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    <loc>https://www.slowarpeggio.com/sound-design/blog/lilys-bakery-milestone-2</loc>
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      <image:title>Wolverinesoft Fall 2024 Blog - Lily’s Bakery – Milestone 1 - Make it stand out</image:title>
      <image:caption>At the end of our first story session!</image:caption>
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      <image:title>Wolverinesoft Fall 2024 Blog - Panning &amp;amp; Crossfades - Volume — Decays logarithmically but then plateaus. I wanted sounds to be heard from further away because it’s important for the player to know what’s happening off-screen, for example, whether their base is under attack.</image:title>
      <image:caption>Spatial Blend &amp; Spread — These helped soften the panning. The goal was to have the sounds on-screen occupying the front 60° while the remaining 60° on each side would be for sounds off-screen. This way the sonic information right in front of the player didn’t clash with the information coming from afar. Reverb Zone Mix — I wasn’t using Reverb Zones, so this was not necessary. Because the whole map was the same ambient environment, I just used a static reverb. While it would’ve been cool to make sounds that were further away have more reverb, I had other things that were higher priority.</image:caption>
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      <image:title>Wolverinesoft Fall 2024 Blog - Panning &amp;amp; Crossfades - Make it stand out</image:title>
      <image:caption>The function takes in the two tracks you want to crossfade, as well as how long you want the crossfade to be. If the track you want to crossfade into is already playing, the function refuses to perform the crossfade and logs an error. There are probably more elegant ways to handle this, but for my purpose this was fine because I would never want to fade into a track that was already playing. After passing that check, the function then linearly crossfades the two tracks, and makes sure to stop the track that is now muted.</image:caption>
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    <lastmod>2024-12-31</lastmod>
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      <image:title>Wolverinesoft Fall 2024 Blog - Mixing - Make it stand out</image:title>
      <image:caption>“NewAudioMixer” acts as the final layer before the audio listener (which sends audio to the speakers). Inside NewAudioMixer exists the SFX mixer with all of its different sub-mixers in different categories. I sorted the sounds by action instead of source because I thought it may be more useful to mix using the relative importance of each action versus the importance of the source. I.e. in a game in which there can exist a huge number of player troopers and enemy units, it becomes more crucial to emphasize the importance of certain actions (landing attacks) rather than others which are less important (footsteps). Another weird thing you may notice is that there is a sub-mixer for the SFX but not for the Music or Ambience. That’s because the mixers actually hide all of their children when you are viewing the parent of that mixer, whereas you would see every single group and its children when viewing the mixer that those groups belong to. Since I don’t need any children for Music or Ambience, I just kept those as groups for simplicity’s sake.</image:caption>
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      <image:title>Wolverinesoft Fall 2024 Blog - Buttons &amp;amp; Buckets - Make it stand out</image:title>
      <image:caption>For the “thud” part of the sound.</image:caption>
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      <image:title>Wolverinesoft Fall 2024 Blog - Buttons &amp;amp; Buckets - Make it stand out</image:title>
      <image:caption>For the plastic-y, hollow, and sandy part of the sound.</image:caption>
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