Here is the fourth and final installment of the presentation that I gave at the recent GameSoundCon in LA. There are two parts to this installment: a series of summaries and conclusions about the relative strengths and weaknesses of adaptive music systems in Elias, FMOD and WWISE; and a real example of Elias and FMOD working together in Unity3D on the VR game Stampede.

In Part 4 of my presentation from GameSoundCon, I discuss the results of my experiment comparing Elias, FMOD and WWISE, and then show a real world example of an adaptive music system in a VR game called Stampede.  In Stampede, we used FMOD for sound effects and mixing, and Elias for the adaptive music. I show that using FMOD and Elias together works very well, and that there is very little performance hit to the game when both are used together.

If you missed any of the previous parts of this article, you can find links to each at the end of this article.  If you like, you may review the Complete YouTube Playlist for the Presentation.

Here is the video for Part 4:


Here are some slides from the presentation with an overview of the conclusions that I drew from my experiment.

FMOD Strengths

WWISE Strengths

Elias Strenths

Conclusions 1

Conclusions 2

 


Links and Further Reading

Middleware Downloads and Tutorials:

Previous articles in this series:

Tutorials about Elias on Designing Music NOW:

Composing Adaptive Music with Elias – Part 1 – Introduction

Composing Adaptive Music with Elias – Part 2 – Advanced Features


About the Author


Dale Crowley is a Technical Composer and Audio Director at Gryphondale Studios.  You can learn more about him here.


 

 

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