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Use when a coding task should be driven end-to-end from issue intake through implementation, review, deployment, and acceptance…
@sinhoneyyInstall SkillDevelopment
Skill
/game-audio
Game audio principles. Sound design, music integration, adaptive audio systems.
Claude Code
$ npx -y skills add sinhoneyy/master-skills --skill game-audio --agent claude-code
Codex
$ npx skills add sinhoneyy/master-skills --skill game-audio -a codex -y
Cursor
$ npx skills add sinhoneyy/master-skills --skill game-audio -a cursor -y
Gemini CLI
$ npx skills add sinhoneyy/master-skills --skill game-audio -a gemini-cli -y
GitHub Copilot
$ npx skills add sinhoneyy/master-skills --skill game-audio -a github-copilot -y
OpenCode
$ npx skills add sinhoneyy/master-skills --skill game-audio -a opencode -y
Windsurf
$ npx skills add sinhoneyy/master-skills --skill game-audio -a windsurf -y
SKILL.md
game-audio.SKILL.mdname: game-audio
description: "Game audio principles. Sound design, music integration, adaptive audio systems."
risk: unknown
source: community
date_added: "2026-02-27"
Game Audio Principles
> Sound design and music integration for immersive game experiences.
---
1. Audio Category System
Category Definitions
| Category | Behavior | Examples | |----------|----------|----------| | **Music** | Looping, crossfade, ducking | BGM, combat music | | **SFX** | One-shot, 3D positioned | Footsteps, impacts | | **Ambient** | Looping, background layer | Wind, crowd, forest | | **UI** | Immediate, non-3D | Button clicks, notifications | | **Voice** | Priority, ducking trigger | Dialogue, announcer |
Priority Hierarchy
When sounds compete for channels:
1. Voice (highest - always audible)
2. Player SFX (feedback critical)
3. Enemy SFX (gameplay important)
4. Music (mood, but duckable)
5. Ambient (lowest - can drop)
---
2. Sound Design Decisions
SFX Creation Approach
| Approach | When to Use | Trade-offs | |----------|-------------|------------| | **Recording** | Realistic needs | High quality, time intensive | | **Synthesis** | Sci-fi, retro, UI | Unique, requires skill | | **Library samples** | Fast production | Common sounds, licensing | | **Layering** | Complex sounds | Best results, more work |
Layering Structure
| Layer | Purpose | Example: Gunshot | |-------|---------|------------------| | **Attack** | Initial transient | Click, snap | | **Body** | Main character | Boom, blast | | **Tail** | Decay, room | Reverb, echo | | **Sweetener** | Special sauce | Shell casing, mechanical |
---
3. Music Integration
Music State System
Game State → Music Response
│
├── Menu → Calm, loopable theme
├── Exploration → Ambient, atmospheric
├── Combat detected → Transition to tension
├── Combat engaged → Full battle music
├── Victory → Stinger + calm transition
├── Defeat → Somber stinger
└── Boss → Unique, multi-phase track
Transition Techniques
| Technique | Use When | Feel | |-----------|----------|------| | **Crossfade** | Smooth mood shift | Gradual | | **Stinger** | Immediate event | Dramatic | | **Stem mixing** | Dynamic intensity | Seamless | | **Beat-synced** | Rhythmic gameplay | Musical | | **Queue point** | Next natural break | Clean |
---
4. Adaptive Audio Decisions
Intensity Parameters
| Parameter | Affects | Example | |-----------|---------|---------| | **Threat level** | Music intensity | Enemy count | | **Health** | Filter, reverb | Low health = muffled | | **Speed** | Tempo, energy | Racing speed | | **Environment** | Reverb, EQ | Cave vs outdoor | | **Time of day** | Mood, volume | Night = quieter |
Vertical vs Horizontal
| System | What Changes | Best For | |--------|--------------|----------| | **Vertical (layers)** | Add/remove instrument layers | Intensity scaling | | **Horizontal (segments)** | Different music sections | State changes | | **Combined** | Both | AAA adaptive scores |
---
5. 3D Audio Decisions
Spatialization
| Element | 3D Positioned? | Reason | |---------|----------------|--------| | Player footsteps | No (or subtle) | Always audible | | Enemy footsteps | Yes | Directional awareness | | Gunfire | Yes | Combat awareness | | Music | No | Mood, non-diegetic | | Ambient zone | Yes (area) | Environmental | | UI sounds | No | Interface feedback |
Distance Behavior
| Distance | Sound Behavior | |----------|----------------| | **Near** | Full volume, full frequency | | **Medium** | Volume falloff, high-freq rolloff | | **Far** | Low volume, low-pass filter | | **Max** | Silent or ambient hint |
---
6. Platform Considerations
Format Selection
| Platform | Recommended Format | Reason | |----------|-------------------|--------| | PC | OGG Vorbis, WAV | Quality, no licensing | | Console | Platform-specific | Certification | | Mobile | MP3, AAC | Size, compatibility | | Web | WebM/Opus, MP3 fallback | Browser support |
Memory Budget
| Game Type | Audio Budget | Strategy | |-----------|--------------|----------| | Mobile casual | 10-50 MB | Compressed, fewer variants | | PC indie | 100-500 MB | Quality focus | | AAA | 1+ GB | Full quality, many variants |
---
7. Mix Hierarchy
Volume Balance Reference
| Category | Relative Level | Notes | |----------|----------------|-------| | **Voice** | 0 dB (reference) | Always clear | | **Player SFX** | -3 to -6 dB | Prominent but not harsh | | **Music** | -6 to -12 dB | Foundation, ducks for voice | | **Enemy SFX** | -6 to -9 dB | Important but not dominant | | **Ambient** | -12 to -18 dB | Subtle background |
Ducking Rules
| When | Duck What | Amount | |------|-----------|--------| | Voice plays | Music, Ambient | -6 to -9 dB | | Explosion | All except explosion | Brief duck | | Menu open | Gameplay audio | -3 to -6 dB |
---
8. Anti-Patterns
| Don't | Do | |-------|-----| | Play same sound repeatedly | Use variations (3-5 per sound) | | Max volume everything | Use proper mix hierarchy | | Ignore silence | Silence creates contrast | | One music track loops forever | Provide variety, transitions | | Skip audio in prototype | Placeholder audio matters |
---
> **Remember:** 50% of the game experience is audio. A muted game loses half its soul.
When to Use
This skill is applicable to execute the workflow or actions described in the overview.
Limitations
- Use this skill only when the task clearly matches the scope described above.
- Do not treat the output as a substitute for environment-specific validation, testing, or expert review.
- Stop and ask for clarification if required inputs, permissions, safety boundaries, or success criteria are missing.
Read more
name: game-audio description: "Game audio principles. Sound design, music integration, adaptive audio systems." risk: unknown source: community date_added: "2026-02-27"
Game Audio Principles
> Sound design and music integration for immersive game experiences.
---
1. Audio Category System
Category Definitions
| Category | Behavior | Examples | |----------|----------|----------| | **Music** | Looping, crossfade, ducking | BGM, combat music | | **SFX** | One-shot, 3D positioned | Footsteps, impacts | | **Ambient** | Looping, background layer | Wind, crowd, forest | | **UI** | Immediate, non-3D | Button clicks, notifications | | **Voice** | Priority, ducking trigger | Dialogue, announcer |
Priority Hierarchy
When sounds compete for channels: 1. Voice (highest - always audible) 2. Player SFX (feedback critical) 3. Enemy SFX (gameplay important) 4. Music (mood, but duckable) 5. Ambient (lowest - can drop)
---
2. Sound Design Decisions
SFX Creation Approach
| Approach | When to Use | Trade-offs | |----------|-------------|------------| | **Recording** | Realistic needs | High quality, time intensive | | **Synthesis** | Sci-fi, retro, UI | Unique, requires skill | | **Library samples** | Fast production | Common sounds, licensing | | **Layering** | Complex sounds | Best results, more work |
Layering Structure
| Layer | Purpose | Example: Gunshot | |-------|---------|------------------| | **Attack** | Initial transient | Click, snap | | **Body** | Main character | Boom, blast | | **Tail** | Decay, room | Reverb, echo | | **Sweetener** | Special sauce | Shell casing, mechanical |
---
3. Music Integration
Music State System
Game State → Music Response │ ├── Menu → Calm, loopable theme ├── Exploration → Ambient, atmospheric ├── Combat detected → Transition to tension ├── Combat engaged → Full battle music ├── Victory → Stinger + calm transition ├── Defeat → Somber stinger └── Boss → Unique, multi-phase track
Transition Techniques
| Technique | Use When | Feel | |-----------|----------|------| | **Crossfade** | Smooth mood shift | Gradual | | **Stinger** | Immediate event | Dramatic | | **Stem mixing** | Dynamic intensity | Seamless | | **Beat-synced** | Rhythmic gameplay | Musical | | **Queue point** | Next natural break | Clean |
---
4. Adaptive Audio Decisions
Intensity Parameters
| Parameter | Affects | Example | |-----------|---------|---------| | **Threat level** | Music intensity | Enemy count | | **Health** | Filter, reverb | Low health = muffled | | **Speed** | Tempo, energy | Racing speed | | **Environment** | Reverb, EQ | Cave vs outdoor | | **Time of day** | Mood, volume | Night = quieter |
Vertical vs Horizontal
| System | What Changes | Best For | |--------|--------------|----------| | **Vertical (layers)** | Add/remove instrument layers | Intensity scaling | | **Horizontal (segments)** | Different music sections | State changes | | **Combined** | Both | AAA adaptive scores |
---
5. 3D Audio Decisions
Spatialization
| Element | 3D Positioned? | Reason | |---------|----------------|--------| | Player footsteps | No (or subtle) | Always audible | | Enemy footsteps | Yes | Directional awareness | | Gunfire | Yes | Combat awareness | | Music | No | Mood, non-diegetic | | Ambient zone | Yes (area) | Environmental | | UI sounds | No | Interface feedback |
Distance Behavior
| Distance | Sound Behavior | |----------|----------------| | **Near** | Full volume, full frequency | | **Medium** | Volume falloff, high-freq rolloff | | **Far** | Low volume, low-pass filter | | **Max** | Silent or ambient hint |
---
6. Platform Considerations
Format Selection
| Platform | Recommended Format | Reason | |----------|-------------------|--------| | PC | OGG Vorbis, WAV | Quality, no licensing | | Console | Platform-specific | Certification | | Mobile | MP3, AAC | Size, compatibility | | Web | WebM/Opus, MP3 fallback | Browser support |
Memory Budget
| Game Type | Audio Budget | Strategy | |-----------|--------------|----------| | Mobile casual | 10-50 MB | Compressed, fewer variants | | PC indie | 100-500 MB | Quality focus | | AAA | 1+ GB | Full quality, many variants |
---
7. Mix Hierarchy
Volume Balance Reference
| Category | Relative Level | Notes | |----------|----------------|-------| | **Voice** | 0 dB (reference) | Always clear | | **Player SFX** | -3 to -6 dB | Prominent but not harsh | | **Music** | -6 to -12 dB | Foundation, ducks for voice | | **Enemy SFX** | -6 to -9 dB | Important but not dominant | | **Ambient** | -12 to -18 dB | Subtle background |
Ducking Rules
| When | Duck What | Amount | |------|-----------|--------| | Voice plays | Music, Ambient | -6 to -9 dB | | Explosion | All except explosion | Brief duck | | Menu open | Gameplay audio | -3 to -6 dB |
---
8. Anti-Patterns
| Don't | Do | |-------|-----| | Play same sound repeatedly | Use variations (3-5 per sound) | | Max volume everything | Use proper mix hierarchy | | Ignore silence | Silence creates contrast | | One music track loops forever | Provide variety, transitions | | Skip audio in prototype | Placeholder audio matters |
---
> **Remember:** 50% of the game experience is audio. A muted game loses half its soul.
When to Use
This skill is applicable to execute the workflow or actions described in the overview.
Limitations
- Use this skill only when the task clearly matches the scope described above.
- Do not treat the output as a substitute for environment-specific validation, testing, or expert review.
- Stop and ask for clarification if required inputs, permissions, safety boundaries, or success criteria are missing.
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Questions about game-audio.
- Which coding agents can use game-audio?
- game-audio installs in Claude Code, Codex, Cursor, Gemini CLI, GitHub Copilot, OpenCode and Windsurf with the skills CLI, using each agent's flag shown on this page. Flowy's auto-invocation, which fires a skill when your prompt matches, runs in Claude Code only.