game-audio
Skill28 starsChanged 3 months agoApache-2.0View on GitHub
Game audio principles. Sound design, music integration, adaptive audio systems.
10 other projects use a version of this, 1 of them edited.
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- DECRUX9812/hermes-plugin-gameforgetheir own version, first seen Oct 25, 2026
- sid-lakhani/agents-configword for word, first seen Oct 20, 2026
- Bobagi/claude-skillstheir own version, first seen Oct 15, 2026
- OpusGameLabs/game-creatortheir own version, first seen Oct 8, 2026
- xenitV1/Antigravity-Workflowsword for word, first seen Oct 8, 2026
- wormholeportal/Makonetheir own version, first seen Sep 5, 2026
Other versions10 projects use a version of this.
Word for word · 3
- xenitV1/Antigravity-Workflows★ 130100% same
- SKB3002/agenthub★ 4100% same
- sid-lakhani/agents-config★ 2100% same
Edited · 1
- bcastelino/agent-skills-kit★ 299% same
Wrote their own version · 6
- OpusGameLabs/game-creator★ 360same name
- DECRUX9812/hermes-plugin-gameforge★ 44same name
- wormholeportal/Makone★ 27same name
- poorvith-mp/skills-gamedev★ 4same name
- mattstruble/skills★ 2same name
- Bobagi/claude-skills★ 0same name
How matches are found. Word for word: the exact same text. Edited: shares passages with this file (“99% same” means 99% of its five-word phrases also appear here; 10% or more counts). Their own version: similar meaning, or, weakest, the same name. We can’t tell which project had it first. Projects are counted among the 200 most-starred candidates, and mentions are links to the repository we found, up to 50 per site, so both counts are a floor.
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The file
Files
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 trackTransition 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.
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