anthemaudio

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About anthemaudio

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  1. Seemless Sound Effect Loops

    Everything Nathan said...yes! Audacity is fine for seamless waveform editing BUT! don't just get edit them at zero crossing points, make the wave form continuous. So at the very end try and clip off the waveform as it's coming up (compression) from below the zero crossing point and snip off everything after it goes above zero. Then the beginning of your file should start at zero and then raise above the zero crossing point (rarefaction). This will play seamlessly, with no cuts, hiccups, or artifacts. Speakers translate these digital waveforms into analog vibrations, so when the "line" goes below zero, the speaker pushes in, when the line goes above, the speaker pushes out. Making the beginning and end of your files at zero is technically accurate for a seamless loop, but you are asking the speaker to do something a bit out of it's comfort zone and are likely to hear pop or some other audio anomaly (unless the sample is already full of distortion and other artifacts if you don't follow the laws of compression and rarefaction. Big words, but just make it end going up and begin going down, meeting at zero.
  2. How to make music sound "big"?

    (Pardon me for copy and pasting a post I made over at Music4Games.) It's a new dance craze sweeping the nation! Voxengo! Actually, they make kick ass plug-ins. Plenty of them for free. Voxengo SPAN It's a real-time spectral analyzer. Pop it on a track and you can see what frequencies each instrument is using most prevalently and catch abnormal freq spikes. Or slap it on a master bus and you can monitor the output of your entire mix. Quick and easy way to see what is missing or what you have too much of. I find this invaluable when you have to work with headphones for too long or if your mixing environment is less than suitable (most bedrooms aren't suited for mixing, BTW). By showing you the real frequencies being produced by your music, you can also carve frequencies cleaner for those who like to compartmentalize tracks by their frequency ranges. As far as "big" you could also be dealing with spatial issues. At least when it comes to mastering you'll be dealing with plenty of that by adjusting phase. That's a whole topic right in itself. Tony
  3. It's true, we keep giving away soundtracks. God of War Soundtrack Giveaway Not to mention we have a bit more time on our other soundtrack contests for Ubisofts's Red Steel by Tom Salta and Rockstar's Bully by Shawn Lee Red Steel OST Giveaway Bully OST Giveaway Good Luck!
  4. any good site for downloading/streaming past games music?

    Time to plug, time to plug! Ok, over the last few years our readers at Music4Games have been sending us links to free and legal music downloads from games, past and current...and future I guess. Anyways, I've been compiling them as they come in a list we have on our forums called...uh...the list. Free And Legal VGM Downloads at Music4Games It's not everything, but it's all original stuff with the composers/developers blessing! Tony
  5. Always want to let my friends know at Gamedev.net that we're giving away copies of both Rockstar's "Bully" Soundtrack and Ubisoft's "Red Steel" Soundtrack. Check it yo. Check it now! Red Steel http://music4games.net/forum/Forums.aspx?mg_forum_control=forum_posts&category_id=33&thread_id=288 Bully Comp http://music4games.net/forum/Forums.aspx?mg_forum_control=forum_posts&category_id=33&thread_id=284
  6. My bit of the pie , have a listen :)

    These sound amazing. Please get your own website or check out soundclick. YOu can create per song download links on Soundclick or use their built-in player. Really, great stuff. Care to list your soft/hard? That didn't come out right. You're not getting much replies because the nature of downloading these clips (and you didn't hyperlink) is like three too many rings to jump through just to hear something. Sometimes getting good feedback is an uphill battle, don't make it any harder than it needs to and get those tracks somewhere else. I highly recommend soundclick for starters. Soundclick Tony
  7. MIDI controller/Keyboard

    Do you play full scale or do you just want something to lay down small riffs here and there? If you're a player you won't appreciate anything lower than 61 keys and even that's stretching it. And what exactly is cheap? Under a $100? Obviously the cheaper the better right? Well Most 25 key boards run $100 and up. M-Audio's Oxygen 8 I see on zzounds.com for $119 new and an Emu Xboard 25 key controller at $125. But it doesn't really get an no-frillier than the keystation e series also from M-Audio. Again, looking at zzounds.com (my overall favorite online gear retailer) I see their 49 key controller at only $99. I reiterate if you fancy yourself a player at all you won't dig anything below 61 and preferrably some weighted action. That's when prices really jump! If you stay within the keystation series they also make an 88 key model that don't do much more than the other models than have a full range. Oh and it's not weighted at all of course. Out of all these I've only actually used the Emu boards and I kinda dig their action. The knobs seem kinda flimsy, but it's really all in the action. Hope this gets you thinking! Just do a search on zzounds.com or sweetwater. Heck find a product you like and see if someone is selling it cheaper on the eBay. Tony
  8. I just realized the great increase..

    Quote:Original post by VectorWarrior I was discussing this issue at work today, and the general consensus is that games will go the way of film, tv and advertising where each project will have a number of composers 'pitching' for it (for free). Only one of them will get the job and all the others will have wasted their time... although the pay the 'winner' gets is high in proportion the amount of hours worked. This is already happening now. The scarey part is where the company with the project will already HAVE a track they want to use but they'll hand it out to composers just on the off chance that one of them will come up with something better... because it doesn't cost them anything. Which is shocking treatment, but does happen :( When working up against this, even if you do get the occasional job, the money you make will have to soak up all the wasted time/work you do... although i guess you can reuse stuff so it's not all bad. To continue my horrendous downer ;) I doubt it'll get much better in the future... look at the decline of professional studios. Ten, twenty, thirty years ago there were thousands of professional studios, once everyone started getting personal studios, computers with software and doing it at home they started dying off and it's never got better. Of course there are many of the super studios left, but a lot of people lost their livelyhoods and the ones that remain have to find alternative ways of making money (such as game audio!). Now, anyone with a standard PC and a cracked version of some audio software can make pretty much anything and THAT is the reason for the increase in composers i think, it's no longer out of the reach of the average guy on the street. Once people get interested in computer music the universities will then happily tutor them in a course... I really think i'm risking becoming the grumpy old bastard on here, but lets just say i'm playing devil's advocate for the sake of balancing the discussion :D Sounds like more of a communication problem. There's a gap there and it "seems" like the only way to close it is the large "hollywood" cattle calls. Personally I'm leery whenever games venture into a Hollywood template of any kind. Just because it works for them doesn't mean it should work for us. But since no one is going to do anything about that what else is there to do, what other model could we follow? It seems more education is needed on both sides here. Composers need to learn more game development and game dev's need to appreciate composers more. Just because you write music that "sounds like it's from a video game" doesn't mean you are cut out to write game music. Just because you "like music, like video games, why not combine them both" doesn't mean you're gonna get the chance...at least on the scale you're thinking of. There are tons of more games to write for than those needing an "epic, cinematic score". You're already setting yourself up for heartache by settling in that crowded, competetive genre. Dev's need to know that there are a lot more musical choices than "epic, cinematic score". I know it seems like you're more likely to impress with a full orchestral soundtrack, but what games truly need that? The games that are developed and presented with a cinematic style. They also need to recognize that at the heart of this magnificent music they just bought is a soul of an artist and that they shouldn't be interchangeable to the lowest price tag. Don't patronize them, but don't underestimate them either. Once this communication barrier has been brought down, I think there will be great advances in both game development and music for games. Maybe there isn't a better way yet, but there should be. Tony
  9. Forbidden Woods -Work In Progress

    Dig everything except the piano. And not the piano line, just the piano patch. Sounds like it was played in with a synth or non-weighted keyboard which truly loses some of the dynamics of a true piano performance. Consider finding a full weighted keyboard to finalize the piano part or find a real piano, because that I think is the only thing holding back this amazing piece you have constructed! Nice use of woodwinds! Tony
  10. How to sample aircraft engine sound

    What I've done for some car games is record samples at all gears. So ten seconds at Neutral, 1st, 2nd, 3rd, 4th, 5th. So I have 6 levels of engine activity. Within those gears it sounds ok for the audio engine to pitch it up and down. I wouldn't really ask the audio engine to pitch bend the samples more than a few gears anyway , so you can get away with less gears (zones) sampled but be careful. And generally speaking, you want the program to mostly pitch your samples up, but some audio engines have sounded impressive bending both ways. That also depends on the quality and characteristics of your original sample. Bare minimum you want an idle loop (unless the vehicle never is at idle), an in gear loop or two and let the program have at it, results vary. Though that sound from an idle engine to 1st gear is not something you want to typically let the pitch bend handle. Try and sample it yourself and throw it in as an intermediary "zone" in the chain. Ideally you want ignition, idle loop, idle to first gear accelleration (non-looping segue), 1st gear, gear shift sound, and each accompanying gear you need after that. Though, looking back at a lot of racing games, they cheat and get by with just one zone or two of in-gear revving and just throw in the clutch sound at intervals predetermined by speed. That works too if your samples can handle it. Usually an engine in first gear will sound thin and whiny when you "speed it up" to high. And an engine at a higher rev pitched down to 1st will start creating artifacts and aliasing issues before they become useable. This is all from my experiences, so others may have gotten more lucky, but I find the most accurate way of reproducing engines is to accurately reproduce them gear by gear, nuance by nuance. Of course that all depends if you are handling integration or not! Tony
  11. I just realized the great increase..

    Oh, I think the ratio of composers to game is adequate for the amount of composers there. The ratio of quality titles in development vs the amount of able composers is probably right on. I think it's all about connections though. Tons of games, tons of composers. Which games are looking for a composer? Which games deserve to find one? How many composers are able/competent enough to fit the bill for a specific project. It seems like too many question marks and not enough definites. So in that train of thought, there are probably too much composers for the amount of games in dev. I would submit that the ratio is fine, but it ultimately doesn't matter due to a lack of quality connections. Starting up is hard, you got to keep asking and asking and asking until you match up with a project. Once you do a gig or two it get's easier and you won't even need a "looking for a gig" post (though I agree in the last few weeks those have increased.) I myself haven't inquired too much recently about jobs, they keep finding me for some reason. It's because I've been able to come to the community and show what I've done vs ask if I can do something, which I think is a fantastic feature of professionalism. Ja? Tony
  12. Hot Damn, I just played through the Myth and Myth 2 tutorials and you are absolutely right! Wow! I mean, we did our own thing with it, but now it just screams homage. Overall though, the game is a mix of a lot of other games at least in spirit. If you're a fan of any RTS/RPG/Fantasy genre you'll find a lot of archetypes albeit with modern satirical spins here. I may be biased, but we've made a really good game here. Tony
  13. Funny! I never played that but my partner when asked what the game is about always says "Have you played Myth?" I'm gonna check that out finally. Thanks for playing! Tony
  14. 1. Hmm, I have no idea about the sound problem. It's OGG playback from 22kHz wav files. Early on in testing, we had issues on some machines having choppy sound but only the music. Haven't had the same problem since. Sounds like what might happen if an app started and stopped in the background without you knowing it, like a virus updater or something. Does it do that everytime you fire it up? 2. Camera movements take a few moments to get used to. If you imagine that you're not really moving the camera but instead physically grabbing the earth and spinning it then it works! There are talks about future patches to include camera pitch control, and perhaps the inclusion of inverting the mouse. We'll see as we get more feedback what everyone wants! 3. We've heard numerous complaints about the difficulty. To tell you the truth, the first few times I played it I felt the same way and thought "oh well, another game I work on that will suck at..." But I kept trying and found some solid strategies. That's actually the most fun part about the game, experimentation and discovery. There's tons of ways to do anything and the options keep expanding as you get further in the game and you have access to more heroes. I will say this about the difficulty... are you using the Real Time Pause feature? It's detrimental to playing the game successfully. We're planning on including some more advanced combat tutorials on the website to get people going and enjoying this game. 4. That's a weird bug, I'll check it out. 5. Yeah, the unlock point thingy. Once you spend a point, you can't get it back unless you restart the round. And you can't restart the round unless you have actually started it. This does get mentioned in the tutorial when it talks about unlock points and being careful about how you spend them. At least you don't have to reload the scenario when you restart, it's actually pretty instantaneous. Thanks so much for checking out the game, I'll check out that icon bug thingy. Tony
  15. Sean, to answer your question...still a little up in the air about going to GDC for me. I got my happy super fun all exclusive/inclusive pass but I'm unsure if I can currently afford the trip out. We'll see. I really wanted to go because Music4Games is actually running a panel discussion with Inon Zur, Richard Jacques, Jesper Kyd and Tim Larkin on creating original scores for games...let's see if I can find the link... https://www.cmpevents.com/GD07/a.asp?option=C&V=11&SessID=3841 There you go. If I go, I'll definitely be there. Tony