As interactive audio soundtracks mature, they become more and more complex. It's not uncommon for games to support tens of thousands of lines of dialog, hundreds of music cues, dozens of ambiences and thousands of individual sound effects. The mixing of all these audio elements presents a unique challenge. Unlike linear media, 'mixing' of interactive audio happens as they game is being played, not ahead of time. Therefore, existing traditional post-productions techniques do not necessarily apply. This paper will discuss some of the unique challenges associated with mixing interactive audio content, including trying to determine what exactly is meant by 'mixing' game audio in the first place.
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