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The Something Awful Forums > Discussion > Video Games > Sound design! In games!
 
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The Kins
Oct 2, 2004

Songbearer posted:

Conversely, any game that uses unaltered stock sound effects (Offenders including common overused sounds like these) really annoys me. Stock sound effects are fine for placeholders, but if you're going to be using them they're for mixing into other sounds so you have something new.
For some reason I always get a kick out of stock sound effects. It's like having an old neighbour poke his head out of an otherwise-immersive experience and give you a big, friendly wave.

* # ¿ Feb 13, 2015 15:45
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# ¿ May 22, 2024 15:42
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The Kins
Oct 2, 2004

Crigit posted:

This is really interesting, because it shows that what a thing sounds like is going to be heavily dependent on your recording hardware and positioning. Which one of those sounds was what the gun 'really' sounds like? Do any of them correspond to what you would hear with your ears if you were standing next to the microphone?
On this topic, a while back Simon Viklund, the sound guy on Payday 2, posted some stuff about the gun recording process for that game on Instagram.


quote:

A few of the many mic positions used during the gunfire reflection recording. We had portable recording devices (Zooms) hidden far off in the woods too, just to cover all the bases. What's near the camera here is a shotgun mic (it means it's highly directional, not that it's used to record shotguns - although on this occasion, both were true).

We were in the forest so there was no traffic noise or other sounds from the civilization. However, there were birds. We just made sure to record many shots of the same caliber/weapon, to make sure we had a few that were clean. In the worst case, you can edit pieces of several recordings together to form a final audio clip that you're happy with. There's always a lot of clean-up to do from field recordings. Unless you want to record noise... ;) Wind is never a problem if you just have the right kind of blimp/cover.

mote posted:

It always blows my mind thinking about how they programmed music for all those NES and C64 games in the 80s. Creating all your patches/notes by manually setting the registry bits in assembly or whatever. loving crazy considering the results they got out of it.
The programming element of sound development continued well into the 90s on the 16-bit platforms. There were standard-issue drivers, like Technopop's GEMS driver for the Genesis, but they typically produced sub-standard results unless you did a lot of research. Which a lot of people didn't. Yuzo Koshiro is probably the most famous example of 16-bit composer/programmers - He developed a sample-loading system to get more out of the SNES's 64kb of sound memory for Actraiser, and developed his own assembly-like music format for Streets of Rage.

* # ¿ Feb 14, 2015 15:00
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The Something Awful Forums > Discussion > Video Games > Sound design! In games!