Lega o: una he amien a de música adap a i a
pa a ideojuegos inspi ada en écnicas
cinema og á icas
Lega o: an adap a i e music oolse o ideo
games based on cinema ic echniques
T abajo de Fin de G ado
Cu so 2023–2024
Au o es
Emile de Kad
Pablo E ayo Rod íguez
Di ec o es
Jaime Sánchez He nández
Miguel Gómez-Zamalloa Gil
G ado en Desa ollo de Videojuegos
Facul ad de In o má ica
Uni e sidad Complu ense de Mad id
Lega o: una he amien a de música
adap a i a pa a ideojuegos inspi ada en
écnicas cinema og á icas
Lega o: an adap a i e music oolse o
ideo games based on cinema ic echniques
T abajo de Fin de G ado en Desa ollo de Videojuegos
Au o es
Emile de Kad
Pablo E ayo Rod íguez
Di ec o es
Jaime Sánchez He nández
Miguel Gómez-Zamalloa Gil
Con oca o ia: Junio 2024
G ado en Desa ollo de Videojuegos
Facul ad de In o má ica
Uni e sidad Complu ense de Mad id
27 de mayo de 2024
Dedica o ia
A Jaime, po dis u a an o de lo que enseña
y a Miguel, po pone le los pies en el suelo
cuando oca.

Ag adecimien os
A odo ASCII, po man ene mis ganas de i i es os cinco años.
-Emile
A mi amilia, po anima me a es o za me du an e es os años de ca e a.
-Pablo
Bueno, sí, a mi amilia ambién, cla o es á.
-Emile
ii
Abs ac
Lega o: an adap a i e music oolse o ideo games
based on cinema ic echniques
This p ojec p o ides ideo game de elope s wi h a se o ools o c ea e adap i e
sound acks o hei games, which eac o game e en s, using echniques inspi ed
by cinema sco es.
The echniques ha inspi ed his p ojec (and he ones i he e o e acili a es)
e ol e mainly a ound he cons uc ion o a “musical iden i y” o di e en aspec s o
a scene o na a i e. A ce ain in-game loca ion may ha e an associa ed ins umen
wi hin he sound ack; a e i ying illain migh cue an ominous lei mo i ; he game’s
music may slow down d as ically du ing key playe decisions.
Wi h he ools p o ided by his p ojec , elemen s wi hin he game can easily be
assigned a musical iden i y, a ec ing he sound ack in a dynamic manne .
Many sec ions o his documen assume a basic amilia i y wi h he Uni y game
engine on behal o he eade .
Keywo ds
Adap i e music, ideo game engines, Uni y, Reape , musical composi ion, ideo
game music, OSC.
ix

Cap´
ı ulo 1
In oduc ion
“I you alk o any di ec o , hey’ll say music is i y pe cen
o he mo ie.”
— Hans Zimme
1.1. Mo i a ion
E en in hei e y i s p ojec ions, he Lumiè e b o he s elied on a pianis
o accompany hei sho ilms (Tudo , 2017). P eda ing e en he in oduc ion o
dialogue o he medium, he sound ack has always been an indispensable pa o
cinema.
I is ha d o pic u e he g ea p o agonis s o cinema wi hou e oking he music
ha he alded hei p esence. Don Co leone’s agic iolin segmen ; he hunde ous
Impe ial Ma ch o he Galac ic Empi e; he lu e, oca ina and choi ha de ine
he eponymous “The Good, he Bad and he Ugly” despi e playing he same une
(Classic FM, 2014); he ull cas and s o y o he Spide - e se, made ha much
mo e ib an by he a ay o echniques, ins umen s and wa e owl ha Daniel
Pembe on spun in o hese ilms (Sony Sound acks, 2023). The iden i y o hese
cha ac e s is jus as audible as i is isual.
Many o hese amous sounds a e lei mo i s, melodic igu es o ph ases associa ed
wi h he epea ed appea ance o a cha ac e , idea o si ua ion. O he s, like “The
Good, he Bad and he Ugly”, use ins umen s o iden i y hei cha ac e s.
This concep o “musical iden i y” ascina ed us. As game de elopmen s uden s,
we wan ed a way o employ hese echniques in ou own games. The sound ack o
a ideogame has an allu e compa able o ha o a ilm; howe e , sa e o ce ain
excep ions like hy hm games, he sequence o e en s ha occu in a game is no
de e minis ic. The decisions o one o mo e playe s, as well as o he andom e en s,
make i impossible o compose songs ha pe ec ly esona e wi h each momen o
he ac ion.
Adap i e music as an a - o m ose as a way o pa ch his issue: a se ies o edi ing
and sequencing echniques ha al e a game’s music in eal ime o be e ollow
he e en s on sc een. The music may be al e ed by changing he ins umen a ion,
adjus ing he empo ( he speed a which he music is played) o in oducing new
1
2Capí ulo 1. In oduc ion
melodies in o he cu en song.
We had a e y clea men al image (o a he , men al sound) o wha we wan ed:
a ideogame sco e ha uses musical language o desc ibe he ac ion on sc een a any
gi en ime, by combining signa u e cha ac e lei mo i s and ins umen s in ha mony
wi h each o he .
As game de elope s, we looked o middlewa e ( ha is, so wa e ha wo ks
unde nea h he game’s code bu abo e he ope a ing sys em) ha would allow us
o c ea e music o ou games s aigh om he game engine using hese echniques.
Un o una ely, we could no ind any hing ha qui e ma ched ou speci ica ions.
Compose s and game de elope s use such ools as DAWs and acke s ( wo di e-
en ypes o applica ions used o p oducing music) o c ea e and in eg a e sound-
acks in o games. Howe e , hese applica ions s ill equi e human in e en ion and
can’ necessa ily be con olled om he game engine. This is impo an , since a ga-
me’s logic is p og ammed wi hin he engine; i would be unwieldy o ha e o edi
he sou ce iles o he sound ack e e y ime a change in gameplay a ec s how and
when he music will be played.
Wi hou a specialised ool, he unc ionali y we wan would become e y messy
o implemen . E e y possible combina ion o lei mo i and ins umen would need
o be ende ed indi idually in e e y empo. E en in specialised en i onmen , such
as a DAW, his ask would become edious wi hou au oma ion.
Addi ionally, synch onising a sound ack made up o so many sca e ed pieces
would be i ’s own s uggle wi hou a cen alised handle o he music.
These conside a ions helped us na ow down he equi emen s o he wo k needed
o c ea e such a ool ou sel es: an adap i e music sys em ha bo ows musical
echniques om cinema, allowing o complica ed, high-cos ins umen s and e ec s
wi hou demanding la ge amoun s o p ocessing powe om he playe ’s compu e .
1.2. Key de ini ions
Ho izon al e-sequencing: se o adap i e music echniques in which di e-
en audio clips a e played one a e he o he , changing he o de o choice o
clips in esponse o e en s wi hin he game.
Ve ical e-o ches a ion: se o adap i e music echniques in which di -
e en pa s o he sound ack ha a e played simul aneously a e al e ed in
esponse o in-game ac ions, esul ing in a di e en inal mix.
MIDI (Musical Ins umen Digi al In e ace): digi al encoding o ma
o music used o communica ion be ween applica ions o de ices. MIDI i ems
on hei own s o e no in o ma ion abou he music’s sound; only he abou he
no e ha is played, as well as addi ional da a like he iming and way in which
he no e is played.
DAW (Digi al Audio Wo kspace): de ice o so wa e used o eco ding,
edi ing and p oducing sound audio. Among o he hings, a DAW allows o
1.3. Goals 3
he ende ing o sound iles om an encoding o ma (such as MIDI) and lis
o e ec s ha combine o de e mine wha sounds a e p oduced by each no e.
Vi ual ins umen : so wa e o gene a ing sound om a symbolic ep esen-
a ion (wi hin he scope o his p ojec , gene ally MIDI). These ins umen s
se e as plug-ins wi hin a DAW.
OSC (Open Sound Con ol): ne wo k p o ocol o mul imedia communi-
ca ion be ween sound de ices.
C oss ade: o change om one sound o ano he ia a g adual ading ou o
one clip as ano he is aded in.
Quan isa ion: wi hin he con ex o adap i e music, he p ocess o co ec-
ing and synch onising di e en sou ces o music so ha hey sound pe ec ly
aligned wi h hei empo.
BPM (Bea s Pe Minu e): uni o measu emen o he music’s empo.
Posi ional audio: in ideogames, any sound ha simula es coming om a
speci ic poin wi hin he game space.
1.3. Goals
The aim o his p ojec is o c ea e an ex ension o Uni y ha would include
ools o he inclusion o adap i e music in ideogames using he abo e men ioned
echniques.
Uni y is a game engine wi h a e y wide use base. I was mainly chosen due
o ou amilia i y wi h i , hough i has o he ad an ages, as explo ed in chap e
2. Since he ool is buil wi hin and o use wi h Uni y, i is also a ge ed a Uni y
de elope s.
The ool should simpli y he p ocess o building a musical iden i y o di e en
cha ac e s, hemes and loca ions in he game’s na a i e, by al e ing he ambien
sound ack whene e hose na a i e elemen s a e in a scene. While he ac ual com-
posi ion o he music should s ill occu wi hin a DAW, a de elope should be able
o make any changes o he logic o how he sound ack is used wi hou lea ing he
game engine.
This oolse should:
Allow o he modula inclusion o lei mo i s in o a game’s sound ack.
Allow pa s o he sound ack o ha e hei ins umen a ion changed in un i-
me.
Allow o he empo o he sound ack o be changed in un ime.
Place a low demand o esou ces on he game engine.
No equi e compose s o unde s and any p og amming.
4Capí ulo 1. In oduc ion
No equi e p og amme s o unde s and music gene a ion so wa e.
Place as ew es ic ions as possible on he music and e ec s ha he compose
can c ea e o he game.
Be easy o use.
1.4. Wo k plan
In o de o ul il hese objec i es, he wo k was spli in o he ollowing pa s,
some o which we e de eloped in pa allel:
Resea ch o exis ing echnologies. Ra he han w i e all o he code om
sc a ch, di e en applica ions we e s udied o be used as a ounda ion upon
which o build he ool. This would also make he ool mo e accessible, by lin-
king i wi h exis ing echnologies ha po en ial use s would al eady be amilia
wi h.
Au oma ing he ende ing o sound iles. Since he ool will use p e- ende ed
sound asse s, hese will need o be c ea ed au oma ically based on use -es ablished
pa ame e s.
C ea ion o he use in e ace o he ool’s con igu a ion. The de elope should
ha e access o a con ol panel wi hin he game engine i sel .
C ea ion o game asse s ha could ep esen he dynamic elemen s o he
sound ack. To make he ool mo e isual, he adap i e lei mo i s, ins umen s
and empos will be ep esen ed as asse s wi hin he game engine. These asse s
will need o be egene a ed e e y ime new audio samples a e ende ed.
P og amming he dynamic playback logic. The adap i e playback sys em is
he co e o he ool. O he han o de ing he en ance and exi o he dynamic
elemen s, he de elope should no ha e o manually con ol he synch onisa-
ion, quan isa ion o playback o he music.
Cap´
ı ulo 2
S a e o Play
Lega o is a oolse o c ea ing adap i e music o ideogames. As such, i would
be poin less o s udy o he simila ools (i s “compe i ion”, as i we e) wi hou i s
examining a ew illus a i e examples o adap i e music in popula ideogames.
2.1. Adap i e music in ideogames
While he ollowing examples do no communica e he ull capabili ies and li-
mi a ions o he ools used o c ea e hem, hey do pain a pic u e o he gene al
equi emen s ha any simila ool mus ul il. This o cou se canno be conside ed
an exhaus i e analysis o all he echniques used in he medium, bu i highligh s a
ai ly ep esen a i e selec ion.
Doom E e nal (id So wa e, 2020) is a high-ac ion, i s -pe son shoo e game
wi h a hea y me al sound ack. I s sco e employs a a ie y o echniques o
cap u e he game’s ene gy o an ic, non-s op ac ion:
•A e ical e-o ches a ion sys em ha uses di e en acks o sco e di -
e en le els o comba in ensi y.
•A ho izon al e-sequencing sys em ha ansi ions be ween di e en songs
when he playe mo es be ween scenes. These ansi ions a e occluded by
addi ional diege ic and non-diege ic sound e ec s ha play o e hem.
•When he playe ’s heal h is low, a low-pass il e is applied o all o he
game’s music. This is a common e ec ac oss he ac ion game gen e.
(Po kb ain, 2020)
Ma io Ka 8 (Nin endo, 2014) is a mul iplaye acing game wi h a unique
soun ack o e e y ace ack. The ack Moun Wa io makes no able use o
ho izon al echniques; he le el uses 4 di e en songs ha play du ing hei
espec i e pa s o he ack. Each ime a playe eaches a new zone, he
cu en ly playing song con inues un il he end o i s nex measu e. Then, i
ansi ions di ec ly in o a pe cussion-only b idge ha leads in o he nex song
(8-bi Music Theo y, 2019).
5

6Capí ulo 2. S a e o Play
Dead Space (Mo i e S udio, 2023) is a su i al/ho o game wi h hi d-pe son
shoo e mechanics.
The sound ack makes use o “alea o ic” echniques in he pe o mance o he
music. This on i s own is no adap i e music, since he andomness is baked
in o he eco ding, no gene a ed du ing gameplay (Pepia , 2023).
Lu ause s (Vlambee , 2014) is a 2D a cade-s yle game in which he playe
con ols a cus omisable igh e plane, dodging a acks and shoo ing down o he
a ge s.
The plane has h ee pa s ha can be cus omised. Each o hese pa s has
a co esponding laye o he sound ack, and each selec able op ion has an
associa ed ack. This way, each o he 125 possible combina ions o pa s
c ea es a unique plane wi h a unique sound ack (Ligman, 2014).
The Legend o Zelda: Skywa d Swo d (Nin endo, 2011) is a medie al an asy
ad en u e game in which he playe mus explo e he map and i s a ious
dungeons.
Some o hese dungeons employ a e ical e-o ches a ion echnique: hey
ha e a single ambien ack h oughou he whole dungeon ha has speci ic
mo i s laye ed on op based on he cu en oom he playe is is (Game Make ’s
Toolki , 2014).
Wii Play (Nin endo, 2006) is a game wi h 9 mini-games, each one ocused on
highligh ing ce ain capabili ies o he Wii Remo e. The las o hese mini-
games, Tanks!, allows one o wo playe s o pa ake in oy ank ba les.
The sound ack o his mini-game employs a combina ion o e ical echni-
ques: a single, sho loop is played o e se e al laye s o music. Each enemy
wi hin he game de e mines wha ack plays on laye . The music is a ec-
ed no only by which ypes o enemies a e p esen , bu also by how many
he e a e and whe he ha is he s onges enemy emaining (Sc u y, 2022;
isa enewspape s8890 y BigKi y1011, 2022).
2.2. Exis ing echnology
I is o en di icul o iden i y which ools we e used o p og am he adap i e
music o a game; mo eso, ansi ions be ween s a es o he music a e equen ly
p og ammed di ec ly om he game’s code, wi hou he use o specialised ools
(middlewa e).
2.2.1. Sequence s
Sequence s we e widely used in he 80’s, as a e y e icien way o compiling a
game’s sound ack. In a ime we e e e y kiloby e was p ecious, s o ing an en i e
sound ile in a game ca idge was oo cos ly. Ins ead, music was gene a ed wi h a
soundchip and a lis o no es, simila o how a music box unc ions. Since he music
2.2. Exis ing echnology 7
was in e p e ed in eal- ime, his made i e y easy and e icien o change he speed
o ins umen a ion o he music.
Howe e , sequence s don’ scale well: he old games ha used hem (as well as
newe games looking o emula e he e o" eel) used e y simple syn hesize s o play
he game’s music. By con as , mode n i ual ins umen s can use la ge amoun s
o memo y. I Lega o is o be compa ible wi h any sound he use wishes o use, i
has o use p e- ende ed audio.
Wi h his in mind, i is wo h exposing he capabili ies o h ee ools wi h pa -
icula ele ance o his p ojec :
2.2.2. Reape
Reape is a DAW ha allows a g ea amoun o eedom o sequencing music
using i ual ins umen s and o he e ec s. These ins umen s can include any VSTi
plugin, which is he comme cial s anda d o i ual ins umen s.
The p og am can be managed wi h a wide a ay o ac ions, uni a y ins uc ions
each wi h a e y speci ic unc ionali y. These ac ions do no ecei e a gumen s,
hough in some cases hey deploy pop-up widows o he use o allow he use o
manually con igu e ce ain pa ame e s. Some o hese ac ions a e ied o keyboa d
sho cu s o hei o dina y use. Fo example, he ac ion “File: Sa e p ojec ” is
associa ed o he keyboa d sho cu “C l + S” (CockOS Wiki, 2013).
In addi ion o i s ac ions, Reape has i s own sc ip ing language called ReaSc ip .
ReaSc ip can be w i en in EEL2, Lua o Py hon. We op ed o use Lua, since i is
he mos easily accessible om wi hin Reape i sel and due o ou amilia i y wi h
he language.
ReaSc ip is e y poo ly documen ed; he as majo i y o i s unc ions ha e only
a hand ul o wo ds o desc ibe hem, and e y ew o hem o e any explana ion
abou hei pa ame e s. A ideo by Julio Ca eño was he mos use ul esou ce o
lea ning how o use ReaSc ip in any capaci y (Ca eño, 2023).
Reape has he abili y o ecei e ins uc ions ia OSC (Open Sound Con ol).
This is designed p ima ily o acili a e communica ion wi h elec onic o digi al ins-
umen s. Howe e , o his p ojec , i also p o ed a use ul means o c oss-applica ion
communica ion.
One o he p ojec ’s goals is o in e e e as li le as possible wi h he c ea i e
oppo uni ies a ailable o he use s o he oolse .
2.2.3. FMOD S udio
As a sound e ec s engine, FMOD no only has a e y accessible paymen model,
bu i is one o he mos powe ul and widely used ools on he ma ke . These
s eng hs a e no limi ed o adap i e music, as FMOD is use ul o mos all audio-
ela ed asks in game de elopmen .
In he ea ly s ages o he p ojec , FMOD was conside ed as a g ea po en ial
ounda ion upon which o build he ool. Howe e , i e en ually p o ed un easo-
nable, as he addi ional laye s o au oma ion equi ed o es ablish communica ion
wi h FMOD s udio, as well as c ea e FMOD p ojec s ou o he samples ende ed in
8Capí ulo 2. S a e o Play
Reape , would ha e equi ed mo e wo k han simply ec ea ing he main unc iona-
li y ha FMOD would ha e p o ided o his pa icula ool (namely quan isa ion).
A he same ime, using FMOD would ha e placed addi ional es ic ions upon
he end use , o cing hem o use FMOD o he whole p ojec (since FMOD’s Uni y
plugin is incompa ible wi h Uni y’s na i e sound engine). This on i s own would no
ha e been a majo d awback hough, due o FMOD’s exis ing popula i y.
2.2.4. Uni y
Uni y is a componen -based game engine wi h a isual edi o o building game
scenes. Is is used ex ensi ely ac oss he indus y o i s amilia i y, popula i y, clea
documen a ions and wide communi y suppo .
Uni y’s audio engine, like Uni y i sel , is no he mos powe ul op ion, bu i is
e sa ile and easy o use. The main pa s o Uni y’s audio engine (as conce n his
p ojec ) a e he ollowing:
The audio clock.
This in e nal clock acks ime much mo e p ecisely han he es o he engine,
since i is based on he numbe o audio samples ha a e p ocessed.
The AudioSou ce componen .
This componen plays a single audio clip. I has con igu able olume and posi-
ionali y alues as well as public unc ions o pause, play, s op and change he
clip. One no ewo hy unc ion is he PlayScheduled me hod, which allows he
use o choose an exac u u e momen in ime (based on he audio clock) o
he clip o begin playing. Howe e , his unc ion has a weakness: since he com-
ponen can only s o e one clip a a ime, he componen canno simul aneously
play one clip while ano he is scheduled o begin playing.
The AudioLis ene componen .
This componen de e mines he ela i e posi ion om which all posi ional
sounds in he scene a e hea d. In o de o unc ion co ec ly, he e can be no
mo e han one in he same scene.
Audio Mixe s.
Uni y’s mixe s a e a ype o asse ha allows o di e en audio sou ces o
be mixed and ha e e ec s applied o hem. An audio mixe can ecei e inpu
om mul iple AudioSou ce componen s as well as o he AudioMixe s.
A wide a ie y o ools can be ound in he Uni y Asse S o e when explo ing
he audio sec ion. The e a e ools o analysing songs o ex ac in o ma ion abou
hem (HelloMeow, 2024), ools o c ea ing mo e ealis ic 3D sound (Techmo Voice
Technologies, 2019), o hy hm isualiza ion (Legend, 2020)... bu he e a e no
exis ing ools ela ed o he inco po a ion o lei mo i s.
Cap´
ı ulo 3
The Toolse
Lega o is a package ha can be downloaded om gi hub (de Kad y E ayo, 2024).
I allows o he in eg a ion o an adap i e music sys em in o a p ojec ’s scenes. Wi h
he addi ion o a single Uni y componen , a game objec can be g an ed one o mo e
musical elemen s, which can be cued in o he sound ack wi h a single public me hod
call.
All o he sc ip s p o ided in he package (wi h he excep ion o he ones ha a e
used exclusi ely in he demo scenes) a e con ained wi hin he namespace Lega o.
The ool consis s o wo main pa s: one o acili a e he ende ing o he equi ed
samples in Reape and ano he o allow he con igu a ion and execu ion o he ool
in Uni y.
Chap e s 3 and 4 assume a backg ound in Uni y o a ull unde s anding o hei
con en .
3.1. Au oma ed ende ing in Reape
In o de o unc ion, he ool equi es audio esou ces wi h a speci ic o ma and
name s uc u e. Included as pa o he package is a cus om Reape ac ion ha
ecei es a se o speci ica ions om he Uni y p ojec and ende s all he necessa y
audio iles. Fo his ac ion o wo k p ope ly, he Reape p ojec mus be se up in
he ollowing o ma :
The i s acks o appea mus co espond one- o-one wi h he di e en ins-
umen s ha will be used in he game’s adap i e sound ack. The ins umen
acks mus con ain no MIDI o sound elemen s, only i ual ins umen s and
o he e ec s. The e is no addi ional limi a ion o he sounds ha can be used
as ins umen s: any combina ion o e ec s ha Reape is able o p ocess is
alid.
The emaining acks mus co espond one- o-one wi h he lei mo i s ha will
be used in he sound ack. These acks can con ain e ec s, bu hese will no
appea anywhe e in he inal ende s.
Bo h he ins umen acks and he mo i acks mus appea in he same o de
9
16 Capí ulo 3. The Toolse
when he e a e no addi ional mo i s queued om game e en s. He e i is im-
po an o de ine he dis inc ion be ween a agmen and a mo i wi hin he
con ex o he channel: a mo i is an objec o he F agmen class ha is queued
in o he emi e by an ex e nal objec . Mo i s a e s o ed in he channel in an
in e nal dynamic p io i y queue and always ake p io i y o e he es o he
agmen s. All mo i s a e agmen s, no all agmen s a e mo i s.
Algo i hm
The selec ion algo i hm ha is used o a ange he agmen s om he p e ious
a ay. The e a e h ee op ions o choose om a d op-down:
•Ci cleQueue: he agmen s a e played in he o de hey appea in he
a ay, looping back o he s a a e he end.
•Random: each successi e agmen is chosen a andom om ou o he
whole a ay.
•Shu le: he agmen s a e played in a andom o de ; once all agmen s
ha e been played, hey a e compiled in o a new andom o de and played
again.
Volume
Con ols he channel’s olume.
Ins umen
De e mines he ins umen ha his channel will be played in a he s a .
Tempo
De e mines he empo ha his channel will be played in a he s a .
Bea sPe Measu e
De e mines he numbe o bea s pe measu e. This doesn’ al e he sound
p oduced by he indi idual agmen s, i only a ec s he quan isa ion used o
synch onising channels and changing be ween agmen s a he igh ime.
PlayOnS a
Boolean alue ha de e mines whe he he channel will begin playing a he
s a o he scene, o emain inac i e un il i is gi en he command o s a .
3.3.3. Public in e ace o he Emi e
Aside om he isual in e ace in he Uni y edi o , he emi e has public me hods
ha allow o he ollowing unc ionali y:
Change he olume o he emi e , o o a speci ic channel in he ac i e sound
scene.
Change he ac i e sound scene o ano he one in he SoundScenes a ay.
Change he spa ialisa ion alues o sound scenes.

3.3. Emi e 17
Ac i a e a mo i in a speci ic channel.
Cancel a mo i ha is queued bu no playing ye , o in e up one ha is
al eady playing.
Pause, esume o s op one o all channels in he cu en sound scene. S opping
a channel means ha when i is esumed, i will pick up a he s a o he
nex measu e, playing i s nex agmen . A paused channel will esume exac ly
whe e i le o , and may all ou o sync wi h o he channels when esumed.
Change he ins umen o a channel in he ac i e sound scene.
Change he empo o a channel in he ac i e sound scene.
Failed calls (such as a emp ing o change a channel o an ins umen ha he
cu en sample is no ende ed in) will p oduce clea e o codes in he Uni y log,
speci ying he ende ed asse ha was no ound.
3.3.3.1. Dynamic p io i y o mo i s
The goal o his p ocess is o help make mo i s play as close as possible o when
hey a e needed, in si ua ions whe e he game may be igge ing a la ge numbe o
mo i e en s in a sho span o ime.
Mainly, i aids in wo speci ic cases:
When i is impo an o a mo i o sound close o he momen i was igge ed,
because i loses meaning i i sounds oo la e. This would call o a g adual
inc ease in p io i y.
I a mo i is only wo h playing close o he momen i was igge ed, and
becomes less ele an o e ime. This would call o a g adual dec ease in
p io i y.
When a mo i is queued by a game e en , i can be assigned a p io i y alue. A
he s a o he nex measu e o a he end o he cu en agmen (de e mined by
he use ) he mo i wi h he highes p io i y alue in he queue (i any) will play.
In addi ion o i s ini ial p io i y alue he mo i can be gi en an inc ease o
dec ease in p io i y o e ime. Bo h o hese alues ( he ini ial p io i y and he
inc ease/dec ease p io i y) mus be gi en a he momen he mo i is queued. This
alue is in e p e ed in uni s pe second.
This means ha i a mo i is gi en an ini ial p io i y alue o 5 and a p io i y o e
ime alue o -1 will ha e a p io i y o 2 a he poin in ime 3 seconds a e i was
queued.
A mo i ha e e eaches a p io i y equal o less han 0 will be disca ded om
he queue.
18 Capí ulo 3. The Toolse
3.3.3.2. Ins umen c oss ading
Any change in a channel’s ins umen can be con igu ed o occu suddenly o
g adually, ia a c oss ade. In nei he case will he change happen he ins an he
e en is igge ed, as i is necessa y o i s load he clip using he new ins umen
( his p ocess ypically akes a ac ion o a second).
An ins umen change can be p og ammed o begin as soon as possible o a he
s a o he nex agmen . In he la e case, he nex agmen will begin playing
wi h he new ins umen , wi hou c oss ading o any addi ional loading ime.
I addi ional ins umen changes a e igge ed be o e a p e ious one inishes, he
las o he igge ed changes will be s o ed and ake e ec when he cu en change
is inished.
Figu e 3.8 illus a es how he p og am handles mul iple successi e ins umen
changes on he same channel. Each ins umen is ep esen ed by a colou , wi h he
e ical dashed lines ep esen ing he momen in ime ha an ins umen change is
eques ed. The cu ed lines ep esen he c oss ade i sel , as one ins umen ades
ou and ano he ades in. In igu e 3.8, ins umen A (blue) is playing in he channel
a he s a . In o de :
1. The channel ecei es a eques o c oss ade o ins umen B (o ange).
2. A e a b ie loading ime, he c oss ade begins.
3. Du ing he c oss ade, he channel ecei es ano he eques o change ins u-
men o ins umen C ( ed). Because he channel is al eady in he middle o a
c oss ade, he change o C is pos poned un il he end o he cu en c oss ade.
4. A e his, bu s ill be o e he end o he i s c oss ade, he channel ecei es
ye ano he eques o change ins umen , his ime o ins umen D (pu ple).
Jus like wi h C, he change o D is pos poned un il he end o he cu en
c oss ade. Howe e , his change o e w i es he change o ins umen C.
5. Once he A ->B c oss ade is inished, he channel de ec s ha he e is s ill
ano he c oss ade queued ( o ins umen D). So, once again, i p epa es o
c oss ade by loading he app op ia e clip o D.
6. Du ing his ime, he channel plays using only B, un il he B ->D c oss ade
begins.
3.3.3.3. Tempo changes
Tempo changes a e no as con igu able as ins umen changes. When he p og am
igge s a empo change in he cu en scene, o in a speci ic channel, his will ake
place a he s a o he nex measu e.
I mul iple changes in empo a e igge ed wi hin he same measu e, he las one
igge ed will be he one ha akes place, exac ly as i all he p e ious ones had no
been igge ed a all.
3.4. Asse s 19
Fig. 3.8: G aphical ep esen a ion o mul iple consecu i e ins umen changes.
3.4. Asse s
The dynamic elemen s o he sound ack ( agmen s, ins umen s and empos)
a e all ep esen ed wi hin he Uni y p ojec as asse s. These classes canno be c ea ed
manually, only using he Rende and Regene a e Asse s bu ons in he con igu a ion
menu.
These asse s make i easy o assign objec s om he edi o . Clicking on he
Ins umen ield o a channel opens a isual menu ( igu e 3.9) ha allows he use
o selec one o he ende ed ins umen s. Ano he op ion is o d ag an ins umen
om he Asse s/Resou ces/Lega o/Ins umen s o he desi ed ield. The same p ocess
applies o agmen s and empos.
Fig. 3.9: Ins umen selec ion menu.
20 Capí ulo 3. The Toolse
When e e encing one o hese objec s om code ( o example, o eques an
ins umen change), he use has he op ion o pass he asse di ec ly, o o pass i s
name as a s ing (o in , in he case o empos). The la e me hod is less e icien
hough.
3.5. Auxilia y componen s
To complemen he emi e , he ool also includes i e componen s ha sim-
pli y he p ocess o ac i a ing e en s. These a e Lega o_Ins umen E en ,Lega-
o_Mo i E en ,Lega o_TempoE en ,Lega o_S opE en and Lega o_ResumeE en .
These componen s ha e a single public i ual me hod T igge , which se es o ac i-
a e he associa ed ins umen , mo i o empo o o s op o esume speci ic channels,
espec i ely.
Fig. 3.10: Edi o iew o he i e classes ha inhe i om Lega o_E en .
3.6. Demo scenes 21
These i e classes inhe i om he abs ac class Lega o_E en , allowing hem o
be used polymo phically. Each componen has addi ional pa ame e s ( igu e 3.10)
ha a e isible om he edi o .
Lega o_ResumeE en has a pa ame e Only Resume P e iously Playing which, i
ma ked along wi h Apply To All, makes he e en only esume acks ha we e
playing be o e a call was made o s op all channels.
3.6. Demo scenes
The package includes wo demo scenes, ound in Asse s/Lega o/Examples/Scenes.
3.6.1. Lega o_Pad
This scene con ains an emi e and a se o bu ons ha modi y he music played
by he emi e ( igu e 3.11). The emi e has a single sound scene wi h a single
channel.
The playe can change he olume o he emi e o he channel, change he
ac i e ins umen and empo and queue a mo i . The ChangeCu en oggle allows
he playe o decide whe he he mo i will in e up he cu en agmen and
whe he he ins umen change will play a he s a o he nex agmen o begin
immedia ely by c oss ading.
Fig. 3.11: Lega o_Pad demo scene.

22 Capí ulo 3. The Toolse
3.6.2. Lega o_Sample
This scene, seen in he igu e 3.12, is mo e simila o a demo o a game. The use
can con ol a cha ac e ep esen ed by a blue sphe e o mo e h ough he scene.
Mo ing o a ce ain loca ion may igge an e en :
When he playe en e s he long co ido , he empo will inc emen . Once ou
o i , he empo will se o i s ini ial alue.
When he playe app oaches he g een cha ac e (a he bo om- igh co ne
o he scene), a mo i associa ed wi h his cha ac e will s a playing.
When he playe en e s he ed oom he ins umen s playing will change using
a c oss ade. Once he playe is back o he whi e oom, he ins umen will
change back ( his ime wi h no c oss ade).
Fig. 3.12: Lega o_Sample demo scene.
Cap´
ı ulo 4
De elopmen
The de elopmen o his p ojec is spli in o h ee main pa s: au oma ing he
ende ing in Reape , es ablishing he communica ion be ween Uni y and Reape and
building he adap i e music logic and in e ace in Uni y.
4.1. Au oma ed ende ing
Reape is he applica ion chosen o ende ing he mo i samples om he com-
pose ’s MIDI i ems. To quickly ecap he ea u es o Reape ha makes i a g ea
i o he p ojec : Reape has a wide ange o ac ions, om simple play and s op
ac ions o he selec ion o indi idual acks o c ea ion o ime selec ions. This lis
can be u he expanded using Cus om Ac ions and Reasc ip .
Cus om Ac ions a e compound ac ions c ea ed by combining exis ing ac ions.
Reasc ip is a sc ip ing language ha allows us o c ea e ac ions om code
(o he ac ions can be in oked om his code). I has suppo o he p og am-
ming languages EEL2, Lua and Py hon.
The goal o his pa o he p ojec is o allow he compose o c ea e a Reape
p ojec (i is impo an ha he compose does no need o use any hing bu he
DAW) whe e hey could c ea e hei ins umen s and melodies wi hou ha ing o
go h ough he edium o manually ende ing each necessa y combina ion.
To au oma e he ende ing p ocess, a new ac ion (Lega o/ ende _mo i .lua) has
been c ea ed using Reasc ip . This sc ip is w i en in Lua, making use o he ReaS-
c ip API (CockOS, 2024). I also makes use o many de aul Reape ac ions, epli-
ca ing he s ep-by-s ep p ocess ha a use would o he wise ha e o ollow in o de
o pe o m he job manually.
As men ioned in he p e ious chap e , in o de o his sc ip o unc ion co ec ly,
he Reape p ojec mus obey he ollowing s uc u e:
Fi s , all o he acks con aining he ins umen s and e ec s.
Then, he acks con aining he lei mo i s as MIDI i ems. Each ack can ha e
mul iple MIDI i ems, which will be ende ed oge he as one mo i .
23
24 Capí ulo 4. De elopmen
The Reape ac ions used by he cus om ac ion canno manage ack numbe s
abo e 100, which is why he limi o he numbe o ins umen s and mo i s canno
su pass 100 when added oge he .
Reape ac ions can only ecei e pa ame e s by making use o pop-up windows
wi h addi ional ields. Since he goal is o au oma e he en i e p ocedu e, he c ea ed
ac ion canno ask he use o any pa ame e s. Ins ead, an auxilia y plain ex ile
is used o communica e he speci ica ions be ween Uni y and Reape . This ile is
w i en au oma ically by Uni y whene e a change o he con igu a ion window is
sa ed. The ile has he ollowing s uc u e:
<numbe o ins umen s>
<lis o ins umen names, one pe line>
<numbe o mo i s>
<lis o mo i names, one pe line>
<numbe o empos>
<lis o empos, one pe line>
<ins umen ende ing ec o o mo i 0>
< empo ende ing ec o s o mo i 0>
<ins umen ende ing ec o o mo i 1>
< empo ende ing ec o s o mo i 1>
.
.
.
The ins umen and empo ende ing ec o s a e a ow o 1s and 0s indica ing,
o each mo i , whe he i should be ende ed in each ins umen and empo.
The cus om ac ion s a s by eading his ile. Then, o each mo i -ins umen -
empo combina ion ha needs o be ende ed, he ac ion pe o ms he ollowing
s eps:
1. Copy all he MIDI i ems om he ack co esponding o he mo i and pas es
hem in he ack co esponding o he ins umen .
2. Silence all he acks excep he one co esponding o he ins umen (using
Reape ’s solo unc ion).
3. Adjus he p ojec BPM o ma ch he desi ed empo.
4. C ea e a ime selec ion ha spans all he pas ed MIDI i ems, hen ex end his
ime selec ion by an addi ional wo bea s. This allows mos e e b, echo and
elease e ec s o inish wi hou being cu o by he end o he sample.
5. C ea e a egion ha spans he same ime as he ime selec ion.
4.2. C oss-applica ion communica ion 25
6. Queue a ende o he p ojec in he c ea ed egion and ime selec ion.
7. Dele e he copies o he MIDI i ems, as well as he egion and he ime selec ion
and un-solo he ins umen ack.
Once all he combina ions ha e been p ocessed, he whole ende queue is en-
de ed. The iles gene a ed a e le in he Asse s/Resou ces/Lega o/Rende edSamples
di ec o y in he Uni y p ojec .
4.2. C oss-applica ion communica ion
The auxilia y ile explained in he p e ious sec ion is w i en by he con igu a ion
window in Uni y each ime changes a e sa ed. This window is made using he Uni y’s
Edi o Window API.
Once he auxilia y ile is w i en, all ha emains is o no i y Reape o un he
cus om ac ion. This is done using OSC, a ne wo k p o ocol o sound syn hesize s,
which has na i e suppo in Reape . Reape ac ions can be in oked ia an OSC
message using he ac ion’s ID.
This, howe e , p esen s a p oblem: cus om ac ions c ea ed by Reasc ip ha e an
ID gene a ed when Reape is opened. This means ha he same cus om ac ion will
ha e a di e en ID on each compu e i is downloaded on. To ci cum en his issue,
an ID can be manually assigned o non-na i e ac ions in he ile eape -kb.ini (loca ed
wi hin Reape ’s esou ces olde ). A e sion o his ile, edi ed o include a ixed ID
o he cus om ac ion, is included alongside he ac ion i sel and he OSC lis ening
de ice in he ile Reape Con igZip, included in he Uni y package. This simpli ies he
p ocess o con igu ing Reape o wo k wi h Lega o; he use only needs o impo
he Reape Con igZip con igu a ion ile om Reape .
Uni y does no ha e na i e suppo o sending OSC messages. The package
ex OSC (Sigalkin, 2016), om he Uni y Asse S o e, is used o add his unc io-
nali y. ex OSC p o ides, among o he hings, a pai o componen s o sending and
ecei ing OSC messages om Uni y. By making use o his package, he con igu-
a ion window only needs o c ea e a T ansmi e componen , using he ac ion ID
de ined in eape -kb.ini and he IP add ess and des ina ion socke de ined in he
ool’s code.
4.3. Asse c ea ion
The h ee cus om asse ypes used in his ool (Ins umen ,Tempo and F agmen )
inhe i om Uni y’s Sc ip ableObjec class. This class p i ides he memo y-e icien
s o age o da a ha will be used o e e enced many imes in a p ojec . I also g an s
a be e use expe ience, as explained in he p e ious chap e .
A p og ess ba displays he pe cen age o samples ha ha e been ende ed. A e
ende ing all o he audio samples (which is de ec ed by coun ing he numbe o
iles wi hin he Asse s/Resou ces/Lega o/Rende edSamples olde ), he window o ces
Uni y o e esh i s asse da abase. This ensu es ha Uni y gene a es he co ec
32 Capí ulo 5. Conclusions and Fu u e Wo k
Using his ool, only he compose o a game needs o in e ac wi h he music
gene a ion so wa e. The es o he designe s and de elope s can wo k wi h he
in e media y asse s ha he ool gene a es o Uni y.
Howe e , he compose does need o a leas ha e access o he Uni y edi o .
This is due o he dependency ha he au oma ed ende ing p ocess has upon he
con igu a ion window, loca ed in Uni y.
Place as ew es ic ions as possible on he music and e ec s ha he compose
can c ea e o he game.
Many o he c ea i e oppo uni ies ha Lega o does no di ec ly suppo can be
acili a ed h ough he use o Uni y’s audio mixe s, which he ool is ully compa ible
wi h. E en so, he e emain some no able ex ensions ha we e no implemen ed
( hese a e explo ed u he in he Fu u e Wo k sec ion).
Be easy o use.
While his is a subjec i e poin , he use in e ace is kep clean and somewha
minimalis , bo h in he isual edi o and in he code’s public unc ions. A use
doesn no need o know how he ool wo ks in e nally in o de o make use o i .
The ool also does no in ude hea ily on he de elopmen o a game. The se -up
o a scene’s music is con ined o a single Emi e and i s auxilia y componen s. This
ees he es o he game’s code om being ull o e e ences o he sound ack.
Fu u e Wo k
While he ool is comple e and unc ional, he e is s ill plen y o oom o ex-
pansion. This sec ion explo es se e al ea u es ha could be implemen ed upon he
cu en e sion o Lega o. Some o hese we e sc apped ideas om ea ly in he
p ojec ’s de elopmen , while o he s a ose oo la e o be easibly included o he
deadline.
1. Cu en ly, changes in empo always ake e ec a he s a o he nex measu e.
The op ion could be added o allow he use o delay hese changes un il he
s a o he nex mo i (as is he case wi h ins umen and mo i changes).
2. Also conce ning empos, i was ini ially concei ed ha he p ojec could play
music a in e media e empos be ween he ones ende ed. This would equi e
he use o pi ch modi ica ion and in e pola ing be ween wo ende ed empos
o allow o gen le ades be ween empos and a much g ea e deg ee o eedom
wi h how hese empos a e used.
3. All o he music ha Lega o plays o igina es om a single Emi e . Making
use o Uni y’s 3D audio ea u es, an in iguing possibili y in ol es allowing
di e en pa s o he sound ack o ha e di e en posi ional se ings. This
would allow o games whe e many di e en cha ac e s ha e hei own music
ha ollows hem a ound, all o i quan ised in sync.

33
4. Rega ding he Reape p ojec , he simples imp o emen s would be allowing
he use o choose wha audio o ma hey would like o wo k wi h (cu en ly,
only .wa iles a e suppo ed) and how long o a ail o add o he end o each
ende ed sample. This ail is he emp y s e ch o MIDI da a ha is added
on he end o each sample, allowing long echoes, e e b e ec s and he like o
end wi hou being cu o . Cu en ly, his is locked o always be equal o wo
bea s o he sample’s empo.
5. Allow Uni y o be closed while he samples a e ende ed ( o sa e esou ces
and speed up he p ocess) and opened once he p ocess has inished.
6. Making use o he loadS a e p ope y o Uni y’s AudioSou ce class o ci cum-
en he need o a loading bu e . This would also allow he ool o wo k mo e
smoo hly on ex emely slow de ices, while being mo e esponsi e on as e
de ices.
7. De ec changes in he Reape p ojec and use his in o ma ion o a oid en-
de ing samples ha ha e no changed since he las ende .
8. The use expe ience could be imp o ed by an au oma ed c oss- e e encing sys-
em ha would de ec con adic ions be ween he con igu a ion menu and he
Reape p ojec , such as a misma ched numbe o ins umen s and ins umen
channels. In he case o such a con adic ion, he use could be no i ied o he
issue, a he han p oceeding wi h a ende ha is al eady doomed o ail.
Finally, he ollowing expansion was p oposed a he e y s a o he p ojec , bu
was immedia ely disca ded due o amoun o wo k i would ha e equi ed (i could
po en ially be a esea ch p ojec on i s own). This would be he inclusion o ad anced
algo i hms o a i icial in elligence o analyse he lei mo i s p o ided by he compose
and de e mine when hey would sound bes wi hin he sound ack. This way, a
mo i ’s p io i y could be ecalcula ed in e e y single measu e o ensu e ha i plays
a he bes -sounding momen , c ea ing he bes possible ha mony wi h he es o
he music.
In oducción
In oducción a la ma e ia. Es e capí ulo con iene la aducción del capí ulo 1.
“Si hablas con cualquie di ec o , e di á que la música es el
cincuen a po cien o de la película.”
— Hans Zimme
Mo i ación
Los he manos Lumiè e con aban, ya en sus p ime as p oyecciones, con un pia-
nis a que acompañaba sus co as películas (Tudo , 2017). An e io incluso a la in-
oducción del diálogo, la banda sono a ha sido siemp e un elemen o imp escindible
del cine.
Es di ícil pensa en los p o agonis as más céleb es del cine sin eco da la música
que anunciaba sus p esencias. Don Co leone, con su ágica melodía de iolín; la
e umban e ma cha mili a del Impe io Galác ico; las es ins umen os que de inen
a los epónimos p o agonis as de “El Bueno, el Feo y el Malo”, a pesa de oca
odas las mismas dos no as(Classic FM, 2014); el elenco del Spide - e so, do ados
de ida po la mul i ud de écnicas, ins umen os y a es de es anque que en edó
Daniel Pembe on pa a esas películas (Sony Sound acks, 2023). La iden idad de
es os pe sonajes es casi an musical como isual.
Muchos de es os amosos sonidos son lei mo i s, igu as o ases melódicas aso-
ciadas a la apa ición epe ida de un pe sonaje, idea o si uación. O os, como “El
Bueno, el Feo y el Malo”, usan ins umen os pa a iden i ica a sus pe sonajes.
Es e concep o de “iden idad musical” nos ascinaba. Como es udian es de desa-
ollo de ideojuegos, que íamos una o ma de emplea es as écnicas en nues os
juegos. La banda sono a de un ideojuego iene simila pode cau i ado que la de
una película; sin emba go, excep uando los juegos de i mo, la secuencia de e en os
que ocu en en la mayo ía de juegos no es de e minis a, pues se en a ec adas po
e en os alea o ios y las decisiones de uno o a ios jugado es. Po es e mo i o, es
imposible compone canciones que esuenen pe ec amen e con cada momen o de la
acción.
La música adap a i a su gió pa a emenda es a debilidad: una se ie de écnicas
de edición y ep oducción que al e an la música del juego en el momen o pa a
ajus a se mejo a las acciones en pan alla. La música puede e se al e ada con
35
36 Capí ulo 5. Conclusions and Fu u e Wo k
cambios de ins umen ación, ajus es de iempo ( elocidad a la que se ep oduce
la música) o in oducción de nue as melodías en la canción ac ual.
Teníamos una imagen men al muy cla a (o, más bien, un sonido men al) de lo
que que íamos: una banda sono a de juego que desc ibe median e lenguaje musical
la acción que es á ocu iendo en pan alla, combinando lei mo i s e ins umen os
iden i ica i os de los pe sonajes en escena.
Como desa ollado es de ideojuegos, buscamos middlewa e (es deci , so wa e
que unciona en una capa in e media en e el código del juego y el sis ema ope a-
i o) que nos pe mi ie a c ea música pa a ideojuegos usando es as écnicas. Po
desg acia, no pudimos encon a una he amien a que pe mi iese hace jus o es o.
Los composi o es y desa ollado es usan he amien as como DAWs y acke s
(dos ipos de aplicaciones usadas pa a p oduci música) pa a c ea e in eg a las
bandas sono as de sus juegos. Sin emba go, es as aplicaciones siguen equi iendo
in e ención humana y no necesa iamen e pueden se con olados desde el mo o de
juego. Es a es una pega impo an e, pues la lógica del juego se p og ama desde el en-
o no del mo o ; se ía poco manejable ene que edi a los a chi os uen e de música
cada ez que un cambio en el juego a ec e cómo y cuándo es os se ep oduzcan.
Sin una he amien a especializada, se ía di ícil implemen a la uncionalidad que
que emos. Cada combinación posible de lei mo i e ins umen o necesi a ía se en-
de izada indi idualmen e en cada empo. Incluso en un en o no especializado, como
una DAW (una aplicación usada pa a p oduci música), es a se ía una a ea ediosa
si no se usa ninguna au oma ización.
Además, sinc oniza una banda sono a o mada po a ias piezas dispe sas se ía
una a ea di ícil sin c ea un sis ema cen alizado que lo maneje.
Todas es as conside aciones nos ayuda on a ija los obje i os del abajo: c ea
un sis ema de música adap a i a que u iliza écnicas musicales p opias del cine,
dando la posibilidad de u iliza ins umen os y e ec os complicados o de al o cos e
sin eque i un al o cos e de p ocesado.
De iniciones cla e
Re-secuenciación ho izon al: conjun o de écnicas de música adap a i a en
la que se ep oducen di e en es agmen os de audio uno as o o, cambiando
el o den o la selección de agmen os en espues a a los e en os del juego.
Re-o ques ación e ical: conjun o de écnicas de música adap a i a que
consis en en cambia las pa es indi iduales de una banda sono a que suenan
de o ma simul ánea, al e ando así la mezcla inal.
MIDI (Musical Ins umen Digi al In e ace): o ma o de codi icación
digi al de música pa a comunicación en e aplicaciones o disposi i os. Los ob-
je os MIDI po sí solos no almacenan in o mación del imb e del sonido; an
solo in o mación de qué no a se oca, cuándo se pulsa y se suel a y algunos
da os más sob e la o ma en la que se pulsó.
DAW (Digi al Audio Wo kspace): disposi i o elec ónico o aplicación so -
37
wa e usado pa a g aba , edi a y p oduci audio. En e o as cosas, pe mi e
ende iza mues as de audio a pa i de una codi icación (como MIDI) y una
lis a de e ec os que combinan pa a de e mina qué sonidos se p oducen a pa i
de cada no a.
Ins umen o i ual: so wa e pa a gene a sonido a pa i de una ep e-
sen ación simbólica (en el ámbi o de es e abajo, gene almen e en es ánda
MIDI). Es os ins umen os uncionan como plug-ins en una DAW.
OSC (Open Sound Con ol): p o ocolo pa a la comunicación ed mul ime-
dia en e disposi i os de audio.
C oss ade: cambia de un sonido a o o median e un undido g adual, en an-
do uno a la ez que sale el an e io .
Cuan ización: en el con ex o de la música adap a i a, p oceso de co ección y
sinc onización de di e en es uen es de música pa a que suenen pe ec amen e
en su empo adecuado.
BPM (Bea s Pe Minu e): unidad pa a medi el empo en música, equi ale
al núme o de pulsaciones en un minu o.
Audio posicional: en los ideojuegos, aquellos sonidos que simulan p o eni
de una ubicación conc e a en el espacio.
Obje i os
El obje i o de es e p oyec o es c ea una ex ensión pa a Uni y que incluya he a-
mien as pa a la inclusión de música adap a i a en ideojuegos, usando las écnicas
mencionadas an e io men e.
Uni y es un mo o de ideojuegos muy usado en el sec o . Fue elegido pa a
es e p oyec o p incipalmen e po nues a amilia idad con él, pe o cuen a con o as
en ajas. Dado que la he amien a es á cons uida con y pa a Uni y, es á ambién
o ien ada a los desa ollado es de Uni y.
La he amien a debe simpli ica el p oceso de c ea una iden idad musical pa a
los di e en es pe sonajes, luga es y emas den o de la na a i a del juego, al e ando
la música ambien e cuando esos elemen os na a i os en en en escena. Aunque la
p opia composición oda ía debe ocu i den o de una DAW, los desa ollado es
debe ían pode hace cualquie cambio a la lógica de cómo se ep oduce la banda
sono a sin ene que sali del mo o de ideojuegos.
Es as he amien as deben:
Facili a la inclusión modula de lei mo i s en la banda sono a de un juego.
Pe mi i cambia en iempo de ejecución la ins umen ación de pa es indi i-
duales de la banda sono a.
Pe mi i cambia en iempo de ejecución el empo de la banda sono a.

38 Capí ulo 5. Conclusions and Fu u e Wo k
Eje ce poca demanda de ecu sos al o denado del jugado .
No exigi conocimien os de p og amación a los composi o es.
No exigi conocimien os de so wa e musical a los p og amado es.
Impone la mínima can idad de es icciones sob e la libe ad c ea i a del
composi o .
Se ácil de usa .
Plan de abajo
Pa a log a es os obje i os, el abajo ue di idido en los siguien es bloques,
algunos de los cuales se desa olla on en pa alelo:
In es igación de ecnologías exis en es sob e las que cons ui la he amien a.
Pa a no esc ibi odo el p og ama desde ce o, se es udia on di e en es aplica-
ciones pa a e alua su uso como base sob e la cual cons ui la he amien a.
Es o ambién ayuda a enlaza la con un en o no con el que los usua ios ya
es a ían amilia izados, lo cual mejo a la accesibilidad.
Au oma ización del ende izado de a chi os de audio. Dado que la he amien a
usa mues as p e- ende izadas, es as end án que se c eadas au omá icamen e
en unción de cie os pa áme os de inidos po el usua io.
C eación de la in e az de usua io pa a la con igu ación de la he amien a.
El desa ollado debe ene acceso a un panel de con ol den o del mo o de
ideojuegos.
C eación de los ecu sos de juego que ep esen an los elemen os dinámicos de
la banda sono a. Pa a hace que la he amien a sea más isual e in ui i a, los
lei mo i s, ins umen os y empos dinámicos se án ep esen ados como ecu sos
den o del mo o de juego. Es os ecu sos end án que se egene ados cada
ez que se ende icen nue as mues as de audio.
P og amación de la lógica de ep oducción dinámica. El sis ema de ep oduc-
ción adap a i a es el co azón de la he amien a. Más allá de p og ama las
en adas y salidas de los elemen os dinámicos, los usua ios de la he amien a
no ienes que ges iona la sinc onización, la cuan ización ni la ep oducción de
la música.
Conclusiones y T abajo Fu u o
Es e capí ulo con iene la aducción del capí ulo 5.
Conclusiones
El esul ado de es e abajo es una ex ensión de middlewa e pa a Uni y, un mo o
de ideojuegos con uso muy ex enso, que acili a de c eación de bandas sono as
adap a i as. Es o cumple con el obje i o p incipal. En cuan o al es o de pau as
de inidas en la in oducción:
Facili a la inclusión modula de lei mo i s en la banda sono a de un juego.
Pe mi i cambia en iempo de ejecución la ins umen ación de pa es indi i-
duales de la banda sono a.
Pe mi i cambia en iempo de ejecución el empo de la banda sono a.
La inclusión de lei mo i s en la banda sono a es la p incipal uncionalidad de la
he amien a. Con an solo una llamada se puede inse a un lei mo i en iempo de
juego y es os suenan sinc onizados en e sí.
Cambia la ins umen ación o el empo de es os lei mo i s es igual de sencillo,
pues la he amien a los plan ea como es aspec os independien es de la música; se
puede cambia una cosa sin a ec a las o as dos.
Eje ce poca demanda de ecu sos al o denado del jugado .
U iliza mues as de audio p e- ende izadas implica un meno cos e en memo ia
que ende iza en iempo de juego. En es e aspec o la he amien a es compa able a
al e na i as como la que o ece FMOD.
Po o o lado, deja al usua io elegi qué combinaciones de mo i /ins umen o y
mo i / empo ende iza da opción a educi el cos e de almacenamien o ya que el
usua io puede decidi gua da solo las mues as que a a u iliza .
No exigi conocimien os de p og amación a los composi o es.
No exigi conocimien os de so wa e musical a los p og amado es.
39
40 Capí ulo 5. Conclusions and Fu u e Wo k
Usando es a he amien a, an solo el composi o de un juego iene po qué oca
so wa e de audio. El es o de diseñado es y desa ollado es pueden abaja con los
ecu sos de Uni y que la he amien a gene a.
No obs an e, el composi o necesi a al menos ene acceso al edi o de Uni y.
Es o se debe a la dependencia que hay en e el ende izado au omá ico y la en ana
de con igu ación, que se encuen a en Uni y.
Impone la mínima can idad de es icciones sob e la libe ad c ea i a del com-
posi o .
Algunas de las posibilidades c ea i as que Lega o no p opo ciona pueden se eme-
diadas con el uso de los mezclado es de Uni y. Aún así, hay algunas uncionalidades
que no se han p opo cionado (que se explo a án en la sección de T abajo Fu u o).
Se ácil de usa .
Es o es un pun o subje i o, sin emba go sí que se ha cuidado la in e az pública
pa a que sea in ui i a, an o la pa e accesible desde la is a de edi o como las
llamadas po código. El usua io no iene que en ende cómo unciona la he amien a
po den o pa a pode hace uso de ella.
La he amien a es ambién bas an e poco in usi a sob e el desa ollo de un
juego. La con igu ación de la música es á muy encapsulada en el Emi e y sus
componen es auxilia es. El código del juego no es a á sob eca gado con llamadas a
unciones e e en es a la música.
T abajo Fu u o
Si bien el abajo ealizado da luga a una he amien a e minada, es a se puede
expandi de di e en es o mas. A con inuación se expond án ideas de uncionalida-
des que pueden comple a Lega o. Algunas de es as ideas se plan ea on al comenza
la in es igación de es e abajo mien as que o as ue on su giendo en la ase de
desa ollo.
1. Los cambios de empo se ealizan siemp e ins an áneman e, pe o se pod ía
da la opción al usua io de e asa los has a que cambie de mo i o (como se
pe mi e en la ep oducción de mo i os o en los cambios de ins umen o).
2. En elación ambién con los empos, se plan eó en un inicio pe mi i la e-
p oducción de empos in e medios a los de inidos al ende iza . Hace uso de
a ibu os como pi ch pa a modi ica el empo de un mo i o en ejecución y da
o al libe ad en lo que a empos se e ie e.
3. La ep oducción de música u ilizando Lega o es á plan eada pa a que haya
un único Emi e en la escena de Uni y del que p oceda el sonido. Al expone
la uncionalidad de sonido 3D p opo cionada po los AudioSou ce de Uni y,
se ía in e esan e un eplan eamien o donde se pe mi ie an a ios emiso es y
41
un mas e , de o ma que el sonido inie a de dis in os pun os de la escena
3D. Es o pod ía da luga a juegos donde, po ejemplo, los mo i os de dos
pe sonajes es én sonando a la ez pe o cada uno desde un pun o de la escena
dis in o, o donde haya una lis a de mo i os elacionados con la escena sonando
en 2D mien as suena un mo i o 3D ocalizado en un pun o.
4. Po pa e del p oyec o de Reape y la au oma ización del ende izado, la p i-
me a idea (y la más simple) se ía la de pe mi i dis in os o ma os pa a los
a chi os de audio (ac ualmen e solo se ende iza en .wa ). Además, se pod ía
pe mi i al usua io de ini el iempo que se in oduce al inal de los obje os
MIDI pa a no co a los e ec os. De es a o ma, aún in oduciendo e ec os que
ala guen mucho las no as (un eco muy p olongado en el iempo, po ejemplo)
no se ap ecia ían co es.
5. Pe mi i que la en ana de Uni y se cie e du an e el p oceso de ende izado
de agmen os (pa a aho a ecu sos y acele a dicho p oceso) y se uel a a
ab i una ez odas las mues as hubie an sido ende izadas.
6. Hace uso de la p opiedad loadS a e de la clase AudioSou ce pa a elimina la
necesidad de un iempo ijo pa a ca ga las mues as de audio. Es o pe mi i ía
pone menos p esión a disposi i os muy len os a la ez que pe mi i ía exp imi
más el endimien o de los disposi i os de al a gama.
7. De ec a cambios en el p oyec o de Reape y usa es a in o mación pa a e i a
ol e a ende iza mues as que no han sido modi icadas desde el úl imo
ende izado.
8. La expe iencia de usua io se e ía mejo ada si hubie a una comp obación de
conco dancia en e los da os in oducidos en Uni y (y asladados al iche o
in e medio) y el a chi o de Reape con sus pis as. Si el núme o de ins umen os
o de mo i os (o de pis as en gene al) no coincidie a con los alo es in oduci-
dos en Uni y, se in o ma ía al usua io en luga de in en a ende iza algo que,
ine i ablemen e, a a da luga a e o .
Po úli mo, es a siguien e idea se plan eó al de ini el abajo, pe o se desca ó
inmedia amen e po su ele ado cos e de implemen ación (ya que pod ía supone po
sí misma un TFG). Se ía el hace uso de algo i mos que analicen los mo i os pa a
en ende qué mo i os a monizan bien en e ellos. De es a o ma, el lanzamien o de
mo i os en ejecución no end ía po qué hace se en el siguien e compás o al inal del
mo i o ac ual, sino en el momen o más opo uno pa a man ene la a monía y que
el esul ado sea el mejo posible.
48 Apéndice A. Lega o Use Manual
The emaining acks mus co espond one- o-one wi h he lei mo i s ha will
be used in he sound ack. These acks can con ain e ec s, bu hese will no
appea anywhe e in he inal ende s.
Bo h he ins umen acks and he mo i acks mus appea in he same o de
ha he ins umen s and mo i s do in he con igu a ion menu in Uni y. When
he p ojec is ende ed, he MIDI i ems in he lei mo i acks abo e will be
combined wi h he indi idual ins umen acks o c ea e he inal audio clips.
Some addi ional poin s:
Calling he ac ion di ec ly om Reape can cause p oblems, as any p e ious
e sions o he iles c ea ed by he ac ion will no be dele ed. To a oid his
issue, he ac ion should only be called om he con igu a ion menu in Uni y.
The bea s pe minu e and bea s pe measu e o he Reape p ojec will be
o e w i en.
Reape uses a ende queue o s o e all indi idual ende s be o e p oducing
hem all. Since his ac ion lushes he queue, any p e ious ende s ha may
s ill be in he queue will also be p ocessed.
The ac ion sa es he Reape p ojec be o e doing any hing else, bu does no
sa e i a e i inishes. This means ha Reape will de ec he p ojec as di y
(con aining unsa ed changes) e en i he e a e no ne changes ela i e o he
p e ious s a e o he p ojec . This also means ha i he use wishes o eco e
any hing ha was o e w i en by he ac ion (such as he p ojec BPM) hey
can simply close Reape and disca d he unsa ed changes.
Selec ing a ack name be o e he cus om ac ion is called can cause issues
du ing ende ing. To a oid his, be o e ende ing, click anywhe e in he a ea
o he igh , highligh ed in g een in he ollowing sc eensho :

A.3. Lega o Con igu a ion 49
A.3. Lega o Con igu a ion
Lega o is con igu ed om Uni y, in he Lega oCon igu a ion pop-up ha can be
ound in Window->Lega o wi hin he edi o .
The i s ields o he window a e o lis ing and naming he ins umen s, lei -
mo i s and empos ha will be used in he sound adk. The numbe o ins umen s
and lei mo i s se in his window mus be he same as he numbe o acks in he
Reape p ojec .
The nex sec ion con ains wo ma ices o choose he combina ions o mo i /ins-
umen and mo i / empo o ende .
A he bo om o he window he e a e bu ons o sa e changes, ende and
egene a e asse s. This las bu on should only be clicked i any issue ocu ed du ing
he c ea ion o he Uni y asse s (a e ende ing) o i he use decided o manually
c ea e hei audio iles (no using his ool).
In case he use c ea ed hei iles, hese mus be loca ed in Asse s/Resou ce-
s/Lega o/Rende edSamples, and hei names mus be o ma ed as: mo i .<mo i
name>.<ins umen name>.< empo>.wa (all o his be o e clicking he egene a e
asse s bu on).
Fo example, he clip o he mo i “cho ds A” wi h he ins umen “piano” and he
empo 120 should be called mo i .cho ds A.piano.120.wa
A.4. Lega o_Emi e
Desc ip ion: The Lega o_Emi e class manages he audio playback o di -
e en sound scenes, allowing o de ailed con ol o e olume, spa ial blend, and
mo e.
Lega o_Emi e is he main Uni y componen o he oolse ; he sou ce o he adap-
i e sound ack. I can be ound in he Asse s/Lega o/Componen s di ec o y.
The emi e is a single on wi h a publicly accessible ins ance. The use can add
he componen o a game objec in he scene o ins an ia e he p e ab ound in
Asse s/Lega o/P e abs.
Se ialized P ope ies:
bool debug
Ac i a es in o ma i e message logs abou he music and e en s being played
du ing un ime.
loa olume
Con ols he global olume o he music ha is played.
SoundScene[] soundScenes
• loa spa ialBlend
How a ec ed by 3D spa ialisa ion he scene is.
50 Apéndice A. Lega o Use Manual
•SoundSe ings3D soundSe ings3D
Con olle o he AudioRollo Mode, minDis ance and maxDis ance a -
ibu es o a 3D scene.
•Channel[] channels
◦F agmen [] agmen s
A ay o musical agmen s ha will be played by de aul .
◦So ingAlgo i hms algo i hm
The algo i hm ha is used o a ange he agmen s.
◦ loa olume
Con ols he channel’s olume.
◦Ins umen ins umen
The ins umen ha he channel will be played in a he s a .
◦Tempo empo
The empo ha he channel will be played in a he s a .
◦in bea sPe Measu e
Numbe o bea s pe measu e, used o synch onising channels and
changing be ween agmen s a he igh ime.
◦bool playOnS a
Whe he he channel will begin playing a he s a o no .
Public P ope ies:
AudioMixe G oup ou pu
Se whe he he audio should play h ough an Audio Mixe i s o di ec ly
h ough he Audio Lis ene .
cons loa loadingBu e = 0.4
Time (in seconds) ha is allowed o audio clips o load be ween measu es.
Public Me hods:
public s a ic Lega o_Emi e Ge Ins ance()
Re u ns he single on ins ance o he Lega o_Emi e .
public oid Se Volume(in c, loa )
Se s he olume o a speci ic channel o he cu en scene.
•in c: The channel o se he olume o.
• loa : The olume o he channel (0.0 o 1.0).
public oid Se GlobalVolume( loa )
Se s he global olume o he emi e .
• loa : The olume o he emi e (0.0 o 1.0).
public oid Se Scene(in s)
Se s he cu en scene.
A.4. Lega o_Emi e 51
•in s: The scene o se as cu en .
public oid Se Spa ialBlend( loa spa ialBlend)
Changes he spa ial blend a ibu e o he cu en scene.
• loa spa ialBlend: The alue o spa ial blend, whe e 0.0 is ully 2D
and 1.0 is ully 3D.
public oid Se Spa ialBlend(in s, loa spa ialBlend)
Changes he spa ial blend a ibu e o he speci ied scene.
•in s: The scene o change he spa ial blend o.
• loa spa ialBlend: The alue o spa ial blend, whe e 0.0 is ully 2D
and 1.0 is ully 3D.
public oid Se 3DRollo Mode(AudioRollo Mode ollo Mode)
Se s he ollo mode o he cu en scene’s 3D audio sou ce.
•AudioRollo Mode ollo Mode: The new ollo mode.
public oid Se 3DMinDis ance( loa minDis ance)
Se s he min dis ance o cu en scene’s 3D audio sou ce.
• loa minDis ance: The new alue o minDis ance.
public oid Se 3DMaxDis ance( loa maxDis ance)
Se s he max dis ance o cu en scene’s 3D audio sou ce.
• loa maxDis ance: The new alue o maxDis ance.
public oid PlayMo i (in c, s ing mo i , bool in e up = alse,
loa p io i y = 1 , loa p io i yO e Time = 0 )
Queue a mo i o be played in a speci ic channel.
•in c: The channel o queue he mo i in.
•s ing mo i : The name o he mo i o add o he queue.
•bool in e up : (Op ional) I ue, in e up s any cu en ly playing mo-
i in he channel.
• loa p io i y: (Op ional) The ini ial p io i y o he mo i .
• loa p io i yO e Time: (Op ional) The a e a which he mo i ’s p io-
i y inc eases o dec eases o e ime.
public oid PlayMo i (in c, F agmen mo i , bool in e up = alse,
loa p io i y = 1 , loa p io i yO e Time = 0 )
Queue a mo i o be played in a speci ic channel.
•in c: The channel o queue he mo i in.
•F agmen mo i : The mo i o add o he queue.
52 Apéndice A. Lega o Use Manual
•bool in e up : (Op ional) I ue, in e up s any cu en ly playing mo-
i in he channel.
• loa p io i y: (Op ional) The ini ial p io i y o he mo i .
• loa p io i yO e Time: (Op ional) The a e a which he mo i ’s p io-
i y inc eases o dec eases o e ime.
public oid CancelMo i (in c, s ing mo i )
Remo e all ins ances o a gi en mo i o a speci ic channel mo i queue.
•in c: The channel o look o he mo i .
•s ing mo i : The name o he mo i o cancel.
public oid CancelMo i (in c, F agmen mo i )
Remo e all ins ances o a gi en mo i o a speci ic channel mo i queue.
•in c: The channel o look o he mo i .
•F agmen mo i : The mo i o cancel.
public oid Resume(in c)
Resume a speci ic channel o he cu en scene.
•in c: The channel o esume.
public oid S op(in c)
S op a speci ic channel o he cu en scene.
•in c: The channel o s op.
public oid S opAll()
S op all he channels o he cu en scene.
public oid ResumeAll(bool onlyP e iouslyPlaying = ue)
Resumes play on all he channels o he cu en scene.
•bool onlyP e iouslyPlaying: (Op ional) I ue, only channels ha
we e playing be o e S opAll was called will be esumed.
public oid Se Ins umen (in c, s ing ins umen , bool changeCu en
= alse, loa adeDu a ion = 0 )
Se he ins umen o a speci ic channel.
•in c: The channel o se he ins umen o.
•s ing ins umen : The name o he ins umen o se .
•bool changeCu en : (Op ional) Change he cu en agmen o no ,
whe e ue changes he cu en agmen ’s ins umen and alse wai s
un il he nex agmen .
• loa adeDu a ion: (Op ional) The leng h o he c oss ade in seconds
when changing he ins umen .
A.5. E en igge s 53
public oid Se Ins umen (in c, Ins umen ins umen , bool changeCu en
= alse, loa adeDu a ion = 0 )
Se he ins umen o a speci ic channel.
•in c: The channel o se he ins umen o.
•Ins umen ins umen : The ins umen o se .
•bool changeCu en : (Op ional) Change he cu en agmen o no ,
whe e ue changes he cu en agmen ’s ins umen and alse wai s
un il he nex agmen .
• loa adeDu a ion: (Op ional) The leng h o he c oss ade in seconds
when changing he ins umen .
public oid Se Tempo(in c, in empo)
Se he empo o a speci ic channel o he cu en scene.
•in c: The channel o se he empo o.
•in empo: The empo in bpm o se .
public oid Se Tempo(in c, Tempo empo)
Se he empo o a speci ic channel o he cu en scene.
•in c: The channel o se he empo o.
•Tempo empo: The empo o se .
public oid Se Tempo(in empo)
Se he empo in all channels o he cu en scene.
•in empo: The empo in bpm o se .
public oid Se Tempo(Tempo empo)
Se he empo in all channels o he cu en scene.
•Tempo empo: The empo o se .
A.5. E en igge s
To complemen he emi e , he package also includes i e componen s ha
simpli y he p ocess o ac i a ing e en s. These a e Lega o_Ins umen E en ,
Lega o_Mo i E en ,Lega o_TempoE en ,Lega o_S opE en and Lega-
o_ResumeE en . These componen s ha e a single public i ual me hod T ig-
ge , which se es o ac i a e he associa ed ins umen , mo i o empo o o s op
o esume speci ic channels, espec i ely.
These i e classes inhe i om he abs ac class Lega o_E en , allowing hem
o be used polymo phically.

54 Apéndice A. Lega o Use Manual
A.5.1. Lega o_E en
Desc ip ion: The Lega o_E en class ep esen s an abs ac e en in he Lega-
o sys em ha can be igge ed o pe o m speci ic ac ions ela ed o audio playback.
P o ec ed P ope ies:
Lega o_Emi e emi e
The Lega o emi e ins ance.
in channel
The audio channel ha he e en will igge on.
Public Me hods:
public abs ac oid T igge ()
Abs ac me hod o igge he e en . Subclasses mus implemen his me hod.
A.5.2. Lega o_ResumeE en
Desc ip ion: The Lega o_ResumeE en class ep esen s an e en ha ig-
ge s he esuming o audio playback in he Lega o sys em. I inhe i s om he
Lega o_E en class.
Public P ope ies:
bool applyToAll
I ue, igge ing his e en will esume all channels a once.
bool onlyResumeP e iouslyPlaying
I ue, only channels ha we e playing be o e S opAll was called will be
esumed.
Public Me hods:
public o e ide oid T igge ()
T igge s he e en . I applyToAll is ue, esumes all channels. O he wise,
esumes he speci ic channel.
A.5.3. Lega o_S opE en
Desc ip ion: The Lega o_S opE en class ep esen s an e en ha igge s he
s opping o audio playback in he Lega o sys em. I inhe i s om he Lega o_E en
class.
Public P ope ies:
bool applyToAll
I ue, igge ing his e en will s op all channels a once.
A.5. E en igge s 55
Public Me hods:
public o e ide oid T igge ()
T igge s he e en . I applyToAll is ue, s ops all channels. O he wise, s ops
he speci ic channel.
A.5.4. Lega o_Mo i E en
Desc ip ion: The Lega o_Mo i E en class ep esen s an e en ha igge s
he playing o a mo i in he Lega o sys em. I inhe i s om he Lega o_E en class.
Public P ope ies:
F agmen mo i
The mo i ha will play on igge ing he e en .
bool in e up
I ue, he mo i will be played in he selec ed channel a he nex possible
ba . I alse, i will be added o he dynamic p io i y queue.
loa p io i y
T igge ed mo i s a e added o a queue. When he cu en agmen ends, he
highes p io i y mo i will play nex .
loa p io i yO e Time
Ra e ha he mo i ’s queued p io i y changes o e ime (in uni s/second). Can
be posi i e o nega i e. I he mo i ’s p io i y is below 0, he mo i is emo ed
om he queue.
Public Me hods:
public o e ide oid T igge ()
T igge s he e en , playing he mo i on he speci ied channel wi h op ional
in e up ion and p io i y se ings.
A.5.5. Lega o_Ins umen E en
Desc ip ion: The Lega o_Ins umen E en class ep esen s an e en ha ig-
ge s he se ing o a new ins umen in he Lega o sys em. I inhe i s om he
Lega o_E en class.
Public P ope ies:
Ins umen ins umen
The ins umen ha will be se on igge ing he e en .
56 Apéndice A. Lega o Use Manual
bool changeCu en
I ue, any music cu en ly playing will be c oss aded o he ins umen on
e en igge . I alse, he cu en agmen will inish playing wi h i s cu en
ins umen and he nex one in he channel will use he new ins umen .
loa adeDu a ion
I g ea e han 0, igge ing he e en will cause he channel o c oss ade i s
ins umen o e adeDu a ion seconds.
Public Me hods:
public o e ide oid T igge ()
T igge s he e en , se ing he ins umen on he speci ied channel wi h op io-
nal c oss ade.
A.5.6. Lega o_TempoE en
Desc ip ion: The Lega o_TempoE en class ep esen s an e en ha igge s
he se ing o a new empo in he Lega o sys em. I inhe i s om he Lega o_E en
class.
Public P ope ies:
Tempo empo
The empo ha will be se on igge ing he e en .
bool applyToAll
I ue, changes in empo will apply o all channels a once, ega dless o
selec ed channel.
Public Me hods:
public o e ide oid T igge ()
T igge s he e en , se ing he empo on he speci ied channel o globally wi h
op ional applica ion o all channels.