AUDIO AND
MUSIC
MUSIC
MUSIC
A score that answers the player
What it covers
Adaptive audio is two mechanisms and a lot of discipline. Layers that fade against a parameter, and segments that swap on a bar line. Everything else is a crossfade with better marketing.
Score and adaptive music
Original composition written to be entered and left at defined points. Vertical layers that track intensity, horizontal segments with quantized transitions, and stingers for the moments that cannot wait for the next bar.
Sound design and Foley
Ambience, weapons, creatures, interface and Foley, with the technical sound design underneath it: how a sound is triggered, prioritized, blended and budgeted when four hundred of them want to play at once.
Voice production
Casting, direction, recording and performance capture, then the editorial nobody advertises: cleanup, line IDs, naming, metadata and delivery to engine spec. Multilingual recording with in-territory direction, because a read that lands in English can miss in German.
Implementation and compliance
Wwise, FMOD, MetaSounds or engine-native. Bank strategy, bus hierarchy, voice limiting, occlusion and spatial setup, then a mix referenced to the platform loudness target. Home and portable sit six decibels apart, so a handheld SKU earns its own pass.
How an engagement runs
The same engagement model as any other Evoc8 capability. The system is designed before the content is written, because a linear cue cannot be retrofitted into an adaptive score.
01
Assess
What the game needs the audio to do. States, parameters and moments first, then the asset list that follows from them rather than the other way round.
02
Design
The audio system. Middleware choice, bank and memory strategy, mix structure, and how music moves between states, settled before a note is recorded.
03
Prove
A slice with score, sound design and implementation running together in engine, so transitions and mix get judged in play instead of on a timeline.
04
Expand
Full content production, voice recording and localization, spatial audio setup, and integration across the build with memory held inside budget.
05
Sustain
Final mix, loudness compliance, audio QA and LQA, then live content afterwards as the game keeps changing under the score.
What you are left with
A finished mix that meets platform loudness spec, an audio system your own team can extend, and a score written to carry content you have not built yet.
Rights are settled at the start. Work-for-hire or license, master and publishing handled explicitly, so trailers, soundtrack releases and broadcast do not reopen a negotiation two years later.
How an engagement is scoped →