crmtrio.blogg.se - Sound studio games

#SOUND STUDIO GAMES INSTALL#
#SOUND STUDIO GAMES PRO#

I import the sounds I want to test into Weaponiser with a simple drag-n-drop.

#SOUND STUDIO GAMES PRO#

First I created an instrument track in Pro Tools with an instance of Weaponiser.

Weaponiser allows randomisation on multiple sound layers, which is basically what a video game middleware does, but with Pro Tools and video support! Editing process is quite simple: Weaponiser turned out to be the perfect solution to make the editing process almost instantaneous, and to speed up testing. The Solution – Create Randomisation Using Weaponiser I first tried using samplers like Kontakt but it takes some programming, which also takes a lot of time. I looked for a way to automate this task. I quickly realised that I was wasting a lot of time because the editing phase of the final sounds was long, boring and above all repetitive. After designing sounds in Pro Tools and programming and randomising them in FMOD, I decided to export a bunch of them and manually edit them to simulate a game sequence in Pro Tools. Pro Tools has video but no randomisation, and FMOD has randomisation but no video – there is no way to link them together. If you look at the initial workflow diagram, you can see that I cannot process proper tests without the integration step, because neither Pro Tools nor FMOD allow me to simulate randomised sounds in this situation. But in this game I didn’t have time to do the integration part myself.

In the end there are a hundred different sound events in the game. I made the impact sounds of weapons, armor, character movement, special attacks, knockouts etc. The graphics and animations are highly elaborate, so the team wanted sounds that were top of the line for a mobile game. Most of my work involved creating the sound textures of these different materials. When I use the 1234s to listen to material, I can immediately evaluate the quality of mixing.To achieve this, I had to find something specific for each material.

You can trust what you’re hearing, and you can be certain about what you create using them. He goes on to say “It was then that I realised that I needed a genuinely truthful monitoring system to do my work. So I’d start to doubt what I was hearing.”

Sometimes, it would sound fine on my own monitors in my own room, but the results would often vary when I’d listen to material in other spaces. Knuckles’ choice of Genelec monitoring was arrived at after many years of experience of working with other monitors – and actually avoiding Genelec in his earlier years, believing them to be too flat! “I used various monitors to evaluate my work in different rooms. All the monitors were supplied in a stunning Polar White finish, and the entire system was configured and calibrated by DMT using GLM loudspeaker manager software.

#SOUND STUDIO GAMES INSTALL#

The studio then engaged the system integrator DMT to install a pair of Genelec 1234As as its main stereo monitoring system, with a 5.1.4 immersive system comprising eleven 8330A nearfield two-way monitors in all positions – complemented by a 7370A subwoofer. But Qiao suggested that since it was already 5.1, why not make it 5.1.4 by adding the 4 height channels? I realised then that immersive audio technology is no longer a new thing, and we as creators surely have to learn to master this format.” “I knew that many games had already used the 5.1 format to produce sound. Originally conceived as a surround sound studio, the acoustic design and construction of the project was handled by Qiao Zhenyu of Huanyu Acoustics, who persuaded Knuckles to go fully immersive. To be precise, what we want is a ‘Game Sound Lab’ to assist us in the conceptual design of games.” What we want is not just a recording studio, nor a standard mixing studio or a reviewing studio. “Our requirements are quite special, though. “For a games company like ours, an audio studio is a must,” commented composer and game sound designer Knuckles (Jianyu) Zhang, who led the studio project.