About AGJam 2020

The Audio Game Jam is two week online jam, running from 6pm Friday 31st July to 6pm Friday 14th August. It will preceded by two weeks of online workshops.

The jam is an opportunity to prioritise and explore game audio. Too often, audio is left too late in the creative process, tacked on, or forgotten about entirely. In this jam, we flip that script and put audio right at the centre, where it can shine. 😊

The Audio Game Jam encourages any and all of the following:

• Audiogames (also known as audio-only games).
• Deep integration of audio in the creative process, including audio-led game design.
• Audio for accessibility.
• Artistic and experimental audio oddities.
• Learning new audio tools.

This jam was inspired by the 2016 AGJam (http://jams.gamejolt.io/agjam), in which some of our organisers participated. We thank them for running it, and for letting us take the ball and run with it for a while.

Discord: https://discord.gg/U7SnpMq - please jump in, introduce yourself, and start brainstorming some rad audiogame ideas.

Code of Conduct  - please read before joining the jam. By joining this Jam and the Discord above, you agree to abide by the Code of Conduct.

Diversifiers and Prompt!

Prompt:

Some people find themes restrictive, while others find that they provide focus or inspiration. We've decided to provide a prompt that you might like to use as inspiration. If you like it, that's great; if not, ignore it.

Diversifiers:

The diversifiers are extra challenges/achievements/creative constraints that you might like to apply to your game. Don't worry, they're not Pokemon, you don't gotta catch 'em all (or any of them).

Audio Only The game uses minimal or no visuals. This could be a screen with just a black or even not using a conventional window at all. Example: All the cool stuff here https://audiogames.net/

Dynamic Score The game’s music changes and/or evolves based off the players actions and in game events. Example: Goose Game https://youtu.be/gruIyw_AHYE?t=485

Reactive Audio The game's sound effects or atmosphere evolves or changes based on the players actions and current in game events. Example: Infliction which I’m not going to link too because it’s a spooky.

Spatialisation The source of all in game sounds is positioned in appropriate 3d or 2d space. Example: Overwatch https://youtu.be/xaSP24gEgc4?t=330

Audio input Audio is used as an input device to control your game, be it a microphone input or using a midi device/ other musical instrument input. Example: Rocksmith https://www.youtube.com/watch?v=4MkcQay5mF8  Example: Star Trek: Bridge controls Voice commands https://youtu.be/FH4bY4ZG9Pw?t=219

Swapping listeners The game varies the position that sound is heard from separate to the position of the camera.

Timed Game Elements Elements and/or obstacles of the game are synchronised to music. Example: No Straight Roads https://youtu.be/bEU8JcP5MfQ?t=313

Musical gameplay The player has to time their actions to the beat or other elements of the music. Example: Crypt of the Necrodancer https://youtu.be/Rs4Sc6-PjQI?t=34

Music Theatre Incorporate elements of musical theatre into your game. Be it choosing the lyrics of songs, having player characters performing or having players create music. Example: Chorus https://www.youtube.com/watch?v=xIzwjFEQBTk

Jam Made Audio All audio used for your game had been made during the jam.

I learned a thing! Used a new tool for the first time. With so many great workshops, why not try out a new tool even if you don’t end up using it for a game.

Talk With Us Your game Involves a conversation between two or more people.

Time Zone Trouble Work with someone in a different time zone.

Make New Friends Work with someone you've never met.

Generational Giants Work with someone with a 20 year age difference

Workshops

The workshops are now over but, never fear, they were recorded! So you can still check them out, below.

• Musicians' Guide to Game Audio
• Intro to Unity for Audio People
• Into the Void: MIDI and MIDI 2.0
• Designing Accessible Audio
• The Retro Music & SFX Vibe
• Introduction to Procedural Audio Synthesis in Unity Engine
• Create Music With Code in Tidal Cycles
• Giving Your Game a Voice
• Intro to Godot for Audio People
• Non-Musical Synth Patches with Xfer Serum

Musicians' Guide to Game Audio

In this workshop join Maize and Tig as they prepare game-ready music and sfx in Ableton, and implement dynamic audio in Wwise. If you're a musician looking to get into game audio, this workshop is for you.

Watch it here: twitch.tv/videos/684854857

With: Maize Wallin and Tigran Harutyunyan

Who is it for?: Musicians getting in to game audio.

Before the workshop: Please install your DAW of choice (Maize will be using Ableton) and Wwise www.audiokinetic.com/downloads

Intro to Unity for Audio People

Most introductory game engine tutorials leave audio out entirely, which can make them kinda dull for audio people, so we made a couple of beginners' tutorial just for you. In this intro to Unity, we focus on playing sounds and loops, audio responses to player input, and changing volume and position of audio sources. If you're a sound person who hasn't used Unity before, but wants to try using it for the jam, then this is the workshop for you.

Watch it here: youtube.com/watch?v=41tMxVGw8jc

With: Ben Rolfe

Who is it for?: Audio people who haven't used Unity before. Some experience with code is helpful but not required.

Before the workshop: Please install the latest version of Unity (unity3d.com/get-unity/download).

Into the Void: MIDI and MIDI 2.0

MIDI is a universal standard for controlling digital musical instruments which has been in use since the 1980s. In this workshop we'll learn about the messages that make up MIDI, how they work and some of their history. We'll also learn about the emerging MIDI 2.0 standard, which introduces higher resolution, tighter timing, two-way communication and automatic configuration.

The presentation will include roundtable-style Q&A with Evan, who is a member of the MIDI Manufacturers' Association and has been closely involved in emerging standards over the last three years.

Watch it here: https://drive.google.com/drive/u/0/folders/1YPWEE_4tmhv8nbYudhy5itl1O3J-tqh9

With: Evan Balster

Who is it for?: People with intermediate MIDI/DAW experience or basic programming experience.

Before the workshop: Requires a modern web browser (laptop, tablet or desktop recommended)

Designing Accessible Audio

Learn cool techniques to create accessible audio for your games, and examine games doing this well. A quick showcase and discussion of some designs and features you can implement to make your audio more accessible for those with hearing or cognitive disabilities.

Watch it here:youtube.com/watch?v=alP77DG_PlQ

With: Cailean Congedo

Who is it for?: Everyone (may include some jargon)

The Retro Music & SFX Vibe

Want legit NES / MegaDrive / Atari2600 sound effects? Come join the fun as we look at the tools and mindest you can use to generate sounds for all 3 of these. You'll be smashing out wave files (and ROM files!) in no time. This workshop includes the basics of instrument design, arp macros and tracking.

Watch it here: twitch.tv/videos/689130434

With: cTrix

Who is it for?: Some idea of how to compose music is helpful but not essential.

Before the workshop: Please install DefleMask (Mac / PC / Linux version, not mobile), TIATracker, and FamiTracker.

Introduction to Procedural Audio Synthesis in Unity Engine

This workshop will introduce you to the audio programming language Chuck, and to its Unity integration: Chunity. You will synthesise run-time sound effects with Chunity and will experiment with parameterising synthesis patches to react to changes in gameplay in a 'procedural' manner. Upon completing this workshop, you should have a basic understanding of procedural audio synthesis in Unity from which to base further explorations and experiments.

Watch it here: https://www.youtube.com/watch?v=gpcqd5rSOhI)

With: Chris Wratt

Who is it for?: This talk requires:

• Some audio production/synthesis knowledge (sine waves, noise, reverb, envelopes)
• Some programming knowledge (for/while loops, functions, variables)
• Some Unity knowledge (load a scene, edit a script, import assets from the asset store)
• You don't need to be a pro at any of the above, slight familiarity is enough

Before the workshop:

• Use a laptop or desktop computer. OSX or Windows is easiest, use Linux at your own peril.
• Download Unity via this link: unity.com, I'm on version 2019.4.2f1, but using other versions should be relatively low-risk.
• Download this cool free 'Space Shooter' pack from the asset store: we'll use it to hack our sounds into: assetstore.unity.com/packages/templates/packs/space-shooter-free-107260
• Download the 'Chunity' pack from the asset store: assetstore.unity.com/packages/tools/audio/chunity-chuck-for-unity-118383
• Optional: Grab ChucK and Mini audicle from this link: chuck.cs.princeton.edu/release . These give you a nice command line tool and standalone editor with syntax highlighting for chuck and are really useful for prototyping, but won't be directly used in the workshop.

Create Music With Code in Tidal Cycles

Learn to create music with code in Tidal Cycles!

"TidalCycles (or 'tidal' for short) is free/open source software, that allows you to make patterns with code, whether live coding music at algoraves or composing in the studio."

It is a wonderful way to create computer music without needing to spend a whole stack of money on any sort of gear. In this workshop we'll go over the basics of how to code with Tidal Cycles, some ways to make interesting patterns, making your own samples for use within the software, and also how to set up your own "algorave".

Watch it here: https://www.twitch.tv/videos/690968936

With: Allison Walker

Who is it for?: Some understanding of digital audio processing will help a lot but isn't necessary.  No coding experience needed!

Before the workshop: Please install Tidal Cycles (tidalcycles.org/index.php/Installation)
It is recommended to manually install everything to avoid any issues with the process.
I also recommend attempting the install a day or two beforehand in case there are any issues that need troubleshooting (install issues are rare these days fortunately).
If there are any issues that crop up there is a troubleshooting page with fixes for the most common install issues (tidalcycles.org/index.php/Troubleshooting_a_Tidal_install)

Giving Your Game a Voice

Attendees will discover (or be reminded!) of how voice acting can be a powerful, emotion AND information-rich tool in their game design tool box. We'll discuss the potential voice acting provides, look at considerations when writing for voice acting, and touch on both directing and performing. Strap in!

Watch it here: youtube.com/watch?v=jZzBKoaMRfU

With: Kevin Powe

Who is it for?: Newcomers to designing for voice in games. No knowledge assumed.

Intro to Godot for Audio People

Most introductory game engine tutorials leave audio out entirely, which can make them kinda dull for audio people, so we made a couple of beginners' tutorial just for you. In this intro to Godot, we focus on playing sounds and loops, audio responses to player input, and changing volume and position of audio sources. If you're a sound person who hasn't used Godot before, but wants to try using it for the jam, then this is the workshop for you.

Watch it here: youtube.com/watch?v=MtWSlyMZyGM

With: Ben Rolfe

Who is it for?: Audio people who haven't used Godot before. Some experience with code is helpful but not required.

Before the workshop: Please install the latest version of Godot (godotengine.org/download).

Non-Musical Synth Patches with Xfer Serum

In this workshop, we will be using Xfer Records Serum as a tool for creating non-musical synth patches. Serum is a wavetable software synthesizer which is considered one of the most powerful soft-synths available, and is the main synth of choice for many professional musicians and composers. During the workshop, attendees will learn how to use this synth to create atmos and SFX, from wind, to a spacy laser weapon, to a motor turning over.

Watch it here: The Push Buttons youtube channel, youtube.com/channel/UCfjRTZzf2Dv_qxbcC4hbp8g

With: Tigran Harutyunyan

Who is it for?: People with a basic understanding of how synthesizers work. I'll briefly explain the basics as I go to make it accessible but I won't have time to flesh it out too much coz I'm wanting to focus on making good patches and sfx.

Before the workshop: Please install Xfer Serum and load it into your favourite DAW (splice.com/plugins/15493-serum-vst-au-by-xfer-records)

Speakers

Evan Balster

Pronouns: He/Him or They/Them

Twitter: @EvanBalster

Website: imitone.com

Evan Balster is an audio programmer, developer of imitone, technology developer for SoundSelf and member of the MIDI Manufacturers Association contributing to the MIDI 2.0 standard.

Evan lives in an RV and travels the country with his cat (James) and his accordion (Mitzie).

cTrix

Pronouns: They/Them

Twitter: @cTrix64

Website: ctrix.net

cTrix has been composing music for 8-bit and 16-bit machines their whole (walking) life. Currently they compose for C64, NES, MegaDrive, Gameboy, Atari2600, PC Engine, Amiga, Vectrex, Lynx and the SNES (to name a few).

Everything cTrix composes will compile and play on the original consoles - however can easily be rendered to audio for authentic sounding tunes and sound effects. cTrix is based in Melbourne, lolstrailia.

Tigran Harutyunyan

Pronouns: They/Them

Twitter: @tigfuz_sound

Tigran is a producer, mixing and mastering engineer, musician, and composer. They have produced a number of successful albums with bands of various genres from doom metal to contemporary classical.

As a classically trained classical guitarist and musician, Tigran combines contemporary classical music, middle eastern folk music, industrial, soundscapes and noise music into immersive compositions with eclectic instrumentation.

Kevin Powe

Pronouns: He/Him

Twitter: @voiceover_au

Website: web.tavernofvoices.com

Kevin Powe is an international voice actor with a passion for crafting wonderful voice acting experiences, specialising in the medium of interactive entertainment. He can be most recently be heard in Mike Bithell’s North Star Rising working alongside an amazing cast including Rahul Kohli, Samantha Béart and Troy Baker, as well as Sun’s Shadow Studios’ upcoming Beyond the Veil working alongside Erika Ishii.

At Tavern of Voices, Kevin provides voice acting consultancy to satisfied clients looking for assistance with locating or working with quality voice acting talent, whether that be casting, directing, coaching, or even dialect creation.

Allison Walker

Pronouns: She/Her

Twitter: @lasngngna

Allison is a musician type individual with a particular interest in field recording, sound effects, and making nice tunes. She started with live coding to play sweet bangers at raves but now finds enjoyment in making strange textures and facilitating others to make their own fun and weird stuff with tidal cycles.

In her spare time she plays the drums and rants to anyone who will listen about Garfield.

Chris Wratt

Pronouns: They/Them

Websites: i-have-an.itch.io and soundcloud.com/hex_ed and wrattc.wixsite.com/chriswratt

• Chris Wratt is a Berlin-based audio hacker/queerdo/human from Te-Whanganui-a-Tara, Aotearoa.
• They work as a software engineer at the audio software company Ableton.
• On the weekends they sometimes make messy chiptune, messier walking simulators, and play the drums.
• They enjoy sitting in the sun, dancing, drinking iced coffee, and writing bullet point lists :p

Organisers

Cailean Congedo

Pronouns: He/Him

Twitter: @CaileanCongedo

Website: caileancongedo.myportfolio.com

Cailean is a sound designer and audio programmer working with audio in theatre, games, and video media. He mostly makes lots of experimental games and experiences exploring agency and mortality.

Alex Douglass-Bonner

Pronouns: She/Her

Twitter: @AlexLDouglass

Alex is a usability expert for digital products and service design with a background in Psychology and coding. Most recently she has tried to champion accessibility for apps and websites in her work. She has had a life long interest in games starting with the NES. A little known fact: Alex has been a competition ballroom dancer and cellist as a child.

Jess Gates

Pronouns: They/Them

Twitter: @jessgates025

Website: dml.itch.io

Jess is a game developer and accessibility consultant who collects spoons and knits beanies. They run the Audiogame Jam Twitter. Jess knows very little about audio, but enjoys making floopy sounds in their daily life.

Ben Rolfe

Pronouns: He/Him

Twitter: @Ecoludologist

Website: ecoludology.com

Ben Rolfe is a freelance programmer and gamedev generalist with interests in ecology, systems, and serious games.

In a former life, Ben was a Lecturer in Serious Games at the University of the Sunshine Coast, where he taught game design and game programming. He enjoys introducing people to tools and processes that empower them to do cool things.

Ben knows basically nothing about audio. This should be good.

Maize Wallin

Pronouns: They/Them

Twitter: @MaizeWallin

Website: maizewallin.com

Maize Wallin is a Melbourne based composer, sound designer, and audio programmer. Their focus is in 3D spatialised audio, and dynamic music, using cutting edge techniques. Maize consults in Australia and around the world on these topics, and is heavily engaged in the game development community, and in activism and representation within it.

Well known games Maize has worked on include Wolfire's Receiver 2 (2020), VRTOV's A Thin Black Line (2017), Cosmic Express (2017), and Framed (2014).

Maize co-founded Nonbinary.Zone, an advocacy group and community of nonbinary people. Maize is on the Making Space board of directors, representing the field of audio in videogames, and also drawing on their non-binary community. They are also an active organiser of the Australian Game Workers Unite campaign. Their community work also extends to conference and event organisation.

Resources

Content Warnings - a info guide about what content warnings are, why you need to include them, and how to write them well

More resources about all sorts of topics will be posted in the weeks leading up to the jam.

FAQ

(If you have any burning questions that aren't answered here, feel free to email us  at AGJamContact@gmail.com (a g jam contact [at] gmail [dot] com)

Who can participate?

Anybody! The only limitation is that this jam, and the Mixed Signals Discord server, are inclusive spaces. Anybody who can't respect that will be unable to participate.

What if I don't have a team?

At the beginning of July, we will open up discussion on the Mixed Signals Discord server. We will have a channel for discussing ideas and looking for teams.

Solo entries are also fine!

Are there any other limitations on submissions?

The jam is open to people of all ages, so all content must be appropriate for people under 18 years of age.

Apart from that, as long as it's something you can submit to Itch, you can make it for the jam!

Will the games be judged?

No, but they will be played and reviewed by some guest reviewers, and people can also play and give feedback via the jam's community page on Itch.