SerializeField] private UnityEngine.Audio.AudioMixer worldMixer; // category-wide via exposed effect param

    public void EnterWater()
    {
        // Narrow: only this one source (e.g. local player's own breathing SFX).
        playerVoiceFilter.enabled = true;
        playerVoiceFilter.cutoffFrequency = 800f;

        // Broad: every SFX/ambience routed through the "World" mixer group.
        worldMixer.SetFloat("WorldLowPassCutoff", 800f);
    }
}

Common Mistakes

Quick Reference

Advanced Notes

Audio format choice per platform. The default Compressed mode picks Vorbis for desktop/mobile standalone builds; you can override per-platform in the Audio Clip Import Settings (e.g. force MP3 or ADPCM on a specific target) when a platform's decoder is cheaper or its licensing differs. On WebGL/Web, Unity cannot use its normal FMOD-based pipeline because FMOD relies on threads the WebGL API doesn't support — audio there runs through an internal Web Audio API implementation instead, and Unity transcodes AudioClips to AAC regardless of source format. Two Web-specific gotchas: Chrome's autoplay policy blocks any audio (including background music set to autoplay) until the user interacts with the page via click/tap/keypress, so gate audio behind a loading/start screen; and on iOS Silent Mode, DecompressOnLoad clips are silenced because WebKit routes that audio-node type differently than the MediaElementSourceNode used for CompressedInMemory clips — set affected clips to CompressedInMemory to keep them audible in Silent Mode. Also note Linux builds require the ffmpeg package installed for audio clip import/support, and the Scriptable Audio Pipeline is unsupported on Web builds entirely.

DSP buffer size and latency tuning. The audio engine mixes into a ring buffer defined by bufferLength (samples per block) × numBuffers (block count), configurable via Project Settings > Audio > DSP Buffer Size (Best Latency, Good Latency, Best Performance) or at runtime through AudioSettings.Reset(AudioConfiguration). Smaller buffers lower the latency between a script's volume/pitch/pan change and its audible effect, but increase CPU usage (more frequent DSP graph evaluation, more cache misses) and raise the risk of audible glitches/underruns on constrained hardware; anything above roughly 20ms of buffer latency makes parameter changes noticeably steppy rather than smooth. Unity's default is tuned per output type and driver and is deliberately conservative — the docs explicitly recommend leaving it alone unless you have a measured latency requirement (e.g. music/rhythm games needing tight sync). Any runtime change via AudioSettings.Reset reloads every audio object: disk-based AudioClips and Audio Mixers survive automatically, but procedurally-generated or script-modified AudioClips are lost and must be recreated in the AudioSettings.OnAudioConfigurationChanged callback, along with any play-state you need to restore. Use the Audio Profiler's DSP CPU / Streaming CPU / Other CPU breakdown to determine whether a performance problem is actually buffer-size-related before touching this setting — a high "Other CPU" or excessive Playing/Virtual voice counts usually point to voice management (priority, Max Real Voices) rather than DSP latency.