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Xerophyte

Member
  • Content Count

    6
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About Xerophyte

  • Rank
    Newbie

Personal Information

  • Role
    Audio Engineer
    Composer
    Sound Designer
  • Interests
    Audio
    Design
    QA

Social

  • Twitter
    @phytophilemusic
  • Steam
    pharmako_dynamis

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  1. Very nice, definitely relaxing and captures the coldness as well as the serenity. I liked the use of arpeggiation a lot to bring out some variety and motion, and the register change near the end closes it out nicely. I would wander a snowy forest to this (especially if some story or lore just got hinted at recently... it has just enough tension for that kind of thing, I feel). Edit: I also like the softness of the instruments, almost as if they themselves are dampened by snow.
  2. I haven't, but I am curious about them, and what they can do (I could RTFM, but I'm still crawling through Cubase's 1200 page .pdf - fortunately it's mostly familiar things in occasionally unfamiliar places so far). Nuendo seems a big bonus to Cubase for professional sound design, but it is an expensive upgrade to bite before I could say I realistically know what I am doing with game audio, beyond designing sound fx or possibly writing music.
  3. I find this question interesting as an electronic musician interested in working with game audio in sound design, audio engineering, and scoring. Things like adaptive soundtracks are fascinating to me, but I am simply not a programmer - and I know a lot of those things (as well as engines I hope to work with in the future like KYMA, but I digress) require at least a fair bit of scripting knowledge. Like right now I use Cubase, which is a great DAW, can sync to video, but then there's Nuendo which has all kinds of other scripting options and integration with video game engines. I'm really interested in the process by which sound is incorporated into games, so I guess I'm kind of piggy-backing this thread for replies which I'd find relevant too. I know a lot can be done in terms of scoring and sound design just in a DAW or modular environment, and sent off to the programmers as raw audio, but I know that especially nowadays that has limitations. I still want to learn more about programming, as well, but am mostly curious how much a "serious" freelance sound designer "ought" to know, before one can consider oneself remotely serious.
  4. Xerophyte

    Audio for an abstract motorbike racing game

    Hiya, I have some cool idea for background music as well as sound effects for the video. I have been making electronic music for over half my life, but lately have been wanting to branch out into game sound design, and learn more about that world. For example, I can come up with sounds for an electric engine, and provide a range of upcycle, downcycle, break, accelerate etc noises, which I assume could then be implemented into the engine to trigger when appropriate? I'm curious how that is done smoothly, although I do know there are various ways, not all of them are on the programmers' side. I'm here to watch and learn as much as participate. I am still working on a website and portfolio; but you can hear my music on soundcloud as /phytophile, /neuroqueer, and most recently /xerophyte. I have 18+ years electronic music experience, and nearly my whole life with theory and rhythm, feel free to DM me if you want to discuss anything further, and at this point I'm just looking to get involved more than I am looking to get paid. Your game looks like it would be a lot of fun to make SFX and/or music for, even if just a couple contributions. Regards, Xerophyte Greetings; I am interested as an electronic musician looking to get into sound design how these programs work between the audio and the game engine - does development have to be done simultaneously, or can they be used on the programmers end to further integrate and smooth the sound in-game? I primarily use Cubase as a sequencer, and would like to save for Nuendo which has scripting and game-related integrations built in, but I am not quite at that stage yet. If you could point me towards some resources I would greatly appreciate it. I understand the idea of adaptive audio, and how to create certain types, but as I am not a programmer that is about where my practical understanding stops. Anyway thanks for the time if you get a chance.
  5. Xerophyte

    Looking to start a team

    I just joined these forums looking around for small projects to contribute to, as I build up an audio engineering and sound design portfolio (I have been working with all kinds of synthesis, audio sampling/editing, engineering and mixing for my own music production for about 18 years, and am looking to branch out). Not necessarily looking for paid work at the moment, so that is just fine; more to get a taste for what it is like to work-to-order, work with a team, etc. Could also do some scoring, timing to video, maybe foley stuff and the like.
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