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Game Audio Programming 2
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Table of Contents

Chapter 1: Lifecycle of Game Audio

Chapter 2: A Rare Breed: The Audio Programmer

Section 1: Low-Level Topics

Chapter 3: Multithreading for Game Audio

Chapter 4: Designing a Channel-Agnostic Audio Engine

Chapter 5: Audio Resampling

Chapter 6: Introduction to DSP Prototyping

Chapter 7: Practical Applications of Simple Filters

Section 2: Middleware

Chapter 8: Advanced FMOD Studio Techniques

Chapter 9: Understanding Wwise Virtual Voices

Section 3: Game Integration

Chapter 10: Distance-Delayed Sounds

Chapter 11: Designs for Ambiences in Open-World Games

Chapter 12: Approximate Position of Ambient Sounds of Multiple Sources

Chapter 13: Techniques for Improving Data-Drivability of Gameplay Audio Code

Chapter 14: Data-Driven Sound Limitation System

Chapter 15: Realtime Audio Mixing

Chapter 16: Using Orientation to Add Emphasis to a Mix

Chapter 17: Obstruction, Occlusion, and Propagation

Chapter 18: Practical Approaches to Virtual Acoustics

Chapter 19: Implementing Volume Sliders

Section 4: Music

Chapter 20: Note-Based Music Systems

Chapter 21: Synchronizing Action-Based Gameplay to Music

About the Author

Guy Somberg has been programming audio engines for his entire career. From humble beginnings writing a low-level audio mixer for slot machines, he quickly transitioned to writing game audio engines for all manner of games. He has written audio engines that shipped AAA games like Hellgate: London, Bioshock 2, and The Sims 4, as well as smaller titles like Minion Master, Tales From the Borderlands, and Game of Thrones. Guy has also given several talks at the Game Developer Conference and at CppCon.

When he’s not programming or writing game audio programming books, he can be found at home reading, playing video games, and playing the flute.

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