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About jkuehlin

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  1. jkuehlin

    my new audio reel!

    Nate, I have a question. I thought Giorgio's video displayed a good solid amount of technical background knowledge. And to me it seemed like the way he put the video together would have been useful for something. Aside form the length of his video, Is the main idea behind your critiques that the elements he uses to illustrate the middleware and process aren't sophisticated enough to demonstrate an advanced enough skill set? Or is it more that they just don't care how its done... and they will only judge it by the final presentation? Could a video like this be used as a supplement to a demo reel? I'm asking because I'm contemplating how to put mine together but I don't have enough material to form into a meaningful one yet.
  2. Tried to find a working link... all of the give me a 404 page not found error
  3. Wow! This is EXCELLENT advice!! I'm in complete agreement with nearly everything that was said on that last video. There's only one point I might slightly differ on, and that's the notion of debt. I wouldn't be opposed to seeing a student who's graduating Full Sail or Berklee use a couple thousand dollars of 4th year loan money to acquire their base level tool set. The reason is that $2k can be spread over a 15-20 year life of loan payments minimal, and the interest is fixed at a government rate, which is lower than any personal loan you could possibly attain. I also don't have a problem with people financing a Focusrite Scarlett or a Rode NT1 using a 12 month same as cash plan at Sweetwater because the debt of a few hundred dollars is manageable and the risk is low. I know this video is geared toward people just starting out, but I think this rule of thumb would still apply. If a work order requires a specific tool you don't have, I wouldn't be opposed to borrowing to acquire the tools so long as a) the tool is a reasonable asset you wouldn't mind owning down the road and b) the value of the tool to your personal studio doesn't exceed the value of the project which you needed to acquire it for. And another thing on financing...if anyone reading this is willing to do their homework, some states have technology development grants and government subsidized stimulus options that I know for an absolute fact game developer and game audio studios qualify for. At least here in South Carolina. And they don't require you to attain a 501c3 non-profit status to apply for them. Start by checking with your municipal chamber of commerce.
  4. jkuehlin

    Some DAW Questions

    I use Pro Tools HD, Nuendo 8, Digital Performer, Ableton Live, Logic Pro X, Studio One Professional 4, and Reaper. Any of these will work for basic audio, and you only need one DAW. I work with a wide variety of professional producers, but its perfectly normal for a studio to only use one or two DAWs.
  5. I think the concept is a wonderful idea but the examples that are on that demo reel need a LOT of work. I seems that it would benefit you to have some long and in-depth conversations with people who understand how music structured and how arrangements are built. Going off what I'm hearing on that video, your AI has got to be infinitely more refined before its going to become a usable tool, not to mention a sellable one. Kudos for making the effort to explore the use of AI in music. Keep at it! I hope you guys get there Neat project.
  6. jkuehlin

    Requirements for a sound artist in Games

    That sounds quite reasonable and adequate given the scope! I wouldn't rule out the possibility of the sound artist being able to assist you with the VO process. I would at least check with them before assuming they can't. If they're in areas that have VO industry and local acting talent, some sound studios have general purpose voiceover booths and that could offer a one-stop-shop solution for the entire project.
  7. I was wondering if there are any sound engineers here that have migrated into game audio from other areas of audio post? I imagine there are quite a good number of you that are making a full time living off of game audio alone, but for those of you who aren't, how much of your current work is split between game audio vs other post production fields? What are your thoughts on future trajectories of the jobs in game audio vs other areas for your particular companies? Would love to hear your thoughts! Thanks so much -Jonathan
  8. Ugh. Figured it out! Audio system must be set to 'direct sound', then the HW device can be selected.
  9. jkuehlin

    Requirements for a sound artist in Games

    That makes sense - I've been in a really different seat in the process so far. I've been working with game audio casting agencies, voiceover artists, and editors working my up to the implementation and design gig. I have ended up trading a lot of sessions because I've been fortunate enough to have been called for remote recordings - and when they come to my facility, many VO artists are able to edit the material themselves, but the production company pays to have a decent room with a good mic locker (and a reliable mix rig) to shoot it in. I usually dropbox them the session or throw it on their hard drive, they take it back, and also bill the developer for the time it took them to edit their own deliverables. I have NO idea if this is normal as my first notable game contracts have just come in over the last several months (after a good year or so of pounding the pavement for SOMETHING to put in a portfolio). The only other game I was ever involved in was working with a collaborative situation with a composer in California who was an excellent musician and understood basic game audio implementation but had zero tools or knowledge on how to mix it. I assumed that sharing sessions was normal...he had to send me the Cubase session in order for me to dump his VI's and overhaul them with my better ones. I guess I was surprised that the turnover and deliverable workflow isn't like film at all. I obviously have nowhere near your level of expertise with this stuff and I am sincerely grateful you're taking the time to elaborate on your experiences here! Much appreciated ...For the two 'special cases' I mentioned above, one was film, and the other was broadcast. I probably should have stated that.
  10. ?? I have the I/O in the audio midi setup patched to the s/pdif output, and youtube/itunes etc plays through it just fine. Isn't this suggesting that's where Wwise should be sending the audio signal? It's not. When I play the audio in wise it still attempts to come through outputs 1-2 Here's a screenshot of the audio preferences.
  11. jkuehlin

    Requirements for a sound artist in Games

    Nate...even apart from JoAndRo's specific scenario, what do you feel is the best way for an employer to gauge the extent of a potentials audio engineers competency level? University of Michigan had people submit a written essay on how they mixed a track or series of tracks explaining what they used and why. The hiring agency at Disney drilled us with some music theory and audio production questions in the initial phone interview to vet out the people who were total hacks. In the instance that the hiring agent has no technical expertise in the audio field, should he have a 3rd party conduct the interview on his behalf? I guess my question is how a game dev is supposed to evaluate an audio engineers actual abilities before hiring them. But is that sufficient? If the sub-contracted studio simply lies and signs the contract anyway, it seems a number of scenarios the contractor would want to avoid would only surface post-facto. I was sending audio edits out to a guy with an outdated stolen copy of Pro Tools, and couldn't figure out why his files were named inconsistently. Then I realized he had a cracked copy of PTv9 which didn't have the batch export feature, so he was attempting to manual re-type each file name to cover it up. Even if he had signed that contract, he wouldn't have been able to sync to the avid cloud either...because you have to have a valid support contract to access it. So basically the bugs and issues in his stolen copy became a huge issue to our workflow even though legal issues did not. Same issue with a guy who lied about having valid Waves licenses. My plugins wouldn't load in his DAW, and the Mercury 10 bundle has a lot of plugs in it that the Mercury 7 bundle doesn't. I don't know man. It was just a lot of wasted time back-and-forth with these numbsculls. I'm glad to hear this hasn't been an issue for you
  12. I can't find the i/o config in Wwise that will allow me to route audio out the s/pdif and optical outputs of a MOTU 828 mk2 or a Pro Tools HD i/o rig. I have no other game engine or DAW running with it, just trying to get audio out of Wwise. I'm on a mac pro (chess grater). My signal chain is as follows: Wwise -> Mac Pro (firewire) -> Motu 828mk2 -> S/pdif (output channels 11-12) -> CraneSong Avocet 2a -> Focal SM9 (different converter) My drivers are definitely working. I can play all other sounds out the Motu. When I import a single audio sample into Wwise and hit the play button, I can see the audio signal output on the LED's of the MOTU i/o on the default output 1/2 stereo audio channel. What I want to do is tell Wwise to do is send that master bus output to channels 11-12 which is where my S/pdif cable is patched to. I attempted to pass it through the HDX cards to see if I could get it to work and I can not for some reason. Wwise -> Mac Pro -> HDX -> Avid HD i/o -> Lightpipe -> Cransong Avocet 2a -> Focal SM9 So where is the audio I/O config in Wwise?
  13. I respectfully doubt that anyone is going to give you names of presets. You have GOT to take the time to comb through your own libraries and organize the factory patches into user patches that you can locate and tweak quickly. Good. Now learn how to use it to create the sounds you want from patches that are already in the ballpark. One quick piece of advice I'll give you is that 80% of your tone and textures will come from a working knowledge of the oscillator and filter sections of your subtractive synths. Spend time learning how to control these and you'll have taken the first step toward achieving the tools to create sounds instead of being at the mercy of whatever the manufacturer put in the box.
  14. jkuehlin

    Requirements for a sound artist in Games

    1 - Look for someone that has a track record of following through with things - people who flake out on your and can't deliver on their commitments are just as big of a problem in this line of work as any. Figure out how to assess their reliability before you pay them a dime is pretty crucial in my opinion. 2 - depends on your needs 3 - Choose your employee based on their base skill set, but also make them prove to you they have the drive and the means to learn these skills. And also ask them something like "Whats the difference between a Sennheiser MK series mic and a Neumann U87". Or "Tell me what a resonance filter does". Or ask them to explain the difference between a reference clock and a word clock in plain English. Forget about games...That's very basic 101 level audio stuff. If they can't tell you that off the top of their head, you probably don't need to be paying them money to do work for you. Also, make them prove to you that their plugin licenses aren't stollen. That'll weed out 9 of 10 wannabe's. 4 - I think you need a way better idea of what you're after. If you're looking to start a game design company, it sounds like you have a good ways to go before you're ready to bring a sound designer onboard. If I were you I'd wait until you have at least one working playable game before you even begin talking to a sound designer. That's gotta be the worst advice I've ever heard.
  15. jkuehlin

    Copyright question

    WTF??? Is this what everyone else is seeing or is my browser bugging out?
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