That’s why instead of designing horrible noises and torturing the test subjects with them, I decided to analyze real sound effects from well-known games. Then game audio designers must have already applied them in their work based on intuitive judgment. Let’s assume we can reduce the non-contextual unpleasantness of a sound to a set of acoustic properties.
In the second part, I’m trying to apply that knowledge to analyze the actual sounds from videogames.
In the previous post, I described several acoustic properties that, according to scientific literature, make sound unpleasant to hear.
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