background preloader


Facebook Twitter

How Steve Whetman created a unique (and powerful!) indoor weapon SFX library: | A Sound Effect. There are lots of excellent weapon sound effects libraries out there – but weapons SFX libraries that are recorded indoors are incredibly hard to come by. That changes with The London Warehouse Firearms library, the debut indie SFX release from Steve Whetman, former Head of Audio on Gears of War: Ultimate Edition and many other projects. He gained access to an abandoned warehouse, and he sure made the most of that, recording lots of weapons in lots of different indoor locations. Here’s the story behind the making of a weapons library that sent the ceiling tiles jumping: Hi Steve, welcome to A Sound Effect – please introduce yourself: Hi!

I’m a freelance Audio Director, Sound Designer and Recordist. What’s The London Warehouse Firearms library all about? It’s a library of high quality recordings of guns in various interior spaces, created for sound designers and editors in the games, film and tv industry. How did you come up with the idea of recording an indoor firearms library?

1. 2. 3. Sounds of Star Wars Battlefront: Part I. The five man sound design team working together at DICE have had a blast working on Star Wars™ Battlefront™! We asked each of them to tell us one of the stories behind some of their, and your, favorite sounds in the game. First up is David Jegutidse, Sound Designer, who will talk about the sound of the Thermal Imploder. DAVID JEGUTSIDE: When we first talked about adding the Thermal Imploder to the game, and discussing how it would function and look, it immediately became clear that it would be a very interesting creative challenge and an opportunity to add something unique and recognizable to the soundscape of the Star Wars universe. Seeing how the internet has picked up on it and appropriately called it the "dubstep grenade", it looks like it left an impression or two.

The initial idea was to create something that, while having its own character, reminded listeners of the impressive Seismic Charges in Star Wars™: Episode II: Attack of the Clones™. Thanks for listening! Indiana Punch Sounds Tutorial — The Sound Keeper. Battlefield Hardline Developer Diary Episode 3 – Sound of Speed. Berklee Sound Design Network. The technology of Killzone Shadow Fall • Articles. By Richard Leadbetter Published Sunday, 24 November 2013 It was an irresistible opportunity.

Just before the launch of Killzone Shadow Fall, Guerrilla Games offered us the chance to visit its Amsterdam studio - to meet and talk with every major design and technology discipline within its walls. As journalists we are almost always outsiders looking in, and not privy to the design process itself, so this unprecedented level of access would make for a very different article. During the course of our visit, we swiftly discovered that next-gen isn't just about better graphics and sound, although clearly those play an important part; it's about the opportunities this new level of power offers to developers, and how it allows them to more fully express themselves as creators.

A key part of this is procedural generation of in-game assets - animation and audio are two systems that benefit from this the most. One step beyond 'HDR' audio. Natural and believable The ray-traced reflection system. The Sounds of Violence. This past March, NPR’s “On The Media” ran a segment on the changing standards for how violence is portrayed in film—not in terms of how graphically it’s visualized, but how moist it sounds today compared to the dry, cracking punches of early crime fights.

Videogames have a shorter history than film, but they have no shortage of lush compositions of violence. I got in touch with Joseph Lawrence, Blizzard's sound design supervisor for Diablo III, to hear about the humble origins of the game's gruesome noises. What’s a sound that you really like from the game? I’m a little biased because I actually did it, but the cackles of the skeletons when they laugh uncontrollably. I did them very early on when I was trying to figure out what those guys sounded like. You actually have to sit there and wait for a while, but then they just burst into this maniacal laughter.

[Cackles maniacally] That was before we were union, so all of that got grandfathered in. Very high-pitched and sort of whiney, yeah. The Road to Battlefield 4: Sounds of the Battlefield. 10.24.13 [DICE] SlyOkapi | 46 comments Responsible for the all-out war soundscape of Battlefield, the award-winning audio team at DICE has had its hands full for the past two years making Battlefield 4 sound just right. In this installment of “The Road to Battlefield 4”, our audio experts discuss everything from field recordings of naval units to metaphorical Spaghetti Bolognese. Try imagining Battlefield without its collective soundscape. You quickly realise how crucial the shouts of squad members, the bullet cracks, jets roaring, or just the sound of your soldier vaulting over a concrete slab, are for the overall Battlefield experience.

With several BAFTA, GANG and AIAS awards under their belt, the DICE audio team was confident in taking on Battlefield 4 – but there were many new challenges along the way. Enter your date of birth: Behind-the-scenes video of the Battlefield 4 audio team doing field recordings. The Battlefield audio team consists of many different divisions. Share. Orchestra of Guns - Splinter Cell Blacklist [NORTH AMERICA]

Battlefield 3 gun sounds vs Modern Warfare 3. Guns for Games, pt. 2 | Brett Apitz. Middleware, ho! If you’ve never used FMOD or Wwise, be warned that this article isn’t intended as an introduction to either! Google can turn up plenty of good beginner’s tutorials, and both programs have excellent user’s guides that make much better starting points. Follow Along At Home, Kids! Since I haven’t written about gunshot asset creation yet, I thought it would be a good idea to provide some source material for you to use while working through these tutorials.

Actually, I thought it would be a terrible idea, since I’m giving away sounds for free, but this article will be much more useful if you can follow along. Click here to grab the WAVs! Wwise This implementation scheme is very simple in Wwise, so I’ll start there. All the shots go in one Random Container, all the tails in another. Sequence Settings: “Sample accurate” is the magic setting here. Shots Settings: I prefer shuffle mode for shots since it reduces the chance of repetitive patterns emerging. Tails Settings: Gross. Audiokinetic Wwise Knowledge Base :: Creating an Attack-Sustain-Release Effect. Scenario Imagine a weapon that has two elements: An individual fire sound for every shot fired (several a second), and A barrel “spin up”, “spin loop”, and “spin down” sound. Triggering the fire sound is relatively easy but the attack, loop, and release phase of the barrel spin could seams more complex. Here’s a suggestion of how you can manage this behavior using Wwise: To clarify the scenario: Solution A A good way to handle the barrel effect is by using an audio file with a looping region, and break it.

Create 1 Sounds (“Spin”), in which there is a looping region around the sustained spin loop. When the Break action occurs, the sound will play until the end and stop. Solution B Solution C And yet another way to handle the barrel effect is by using the sequence container described in solution B above, replace the "Spin Loop" sound by a random or sequence container that loops indefinitely. TAKEDOWN Weapons Audio Recording Session. Mix magazine profiles the Infinity Ward videogame title Call of Duty 4, a first person shooter video game featured in Mix magazine February 2008.

Feb 1, 2008 12:00 PM, By Michel Henein In 2004, game developer Infinity Ward released Call of Duty (CoD) to much critical acclaim, and the title soon became the benchmark World War II first-person shooter (FPS) game. Published by Activision, CoD immerses the player in a cinematic experience with exciting missions and intense battles amidst one of history's most epic chapters. Earlier this year, Infinity Ward released the fourth installment of its extremely successful franchise, Call of Duty 4: Modern Warfare (CoD 4), which continues to dominate the FPS genre.

In addition, CoD 4 taps into next-generation platform technology and is available for PC, PlayStation 3 and Xbox 360. CoD 4 is the first game in the series that is not based in the WWII era; it is primarily set in modern-day combat scenarios of black ops. The game gives the player the ability to star in several interactive roles, including a role in Britain's elite SAS special forces, as a member of the U.S.

“CoD 4” By the Numbers. Assassin's Creed 3 - Recording Weapons for the video game. The Sound Design of Battlefield 3 - Game Informer. Battlefield 3 vs. Modern Warfare 3 – Gun Sounds. Posted by lostchocolatelab on Monday, November 14, 2011 · 28 Comments I love this kind of thing! XSmasher4ya has made up a video showing off the sounds for the same weapons across Call of Duty: Modern Warfare 3 and Battlefield 3. Lining things up back to back really helps gain some perpective on the differences (an similarities) in approach to designing weapons sounds.

(Hint: We need more of this!) While I think it gives a good start, the locational differences of the make it tricky to fully asses. The Battlefield 3 captures are all take from the same mountain surrounded location using the “WareTapes” sound settings, which essentially increases the quieter dynamics, as opposed to Modern Warfare 3 which are captured at various outdoor locations. The extreme mountainside report slapping back seems exaggerated when used in comparison, either due to location or decreased dynamics. Congrats to both teams and thanks for the comparison video! Which one’s are your favorites? Also see: Battlefield 3 gun sounds vs Modern Warfare 3. Gadgets, Guns, And Devils: The Sound Design Of Halo 4 - Features. Not only is Halo 4 starting anew for the music of the game, but the audio team led by Sotaro Tojima is hard at work amassing a gigantic library of sound effects for the new game. Rather than overly relying on stock sound effects from an existing library or from past Halo games, Sotaro and his colleagues are doing everything they can to ensure that the soundscape of Halo 4 will be fresh.

Check out the video below to learn about the team's unique sound sources and the guiding philosophy behind them. To learn more about Halo 4, click on the link to our content-filled hub below.