petedupon

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About petedupon

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  1. Hey folks,   I've been working on this project for the last 8 months and now that it's finally out in the public sphere, I'd love to get some feedback on the sound stuff!   http://www.kickstarter.com/projects/nerdkingdom/tug-1   And this is a blog writeup I did for our site that talks about how the sound will come together in the game, and how we're approaching the sound philosophy overall. http://nerdkingdom.com/administrators/mod/nerds/b/design/archive/2013/05/01/a-whole-new-sounding-world.aspx   And this little animatic we did kind of shows off how that will work http://www.youtube.com/watch?v=1sDS-MrLVFg   So far things seem to be going well, but we could always use more feedback and any help spreading the word about it!  I'd love to hear what you guys think.
  2. TUG: The Untitled Game

    Nerd Kingdom has launched the kickstarter for their first game, "TUG".  TUG is a multiplayer open-world sandbox RPG that utilizes new technology and social sciences to directly involve players in the game's design.   http://www.kickstarter.com/projects/nerdkingdom/tug-1   http://nerdkingdom.com/   I've been working on this project for the last 8 months and it's really exciting to finally be able to talk about it.  I'd love any feedback you guys might have, and if you like what you see then please help us spread the word!   http://www.destructoid.com/kickstarter-game-tug-wants-to-create-worlds-252959.phtml   http://jacehallshow.com/news/gaming/industry/20130503/exclusive-tug/   http://kotaku.com/if-you-wanted-more-game-from-minecraft-this-might-be-f-486675183
  3. Sound teams vs. the One-man Operation

    It definitely seems like people who begin as composers are much more likely to work as a one man team then those of us who came in through the FX side, probably because FX are easier to learn and understand than music. It's good to see people open to the idea of a team structure though!
  4. What do you do to check your music is up to standard?

    As far as composition goes, I'm never "done" with a piece. There's always going to be something I wish I could tweak, or improve, or change, or whatever. Same thing goes for any FX I design. But my rule of thumb is that once I'm content, and the client is happy with it, it's time to move on. If I have time later I can maybe go back and tweak something, but once those two criteria are satisfied it's usually time to leave it alone and shift my focus to something else. Throughout the process though, I always like to check my final mixes against tracks that myself and the client have set aside as references. I do some comparisons for volume between the reference tunes and the finished track just to see if they come in close volume-wise. That usually makes the client happy with the volume, and gives me a little leg to stand on if they do come back with the inevitable "can you make it louder?".
  5. Sound teams vs. the One-man Operation

    Yeah absolutely. I've made a few contacts from my film work, but hopefully once the title I'm currently working on releases I'll be able to expand that a little more into the game side.
  6. Sound teams vs. the One-man Operation

    I've done a fair amount of voice work, never directly for games but quite often for animation. Good to know I can focus though, sometimes it seems like it's harder to find work when you have a more focused skill set.
  7. When it comes to indie game development, I've been thinking a lot lately on the subject of team size in the audio world. At least from my experience on these forums, it seems like a lot of our stand-out posters function as one-man teams. They're capable and good at designing FX, composing pieces, mixing, and implementing every aspect of the sound. While I understand the decision to do that from the financial standpoint of a freelancer, I am very curious as to what the public opinion is on the subject. As someone relatively new to this, I understand that not only my greatest love, but my strongest ability is in my FX design work. I'm not much of a composer, and really don't find any joy out of doing it, so I don't. And while I'm working on learning FMod and WWise, I wouldn't consider myself even capable of doing any large scale implementing or audio programming. This has, understandably, made finding work much harder when I compete with others who can do it all. And I'm not complaining, mind you. But I am curious if others feel the same way, where they'd prefer to really only do one aspect of the many that they often find themselves doing. Are there any composers out there who'd rather focus on that instead of being stuck creating FX? Are there any of you who love programming but find the composing side more difficult? I've connected myself with a few composers who I'm working with on a current project, and am just curious what you all think. Would you prefer to work as part of a team more often, or enjoy working solo?
  8. Too many offers?

    Thanks for chiming in JB. I do really dig the concept of putting the jobs under the classified section, hopefully it works out a little better then the previous system. I did laugh a little though that the only job posted under the audio category is somebody advertising their sound services. Old habits die hard I guess
  9. Criticize my music =)

    Agreed with above, in that they're extremely beautiful but could do well to get to some more driven parts more quickly. There's a lot of sonic exposition in War Graves, for example, before reaching the meat of the track. I'll also add that while you use great samples and have a wonderful sense of composition, don't be afraid to mix in the space a little more. Some of your instruments sound much to up front in the mix, specifically flutes, plucked strings, or clarinet. Those instruments lean more towards wistful and mysterious, and I imagine them being more effective sitting farther away in the mix. You could accomplish this either by using less compression (if you're using any compression on the samples), or wetting the reverb on those particular tracks a little more and lowering the dry signal. Keep up the great work man!
  10. How can I determine what sound is in demand?

    Nate makes some great points. I totally agree about the payment thing, unless you work something out with a specific team or group. One great way to get going might be to contact some projects that are already in the works, and ask them to put you in touch with their audio guy. Ask him if he needs any help so he can get your feet wet. It'll be kind of like an internship, and he might be able to unload some of the easier work to you. This would give you some good practice in a real environment, without laying the weight of the world on you right as you begin. It also builds some networking opportunities between you and other designers, which can be your most important ones down the road. And while doing sound to an existing clip is always a great way to practice, my portfolio admission to my school was a sound only piece, kind of like a radio play. Come up with a short story on your own, and produce it using only sound. It's a great tool to help your chops, as well as giving you something to show off that's totally yours. It's also a good way to hone your storytelling skills, which I think is one of the most important things a sound designer can possess. Best of luck!
  11. Bastion Soundtrack

    I've been raving about this game to everyone in earshot for the last few months. Darren Korb did an absolutely killer job on the soundtrack, as well as being responsible for directing the narration (which, considering the amount of it, is no small feat). Can't wait to see what supergiant does next!
  12. To Cubase, or not to Cubase, DAW Questions

    I think everyone is in agreement on this one, it's nothing but a personal preference. I started using Sonar, then switched to Cubase, and now almost exclusively use Pro Tools. I enjoyed using Cubase, and the only reason I really switched off was because I started doing film and got lots more training in Pro Tools. Check out trial versions of everything and see what works best for you.
  13. Workspaces

    Haha, my girlfriend's dog won't come near me while I'm working. Last time he tried that I was working on a warfare piece and in an attempt to duplicate the sound of ears ringing I think I offended his super hearing.
  14. Workspaces

    I knew eventually you were gonna chime in and put us all to shame Nathan! Great space though, my cat's usually all over my desk too. Makes for a good sound design companion.
  15. Workspaces

    Haha, thanks. There's a whole bunch more desk ornaments obscured by the chair.