Kenbar

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About Kenbar

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  1. Music in games legality

    Quote:Original post by loorr but how can these people do it better Because the Doom 3 intro music isn't anything special. It's not helped by the low bitrate they've encoded all the oggs in the game at which makes your ears bleed.
  2. When does music just become sound?

    There is only one solution to the problem of trying to defining music: don't. 'Tis a fool's game. This leaves you with two choices: * deny the existence of music altogether and admit that there is only sound or * accept that music and sound are the same thing Any other definition is easily invalidated by exceptions to the rule, hence the hen-pecking in this thread. But this is totally impractical when communicating with other people about the minutia of sound. The most important thing is that you and the people you work with have a shared understanding of what music is - you don't reach this understanding by discussing "what is music?" but by working together over a period of time and creating a common language. This happens quite naturally and is most evident when someone new enters into the working relationship and totally misunderstands the words you use. So, I would conclude that "music" is whatever it needs to be to assist you in communicating with other people about sound or, indeed, as an allegory for other phenomena (religion, death, sex - the human condition).
  3. Soundfont cards?

    Soundfont's weren't invented by Creative, but by EMU (who were bought by Creative and are now their 'professional' soundcard brand) - I had a quick look at their product range to see if they still have legacy support for the technology and it looks like you can load up SF2s in their Proteus X LE software that they bundle with their cards: http://www.emu.com/products/welcome.asp?category=505& If the creators of the technology have switched to software only support I'd say it was more than safe to go down that route. As other people have said the most important requirement is a soundcard with low latency ASIO drivers.
  4. Books - Which one?

    Hey Stenny, My website has a bunch of useful links: http://www.gamesound.org/ Check out the books section. I'd recommend the Marks as your first port of call - it's an eclectic mixture of self-help, insider info and instructional guide, but it's all good stuff (especially if you're totally new to the subject/industry). Then check out Alex Brandon's book - it's basically how he likes to organise his projects, some of it vital, some of it not so much. I've not read the Childs, so I won't pass judgement! Best stay away from the DriectX 9 book unless you're in to programming. Echoing Nathan's comments, I'd say the Fat Man's book is worth a read if you're a game audio devotee but it isn't required reading. Cheers, Kenny
  5. Need some help here (Drum loop)

    This loop has been constructed from individual components, which probably came from unrelated sources. Each component has its own effects (EQ, compression, reverb - probably applied more than once) and there are probably global effects applied to the loop as a whole to help give it some cohesion. There's even some melodic content in there on beats 1, 2.5 and 4.5. There are some other nice subtleties such as the kick (if you want to call it that, on 1, 2.5 and 3.5) is different the last time it plays and is not just the same sample (though maybe it is the same sample but just pitched down?). A good way to learn how to make your own loops is to listen to something like that, then get your own samples and try and recreate the loop from scratch.
  6. Measuring loudness, AI hearing

    I think we're on the same page. All you're varying is whether the AI can hear you or not - you can make it as simple or as complex as you like. My point was that doing realtime or offline analysis of the "loudness" of an individual sound is unnecessary, which you appear to agree with. By all means pay homage to the propper fall-off curve, but it is ultimately irrelevant because you do what works for the gameplay. I played Thief I and II and played with the mapping tools for Thief II. Great games.
  7. Measuring loudness, AI hearing

    Way, way, way too complicated, guys. The AI is either listening or it's not. It can either hear a certain sound within a certain distance or it can't. The parameters are then tweaked to best fit with the gameplay - leave reality out of it.
  8. Free Sound Effects?

    Quote:Original post by Eddy999999 Well, since my game will be free, isn't it okay that I use sounds from commercial games? No.
  9. Game Sounds Volume

    The sound designer should control this, with the programmer providing the tools. Nothing should be hard coded; ideally, you want to be able to adjust everything on the fly using beautifully designed, bug-free software. In reality you'll probably have to settle for a spreadsheet or text file containing all the sounds and their corresponding volume values, and every time you alter a value you'll probably have to relaunch the game. This isn't a good system by any stretch of the imagination, but asking a programmer to change something then waiting for the next build of the game is not an option.
  10. Sound related jobs

    As someone who has gone through higher education and successfully found a job in the games industry I would, naturally, recommend the same route. But there are others who don't have a degree who are also working in game audio who can no doubt recommend a different path. Having said that, those without degrees are in the minority (in Europe at least). The music technology course I studied nurtured my love for working creatively with sound, giving me a strong foundation in the creative, technical and scientific disciplines at the undergraduate level before going on to specialise in sound design as a postgraduate. With games not being part of the curriculum I spent much of my spare time devoted to researching this area and the job market, steering my academic studies towards games wherever possible. That was my approach; YMMV! www.gamesound.org
  11. Sound related jobs

    If you're interested in working with sound you need to come to terms with the fact that there are very few jobs no matter what industry you want to work in. Choosing to be a composer or sound designer is similar to wanting to be an actor - you start at the bottom of the pile and the majority of people don't make it, even if they're really good. If that doesn't put you off then you're probably crazy enough to give it a go. Sound designers who are good and experienced will always be in high demand when a company needs one, but there are no "high demand" sound jobs in games. I think the best way in to the industry is via a junior sound design position. These are quite hard to find, but the shortage of experienced staff is turning this slightly in your favour right now. I mentioned audio programmer because it is the only sound related job in games which you will see advertised on a regular basis. It kinda looks right now that everyone is looking for at least one audio programmer. It does not involve recording or creating sound content, but it is not possible to have a great sounding, cutting edge game without at least one dedicated audio programmer. If you've never done any programming, and I'd say it was pretty clear that you haven't, then I'd check it out to see if you might have some aptitude or interest because that is your best route to working with sound in some capacity in games.
  12. Sound related jobs

    I'm assuming you mean in games, if so your options are: Sound designer/audio engineer - tiny demand Audio programmer - very high demand Increasingly, larger companies are looking for people with knowledge of audio who can implement sound assets rather than create content. This is part of a general trend to specialise audio departments, so you have individuals who work solely in dialogue, cutscenes or in-game.
  13. 4bit pcm to 16bit pcm at runtime

    Can you use ADPCM samples? Those are 4-bit; it's what the PS2 and XBOX use...
  14. At its simplest, this isn't very hard. But your game will sound like a Fairchild VES (circa 1976). There are many forms of synthesis which can create lots of interesting, unique and usable sounds. However, none of them are natural sounding.
  15. professional SFX libraries

    Hey Phil, Kenny from London Studio here! I used Sound Dogs for the first time this morning (gotta love the last minute E3 fun that comes at this time of year) - it was nice to see that the cost of the sound you purchase is based upon length (with a minimum charge of course). I didn't need half the sound I was interested in, so I just selected the part I wanted and saved a few bucks. Good system...