Beyond this world countless wonders are waiting: dive into deep space and explore distant galaxies, gasplanets, super novae and cosmic nebulae.
Welove.audio presents its second music pack tailored for game producers including full songs, submixes, hits, swells, trailer music, action and ambient atmospheres.
A retro-organic synthesizer-based, beautifully hand-crafted universe of cosmic sounds, velvet arpeggios and soaring melodies, tells a story on a distant planet. Find bombastic orchestral tracks as well as quirky electronica.
Easily design the music of your game with a few mouseclicks.
The answer is yes. The counter question would be: What is loud enough? Crytek was one of the first studios to integrate the new -23 LUFS standard into their audio specifications. Ryse: Son of Rome was their first game mastered to that standard.
The loudness standards we’ve adopted for Crytek are based on statistical analysis of best-selling video games, showing that those mixed to a lower and more consistent loudness level were actually selling better. (Simon Pressey/ Crytek Audio)
As a matter of fact more and more studios are adapting to the new audio industry standard to ensure constant audio quality and consistent loudness in-game and between games. This is also true for streaming providers like Netflix, Spotify, Youtube, a.m.o. and their respective content. This is the basis for delivering highly emotional and pleasing audio on a consistent level and quality, which creates an unique and all-embracing immersive user experience. The gamer should not be distracted by unbalanced audio, but be carried through the gaming experience by a balanced sonic ambience.
We can all think of a number of games, where it is almost impossible to concentrate on dialogues or contextual sounds because the music is too loud or dense. Ear fatigue and even physical pain can result. After playing a while you feel depleted and concentrating on the gameplay becomes increasingly difficult.
I like the game a lot, but without any individual volume settings (music, sfx, voices), i can’t play anymore. With headphones the mix is weird and the music is way too loud making me miss a lot of contextual and important sounds. The mission with the talking car was a good example, a messy wall of sounds. (User on a Gamer’s forum)
If you are not sure about the different audio levels in your game, you should at least implement user-adjustable individual volumes in your menu. But even if you are able to change the individual volume settings, if the audio sources are overly compressed, it is almost impossible to find a pleasing balance between music, speech and sfx. Take a look at the picture on the left (above for mobiles). This is a screenshot of the waveform illustration of Metallica’s “The Day That Never Comes” in Pro Tools. In the upper half you see the CD version and beneath it the game music version for Guitar Hero. The upper version is clearly over-compressed. There is little space between the peaks. You can imagine, that in addition to the distortion and the lack of punch, there is no headroom for additional sounds like bonus sounds or alerts. That is why an alternative version was made for the video game Guitar Hero. Even in the loudest part there is plenty of headroom, as one can see on the screenshot. This is essential for a music-based computer game. Think of a digital image: the more compressed for example a jpeg file is, the more artifacts and noise are visible. At some point one is not able to distinguish the details anymore and it is exhausting trying to do so.
On average, consumers prefer electronic audio content to be no louder than 69 dB, which is not much louder than normal conversation. They want to be able to smoothly switch from TV to video game without having to constantly adjust the volume. (Simon Pressey/ Crytek Audio)
As our Music Pack is open to use for everybody, your game-music will contain elements, which others also use in their game. It is definetely a challenge for the game’s audio designer to fit the music into the game in a creative and unique way, but we think this is possible. Tweak and alter and get creative on our content!
Yes, for sure! You are allowed to use the item for advertising your end product as well as Youtube Content (“Let’s play”, trailer videos, gameplay), if related to your dedicated end product. For each other use than for a game applications, you have to report the use of the track to your country’s Royalty Company such as ASCAP (USA) or GEMA (Germany).
Of course it is up to you what music you incorporate into your game. You can mix our music with any other content but make sure that you are entitled to use this content and are not violating any copyrights.
When it comes to mixing and rounding off your audio, adjust the levels carefully. Other content may be very loud, leaving no extra space for other audio elements to fit into the scenery. We from welove.audio have invested a lot of time and energy to meet modern standards. If third party content seems too loud, do not crank welove.audio content up just because it seems to sound better. Turn the other content down and rely on a balanced mix. Ultimately, each user should be able to adjust the volumes him- or herself.The EBU R128 standard ensures a similar perceived loudness of all content – whether it’s a TV show, a movie or youtube video or content from i-Tunes. Adjusting the volume should not be needed anymore to balance content from different sources.
The EBU R128 standard guarantees a high dynamic range for any audio application and ensures the same perceived loudness for content from various sources. The standard is becoming more and more accepted and will be unavoidable in a couple of years, when everyone will be producing according to it. Companies already making use of it are, for example, Crytek engine, i-Tunes, Youtube and many record companies.
Sure you can! Just be aware of the different speaker systems. In regards to mobile devices, we are usually dealing with smaller and much cheaper speaker systems, which do not provide a very high dynamic range and sub-optimal bass imaging. While high-energy action tracks do not seem to be an issue at all, low volume atmospheric tracks may require more attention. If you desire more loudness, crank up the volume in your engine to max +6dB, to remain in the safe zone. Your best bet is to experiment with the audio. Playback your game’s sound on different modern mobile devices (tablets and mobile phones) to find the optimal values for your game’s sonic behavior.
You can do that, we are happy if you do so.
No, go for it and tell your fans to “let’s play”.
Yes, you can! The EBU R128 Standard provides enough headroom for any layering. To be safe, insert a safety limiter on your master bus and keep an eye on your overall levels. Our Music Pack is designed for layering different sounds on top of each other. Use an atmospheric track, fade in action music for busy sections, ending with an “end of fight” – hit when the last enemy falls, and return to ambient sound again. On top of this, extra SFX such as gunfire, item sounds, or dramatic sounds such as swells and risers or hits, complete the sonic image.
When using third party SFX or music, which may not be balanced as carefully, please adjust the volumes and strive for a balanced sonic image.
Sure, go for it, but purchase another license first! Our Standard Game License covers a single use only! If you plan to use a track for another game, please buy the pack again.
for more information have a look at our Standard Game License
(it’s a great read )
Standard Game License