Are there technological obstacles to put your ideas into the games, restrictions you don't like? For example.... cannot make sounds too diverse for a specific enemy but also can't make them too repetitive. Or, hard to make combat music dynamic when you don't know if the player is going to have a hard or easy fight. etc.?
Ok, I apologize for the wall of text but i have a lot of questions haha. 1. What software do you think is the most important to know how to use (DAWS, Middleware, and anything else). I know you mention only using the unreal audio manager (wtf thats impressive) but would you suggest learning both wwise and fmod (and also why did you choose to go with unreal instead of a middleware). 2. I know you touched on this a little but is there any hardware you would reccomend getting. 3. How important is the knowledge of the actual implimentation of the audio cues into the codebase for an audio designer. Right now I work with two others and its reletivly easy to communicate where I would like sounds to be and how they would be triggered but I imagine with a larger team, it'd just be easier to learn how to code and to impliment it yourself. Is that standard in the industry for audio designers to know how to code and to impliment the sounds themselves? 4. This might be a bit too in the weeds but what does your sound library look like? Did you buy a base library and then build on it from there? What does the process look like? 5. How much time and effort goes into creating each sound? Obviously there are different levels based on what the sound is for but lets say its for an enemy. How many iterations do you go through? At what stage do you seek feedback? When do you know a sound is done? 6. What would a typical work day for you look like at Ghostship? 7. Rock and Stone!
I'm interested to hear what other unexpected real-world things you used to make different sounds, like the shower squeegee example, and especially for the creatures in the game. Praetorians' idle sound has always reminded me of the sound of a car or other big combustion engine idling, so I'm curious to learn what you used for that in particular.
Over 1000 hours in DRG and I've never noticed the complex enemy sound ducking! I suppose that's a testament to how much work really went into it, and how well it serves the experience in the end. Really cool! (i'm totally stealing that idea)
The pleasure is all mine! Thanks for sharing your insights on the game and what it takes to create the stunning audio for it! More episodes incoming as soon as we find the time!@@trjaudio
So my friend suggested Deep Rock Galactic. I just now went through the tutorial. The music immediately stood out to me. I had to go to the soundtrack page; I saw your comment, and so I am pleasantly surprised to see you go into detail and explanation into the process and your work! Much appreciated
15:04 It's weird to hear that you had no references to 80's Space Dwarves since Codex: Imperialis was released in 1993 and early Warhammer 40k was already a bit retro-themed. Though ultimately DRG Dwarves are distinct from Squats. To me they feel like a cross between Tolkien's Dwarves, WHFB's Dwarfs, Alien franchise, DOOM, and some Battletech and James Bond-style Space Race stuff (Team Fortress 2, Evil Genius) thrown in.
Unrelated to this video specifically, i recently watched a video covering minecraft story mode and some sounds made by the wither storm during the first attempt to kill it, in chapter 3, uncannily resembled the growls made by arbalest and lacerator. Im not sure if my mind is playing tricks on me, if the audio got reused or they simply drew from the same sound source.
sad that you're leaving, but seeing how gay/woke things are in GSG and its community hubs now, you're well off with a badass legacy without having to be associated with any upcoming debaucles.
What subject(s) would you like us to talk about in the future?
Cheers :)
Are there technological obstacles to put your ideas into the games, restrictions you don't like? For example.... cannot make sounds too diverse for a specific enemy but also can't make them too repetitive. Or, hard to make combat music dynamic when you don't know if the player is going to have a hard or easy fight. etc.?
Ok, I apologize for the wall of text but i have a lot of questions haha.
1. What software do you think is the most important to know how to use (DAWS, Middleware, and anything else). I know you mention only using the unreal audio manager (wtf thats impressive) but would you suggest learning both wwise and fmod (and also why did you choose to go with unreal instead of a middleware).
2. I know you touched on this a little but is there any hardware you would reccomend getting.
3. How important is the knowledge of the actual implimentation of the audio cues into the codebase for an audio designer. Right now I work with two others and its reletivly easy to communicate where I would like sounds to be and how they would be triggered but I imagine with a larger team, it'd just be easier to learn how to code and to impliment it yourself. Is that standard in the industry for audio designers to know how to code and to impliment the sounds themselves?
4. This might be a bit too in the weeds but what does your sound library look like? Did you buy a base library and then build on it from there? What does the process look like?
5. How much time and effort goes into creating each sound? Obviously there are different levels based on what the sound is for but lets say its for an enemy. How many iterations do you go through? At what stage do you seek feedback? When do you know a sound is done?
6. What would a typical work day for you look like at Ghostship?
7. Rock and Stone!
What a great list of questions! Definitely something that Troels and I can talk about! Thanks!
@@patrickkawa6350 Great questions :)
I'm interested to hear what other unexpected real-world things you used to make different sounds, like the shower squeegee example, and especially for the creatures in the game. Praetorians' idle sound has always reminded me of the sound of a car or other big combustion engine idling, so I'm curious to learn what you used for that in particular.
so excited for more episodes in the future, my favorite video so far!
Thanks. Looking forward to talking to you:)
Rock and Stone!
Rock and stone
Over 1000 hours in DRG and I've never noticed the complex enemy sound ducking! I suppose that's a testament to how much work really went into it, and how well it serves the experience in the end. Really cool!
(i'm totally stealing that idea)
Heheh, thanks :)
So great to finally deep dive into the awesome audio of DRG! Rock and Stone!
Thanks for the interview Pasi! :)
The pleasure is all mine! Thanks for sharing your insights on the game and what it takes to create the stunning audio for it! More episodes incoming as soon as we find the time!@@trjaudio
The moments when I'm struggling and I get lost listening to the chorus of chaos are my favorite.
Ah sweet! Ive loved this series as a still learning Audio Production student. Your work is fantastic and I love seeing your your thought process!
Thanks :)
So my friend suggested Deep Rock Galactic. I just now went through the tutorial. The music immediately stood out to me. I had to go to the soundtrack page; I saw your comment, and so I am pleasantly surprised to see you go into detail and explanation into the process and your work! Much appreciated
Thank you VERY much:) It's great when people notice and enjoy all the hard work :)
Cheers!
I'm obsessed with the sound design of this game. It's so unique. It's delicious.
Thanks for noticing man! :)
this was so exciting to see on my feed, i love the idea! please continue it!
It's a good day when Troels uploads
15:04 It's weird to hear that you had no references to 80's Space Dwarves since Codex: Imperialis was released in 1993 and early Warhammer 40k was already a bit retro-themed. Though ultimately DRG Dwarves are distinct from Squats. To me they feel like a cross between Tolkien's Dwarves, WHFB's Dwarfs, Alien franchise, DOOM, and some Battletech and James Bond-style Space Race stuff (Team Fortress 2, Evil Genius) thrown in.
I hadnt realized the 80's esque theme til you mentioned it, thats a really neat artistic intention
Rock and Stone!!!
Great video
Unrelated to this video specifically, i recently watched a video covering minecraft story mode and some sounds made by the wither storm during the first attempt to kill it, in chapter 3, uncannily resembled the growls made by arbalest and lacerator.
Im not sure if my mind is playing tricks on me, if the audio got reused or they simply drew from the same sound source.
I actually never played Minecraft. Maybe we have drawn on the same inspiration/sounds by accident :)
How did it felt working for GSG ?
It's great working for GSG. I really enjoyed my time there :)
sad that you're leaving, but seeing how gay/woke things are in GSG and its community hubs now, you're well off with a badass legacy without having to be associated with any upcoming debaucles.
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Ei kuitenkaan rallienglantia! 😂
@@thepasifierYT Vood ju laik to tell as, hau did ju ket intu sount tesain