Bonus Feature: Backstage With The Audio Of Guitar Hero 5
March 31, 2010 Page 2 of 3
Per-track Digital Signal Processing Effects
Once we have the tracks off the disc we need to be able to manipulate each track separately so we can have them respond to each player's actions. So, at run-time each stereo track is split apart from the interleaved FMOD Sound Bank (FSB) file and routed into a custom DSP network or "DSP Route" for further processing.
In order to do this processing, we abstracted an interface to FMOD's custom DSP API, and called it a "DSP Route". By adding this additional software layer we could manage input and output connections and add a DSP effect chain, very similarly to a channelgroup that is standard in FMOD, but giving us more control of our connections and the series of effects we can apply to any audio sent down that specific route.
All of this, in effect would give us an efficient way of streaming audio off of the disc, while giving us full control of each track at run-time. We need this for several reasons, including player feedback and atmospheric spatialization.
In a music-based game direct audio feedback is vital. The system has to be able to react to the people with the instruments and the more finesse we have with how we can alter the audio based on the player's action, the more we can make them feel like stars headlining their own virtual show.
First, of course, we need to turn on and off the volume of the player's instrument according to whether he or she is hitting the notes in the game.
Second, we want to provide some audio feedback to the user when Star Power is triggered. In this case, we wanted to accentuate that player's instrument audio to make it stand out more. Simply adding reverb to the instrument track -- be it guitar, bass or drums -- seemed to do the trick. It just nudged the spotlight in the right direction without being overpowering.
Third, we want to enhance player feedback for multiplayer situations. Depending on where the player's highway is positioned on the screen, we pan that player's audio slightly over in that direction. We found it just helped to place people in the room.
With Guitar Hero World Tour adding drums, and Guitar Hero 5 adding support for multiple instances of the same instrument this piece of polish managed to get pretty complicated pretty quickly. With vocals, there are 256 possible instrument and highway position combinations.
Luckily, the vocal system is totally separate to the song audio streams, so it whittles it down to a mere 81. Fortunately, we are able to simplify this further by layering panning configurations based on the number of shared instruments.
Atmospheric Audio Spatialization
Once we had grounded players a little more firmly in how their action affected the song and how their sound slotted into the overall group, we wanted to help move that group into the game world. Bar or an auditorium, players should be able to close their eyes and feel it, but we wanted to take it a step further.
Particularly in freeplay, when no players have joined in yet, we try to make it sound like you are standing at the back of the venue, as a bystander. However, once you have joined the game, we then try to bring the listener into the center of the action. To do this, we adjust a series of Reverb, EQ, and Compressor settings on each track.
While we considered how to make the game more interesting from a sound perspective we also wanted to make it more interesting from a visual stand point. Of course, we would work on the look and feel of the graphics, but we also wanted to use the visuals to help give players more feedback about the music itself and their performance.
Beginning in Guitar Hero 5, we have a real-time audio visualizer as a feature of the game. This can visualize the entire audio mix and each of the separate player instrument tracks, individually. This requires that we set up the networks in a specific way so we can capture the audio we want to visualize.
This can be as simple as adding another effect. To give a specific example, the guitar and bass routes have a special custom DSP effect, as shown in our DSP network captures as the "Nx Audio Grabber." This effect just simply copies the audio as it passes through and launches other engine threads to do spectral processing for the graphics system, freeing up FMOD's time to do other processing.
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