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CBledsoejr

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  1. I'll give you some pointers from my own experience and maybe you will find it helpful!   Unfortunately one of the things with youtube is that there is so much bad advice. Now someone might go and say there's not really bad advice that there are just different approaches, some more appropriate than others. But I always try and look for reliable sources from people who have been doing this professionally.   I do some orchestral compositions and I mix and master my own stuff though I come from a rock background as a bass and guitar player. I still struggle to get my orchestral stuff to sound like the pros. I think something is good and then I hear someone else's work and I think "oh my god this is AMAZING" *sigh* But that's always the artist's curse.   I try and spend time listening to real orchestral recordings, my favorite movie scores, and emulating how they feel. Again, since I have a rock background I kept wanting to mix my percussion very up front and "heavy" but it ended up making my mixes sounding thin when they hit a limiter or any sort of bus compression. So given some more studying and messing with EQs you'll eventually figure out how to achieve that sound you're looking for and then you can start to slowly integrate special techniques.   One thing I always wanted to do was wash everything in reverb, but I studied more on this and I think I have improved. So I think maybe that's one thing you might want to look into. There are many ways to achieve "depth" in mixing. Carving out instruments via EQ is one way, but adding the appropriate reverb can be another way. Not to make it "better," but to achieve a new realism and life to your mixes that maybe they are lacking.   Another thing I've always been told by many many composers is to really get the hang of using your MIDI CC messages. Really dig in and use expression to give everything movement. I've had a hard time with this because I haven't spent much time with orchestral instruments so I have to always have a reference on how they should sound (Or at least what I'm trying to achieve). So making sure your automation is killer can be important to the mix rather than worrying about EQ, compression, and etc. And sometimes I forget this and my strings sound flat, or my horns don't have power. Just automation can really make a huge difference.   As far as mastering, a really great plugin is iZotope Ozone. It's got a lot of great tools and can EASILY be misused. But there are tons of tutorials on how to use it's advanced features to make professional sounding masters (That is if you don't already use it)   And of course, bounce your mixes off of someone else! I have a few friends I always go to, most of them are mix engineers, live sound engineers and don't really do composition, but they have an ear for a good track so it's good to get another perspective. Sending them to random people you don't really trust can be hard and subjective and it may be hard to tell where you need to go with your mix.   Anywho, I hope this has been helpful!
  2. Awesome! One thing I would suggest.  Take your idea from "an idea for an audio game" and turn it into a detailed, written design document.  There are 500 decisions that need to be made even for the simplest game idea, and defining them is 98% of game design.  That'll also make it much easier for your programmer friend to do what you have in mind.  and in the process of writing it, you'll uncover a host of these sorts of issues and be forced to spell them out. Let us know how things go!     Cool! Thanks for the advice, it's definitely something I'd like to do eventually so hopefully when some more details surface I can share the experience ;)
  3.   I've been looking to partner with someone who is skilled in programming and can maybe do a test run with me and get a prototype done (So I know what I'm getting myself into!) I do have a friend in mind who has been open to the idea so we'll see how things go, might be a fun experience.
  4. Very cool! Thanks for sharing! It's great to see other people visiting this idea of audio games now that the technology is so available to everyone with the presence of iOS devices.   It's funny, I've had an idea for an audio game for awhile, but   1. I'm not a game designer and 2. These things require custom audio engines and I just don't have the skill set for that.   BUT!   I was in talks with the guys over at Something Else who created the http://papaengine.com/ This was about a year ago and they basically said "Give us a little longer, we're working on an engine/API that will be available to license!" So I've held my horses and now it looks like I have to revisit this idea of mine
  5. Great work. I feel like I'm always in need of foley/footsteps :) Will donate when I am able to and keep up the great recordings.
  6. Posting mine too!   https://soundcloud.com/cbledsoejr   You guys might particularly enjoy my two groups which always baffles me how many people have joined!   https://soundcloud.com/groups/electronic-orchestral and https://soundcloud.com/groups/modern-video-game-music
  7. Looks like you've already made up your mind and have gotten good information from everyone - But I just wanted to say that I have the Zoom H4. It's a little more expensive but I got a good deal on eBay for this one, used. The interface is awkward and clunky, eventually you'll get used to it, but that's the worst thing about it. It's a bit noisy to hold because the plastic isn't as solid as you would think, but I have the accessory stand and just use it on a mic stand if I record any ambiance. But you can definitely hear it in your recording when you're handling it. Never really used it for voice but it's solid as hell for everything else. Built in mics are great, phantom power is a huge plus if you want to throw a shotgun mic into it at a later time.
  8. I don't know what you're talking about, this is pretty good man, haha. The only thing that was a bit jumpy for me was the tempo fall in the beginning part, seemed a little fast but that's just my opinion. Strings sound good, everything is clear. I don't know about the context of this track with whatever you're working with, but the middle felt a bit long with not much evolving (Wish it gave me a time so I could tell you at what point). But in context of a game it might be perfectly fine. Great job, I'd say stick with your gut because it's turning out good.
  9. Funny, that was the one that kept popping up when I was looking for a solid book, seems to be well rounded and recommended, I might try and pick this up. Thanks for the input, good to hear from someone who has actually gone through it.
  10. Just checked out those tutorials since they were pretty short, useful, but still not detailed enough for what I am looking for.
  11. Thanks! I completely forgot about 3DBuzz, I think that's how I primarily learned UE2.
  12. Hi everyone,   Just looking for some resources and/or tutorials regarding UDK audio and implementation (Catering for sound designers). I had a decent grasp on UE2 way back when, but things have changed and I haven't seriously implemented in a very long time. I've had more experience in wwise than UDK.   I'm looking less for tutorials and more for practical reference books or online resources for proper techniques. I find that when I look at videos I have to skim through minutes of a tutorial to find a simple action I was looking for or waste time watching them with nothing that was particularly useful. Either that or a lot of "introduction to game audio" resources are very vague and not detailed enough on a practical level. (I'm not saying all are like this, just many, so if you have any good ones, please feel free to forward them!)   Some things I really want to dig into: -Properly setting up music, and the next step is dynamic music.  -What is the "right" way to set up levels and mix your sounds (Lets say you have a bunch of sound actors for buzzing lights, how would you adjust them all as a group? Or replace them all with a new sound? Let's say I want to "mute" music or a certain group of sounds in UDK to playtest if sounds are working, how do you approach this?) -ReverbVolumes/AmbientSoundSimple vs AmbientSound - I've been confused by this because this is a bit new. But it seems that AmbientSounds don't have a visual radius, maybe I'm missing something, but creating a SoundCue seems to be the way to go, but I'm not really understanding the pros and cons of this)   Any help is appreciated to get me out of this rusty stage :) Thanks so much!
  13. I joined this website right before the change and I think this is a fantastic website and community and I'd love to see improvements over time. I've experienced issues with renewing adverts in the classified section.  Essentially, once my ad expires, it asks me to renew. If I click renew it starts with "$0.00" and whether I leave it or enter a different number, it says it's an invalid format or "Oops, something went wrong" and then my adert goes into a "Time Left" but doesn't actually show up in the classified section (Since I never technically paid for it). I'm not able to renew it again nor am I able to view the ad so I can copy and paste into a new one which is a bummer. This is more of a technical issue for the website but I think it's still something worth mentioning and I'd be happy to give information to help resolve that issue.
  14. Just wanted to add to this a bit. I have a few friends that have work as sound designers in the industry, Sony and EA Games among other studios. Every studio operates differently, but one of my friends, for example, is both sound designer and implementer. He learned the in-house tools as well as 3rd party middleware to both create and design sounds, and implement it into the game. In fact, some of the sounds are done out of house and he just receives them as assets and implements them. They frequently work with the music too. So it's probably about 2-3 guys that are all implementers/light programmers and sound designers, and then the lead audio. On the other hand, I've had friends that worked just as editors. They're JUST creating assets. They hand it over either to an external studio that does implementation or there's another dude (or dude-ette) in house that does that. It can depend on the flow, if they're working in a new/old engine, how many people are available, budgets, etc etc. Personally I've never worked in-house for a game development studio, only external studios that do audio assets. But on the real, it's very very common for in-house "Sound Designers" to have implementation and light programming skills.