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interactive-audio-design

Skill220 starsChanged 18 days agoMITView on GitHub

Use when gameplay state must drive sound and music reactively—specify stems, crossfades, stingers, horizontal resequencing, sound-effect pools, round-robin variation, spatialization, bus ducking, voice limits, and memory or streaming ceilings. Stop at the reactive-system blueprint; downstream schema packaging, media generation, and runtime code are separate.

The file

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1 rule. About 0 are common, 1 is distinctive, and 0 are very specific to this project.

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    Common · estimate

    Many files like this have a rule of this kind.

  • ≈1

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    This author's own choices. Worth a look.

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    Very specific

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  • Common
  • Distinctive
  • Very specific
  1. Distinctive:

    Every audio state has entry/exit + transition behavior.

    line 20

≈ “Common” is an estimate: at least 1 in 5 of the 350,495 skill files we read have a rule of the same kind, not the same words. “Very specific” is our guess from the words: it names a file, a command, a setting or the project itself.

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Files
SKILL.md

Interactive Audio Design

Design the interactive layer over generated audio assets: adaptive music, dynamic SFX systems, spatial audio, mix/ducking, and audio state machines.

Steps

  1. Derive audio states from the game state model (menu, explore, combat, etc.); define entry/exit and transition rules between them.
  2. Design adaptive music as layers/stems with transition behavior (crossfade, stinger, horizontal re-sequence) tied to state.
  3. Design the SFX system: sound pools, round-robin/randomization to avoid repetition, and spatialization rules.
  4. Define mix buses and ducking rules (e.g. duck SFX under dialogue) as deterministic parameters, not vibes.
  5. For each cue, specify trigger, parameters, and a memory/voice-count/streaming budget; name the middleware/runtime target.
  6. Hand rendering to the audio asset specialists and integration to game-engineer; never self-clear voice-likeness.

Acceptance

  • Every audio state has entry/exit + transition behavior; no unbounded voice count.
  • Mix and ducking rules are deterministic and parameterized.
  • Each cue names its trigger, parameters, and budget; middleware target stated.

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