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About ptietz

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  1. ptietz

    Help! I need one or more programmers

    Dude, that will never work. Everybody has "several game ideas". So do programmers. And they will always prefer their own ideas over yours. Additionally, each of your ideas might take years to complete. That requires a whole lot of dedication and time they won't have for any other project. And how should they develop dedication when you yourself are only talking about "several ideas" instead of one project you're eager to complete? Next, you don't want to pay or even share revenues while excluding newbes by explicitly seeking for the pros. Don't get me wrong here, no harm intended. But I'm pretty sure, you won't get many responses other than this. If you really want to get your stuff done, pick your favorite project and focus on that one. Maybe you also want to start coding. Many game designers, sound designers, graphics artists, you name it, do at least a little bit of coding themselves to prototype their ideas. Either way, I wish you all the best and good luck with whatever project you're going for
  2. It really depends on the type of game you want to make. Let's say, you have an endless runner or a shoot'em up. If you have a game that uses random map segments to be spawned an despawned as the player passes distance, moving the map instead of the player makes total sense. On the other hand, if you have a detailed, handfully crafted map where the player can move in any direction, moving the player would be the obvious solution while moving the map would be a weird way to go. In my game, I use a combination of both. It's really the player that is moving but I do shift the the map tiles' position (especially backgrounds) to create a parallax effect, thus the illusion of three dimensional depth. Hope, that helps
  3. ptietz

    Swing-Twist Interpolation (Sterp), An Alternative to Slerp

    Very helpful. Thanks a lot for posting!
  4. The thing is, there is no straight step-by-step way to become a master of programming. Every person has different preferences and every software is different. Try to find a project that's fun for you. If you don't immediately know how to get it done, that's your project. You will run into problems that you will have to solve. Here are some ideas that you might not have tried, yet: graphic rendering, web sockets, server/client protocols.
  5. ptietz

    What type of game music would you rather make

    I'd say, it depends. Let's say, you're in a dangerous cave. You certainly want to capture that sense of anxiety in your score. Maybe some dark atmospheric pad with a few awkward noises. You don't want your players to whistle along here. On the other hand, when portraiting a strong and important character, faction or place, you want to use a strong, recognizable theme. For example, if in the dungeon from above, you start fiddling in the theme of the big bad boss, players will subconsciously sense what's coming without knowingly recognizing the theme, necessarily. Of course, it all depends on each individual game. So, if you, say, have a lounge before your online matches, you probably want a theme that makes players feel comfortable and ready for a fight while not poking their nerves too much if gets repetitive. Your question doesn't have a simple either/or answer. So I hope, I was able to help, anyway.
  6. ptietz

    What Software do you use?

    As my DAW, I use FL Studio. It's a bit ill-reputed but the newer versions actually do a great job. My choice here is a matter of taste. There's nothing you could do with, say, Propellerhead's Reason or Ableton, that you couldn't with FL Studio. The differences lie withing the UI and the default plugins. And I do love FL Studio's UI. Some of the Synthies I use are Sylenth1 and Sytrus (as of FL Studio). I try to get all my sounds out of the most simplest OSCs. The more you move away from sythies towards samplers, the weaker the sounds you get. There's almost no chance to get around that. I still use some, however, for classic popular sounds, I'm tired of reproducing all the time anew. One of them is reFX Nexus. Not too powerful but with some really handy presets. Much is about how you use your FX channels, though, and how you master. However, for orchestral stuff, the opposite is the case: you won't get around samplers here. I really like EastWest's libraries, but they're really quite expensive to start with (at least if you mean to buy them instead of using their cloud-base license). I love their sounds and the vast opportunities they provide. There's a knob for everything. In my setup I linked almost every parameter of every instrument to a midi controller to have full control over automation. What I definitely want to get in my hands is the "Hans Zimmer Percussion" library published by Spitfire Audio. Besides that, I try to get as much from real instruments as possible. I myself play a bunch. But I do look for instrumentalists whenever I need something that I can't play myself. Even if you use a sampler for the whole orchestra, just for example a real recorded cello can do a lot in terms of realism. As middleware, I really enjoy using fmod studio. It's an awesome tool for creating dynamic, reactive and adaptive soundtrack. It does have some flaws but if you know them, they're quite ignorable. It's free to use under $500k budget and still has a fair licensing model elsewise. And it provides APIs for Unity and Unreal. You have a lot control. And debugging is done with ease. You do, however, have to code some things yourself if you really want to get the full potential out of it. Finally, there're a few notes I'd like to share: 1.) Having better equipment doesn't make you a better producer or composer. Instead, learning on low-end gear will really help you when later upgrading your stuff. 2.) Regarding realistic instrument sounds, though, you will, at some point, require proper VSTs. Until then, try free sf2 files or samples and try to make them sound as realistic as possible. 3.) Learn about mastering! Most of it is about frequency separation and is done through equalizing and stereo separation. Learn why and how to do that. The more you get into it, you will develop "an ear for it". And soon you will go "oh, the higher mids are to loud and maybe the violins should go a bit more left" 4.) Try different styles. Don't use the same recipe all over again. Do a Reggae Tune, after that try some techno, the DubStep, then Rock, then maybe some orchestration. You may not always feel that you've been successfull. But trust me, you will learn a lot eitherway. 5.) Don't buy software that you aren't willing to learn. Having an awesome toy doesn't enable you to play with it. There is time to be invested here. Be aware of that. 6.) Learn about music theory. It might sound boring at first but you might learn to love it. Especially when you'll find out what doors that opens Hope, that helps
  7. ptietz

    New Neoclassical Piece

  8. ptietz

    Fastest detection algorithm?

    It's hard to tell as you didn't post your implementation. You're right in that GPU is generally faster than CPU. But I wouldn't implement rigidbody just for the sake of that. So, if you have grid, why not simply cache which cells are occupied? Would that help?
  9. ptietz

    Looking for UI Sound Design Feedback

    pretty awesome, actually and quite some working time, I suppose ^^
  10. ptietz

    I've gone and made this.

    okay, this one weird. The noise, the panning, drives me all crazy. What's it meant to be for? Sounds like a horror trip to me after abusing the wrong substance.... Or maybe some psycho-killer-thing... Might be fitting, depending on what you wanted to achieve. Taken as a regular piece of music, though, I must say "sorry"... Maybe some lessons on mastering might be helpful. YouTube's got a bunch of it.
  11. ptietz

    Dragon of the North (Epic Orchestral)

    I like the clear voicing in it. But you still got volume issues (esp. in the setup and then again from 1:18) that sound unrealistic. It doesn't sound like a compression/limiting bug to me but rather like a note volume issue. Composition and arrangement are really cool, though! I like your use of the trumpets and - as said - the clear voicings. I don't agree with @Michael Aganier (depending on how he meant it). Add a bit more general reverb to it and, if the SFX do their job, it might actually fit the dragon setting quite well, still being the type of game it is. I think, you did a pretty good job there
  12. Hey guys, sorry for the late response. Thank you all so much for your contributions! Your input helped, already! And we even seem to have found some sort of consensus here. Feel free to continue the discussion as I don't seem to be the only one interested Best Regards, ptietz
  13. ptietz

    How does one communicates his needs to a composer?

    A composer's goal is to match your vision, not their own. Therefore a good composer will ask you a whole lot of questions. Of course, as composers are human, and as they need to add to your idea to merge it into music, there may be losses in communication. So you should gather as many drafts as soon as possible. Besides, I might be looking for a project to work on
  14. Thanks for your reply! I'm excited to hear more opinions ^^
  15. Hi everyone, since I wasn't able to find a topic that's specifically related to level design, and since I will add a few more questions to my main issue, I'm afraid, this will have to serve as a catch-all topic for now. Sorry for that So, when it comes to villages, townships, cities and resting places, I'm often baffled. I got two paradigmas in my head that just don't want to go together. First would be the "straight forward principle". Keeping distances short, placing only buildings that have distinct purposes, putting the spot on gameplay. Second would be the "immersion principle", making sure every NPC has its home, creating roads in a much more realistic way (rather than just reflecting the shortest distance between two points), maybe adding some spooky empty houses and so on. Do you want an efficient town that allows you as a player to manage your stuff as quickly as possible so that you can get right back into the action as soon as the player decides to? Or do you want a town that invites players to stay and literally feel the rest, their characters experience? Of course it depends on the type of game you want to create but how would you find the right balance between the two? Adding to the topic, it would be great to read some general thoughts on this as well. Such as "savegame spots vs. saving from the menu", "exposition dump frequency in such places, narrative phrases" or "player homes" (like those you find in Skyrim for example). Thank you guys very much in advance. Have a good one
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