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Strange Loop Games
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| 2s | and there we go we are live hello |
|---|---|
| 4s | everyone and welcome to another not not |
| 9s | really entirely Friday stream turned out |
| 12s | to be Saturday to help us |
| 14s | be able to cope a little bit in terms of |
| 16s | time zone and |
| 18s | uh uh location |
| 21s | um that fitted our two new guests |
| 24s | a lot better so um |
| 27s | first off myself for anyone that hasn't |
| 29s | been watching any of the live streams my |
| 30s | name is Jens I'm working here as lead |
| 33s | game designer on eco |
| 35s | and as you can tell we have like I |
| 39s | mentioned we've got two new faces and |
| 41s | guests that you have not seen here |
| 42s | before |
| 44s | um and I wanna heartily |
| 46s | welcome Leonard here our audio director |
| 49s | on eco |
| 52s | hello |
| 54s | uh |
| 56s | yeah I I think do you have do you want |
| 58s | to go over kind of what you uh oh yeah |
| 60s | yeah I got lots to say lots to say so |
| 66s | um yeah I've been working with strange |
| 68s | loot bands for a long time |
| 70s | um I originally worked on their vessel |
| 72s | title which was oh gosh PlayStation 3 |
| 76s | launch I think uh that one was exciting |
| 78s | I was also uh audio lead on that one uh |
| 82s | that one I did there was similar |
| 84s | actually to Eco I didn't do music on |
| 86s | that one although I am a composer we |
| 88s | worked with John Hopkins another |
| 90s | composer I did the music design for that |
| 92s | and all the uh sound design for that |
| 95s | game and then I also worked on a game |
| 97s | called simcell with a strange Loop and |
| 99s | then most recently |
| 101s | Eco so yeah audio director just means |
| 104s | that I get to tell everybody else |
| 107s | working on audio what to do which is |
| 110s | nearly nobody because this this is a |
| 113s | small title so it's a I sort of consider |
| 115s | Eco to be a triple I indie game uh we |
| 118s | have a good number of developers working |
| 119s | on it and of course a great Community uh |
| 122s | supporting us too and so with Eco we |
| 127s | wanted to really dial in the music from |
| 129s | what we had because I took over from |
| 132s | there was a person doing audio before me |
| 134s | for I think a year or so and when I |
| 138s | inherited the project we really wanted |
| 140s | to up the level of music and so I also |
| 144s | teach game audio at the school of video |
| 146s | game audio for the past 10 years or so |
| 148s | and one of my awesome students was Phil |
| 151s | and so we just basically just got |
| 154s | started chatting and um yeah I brought |
| 157s | him in and he's been doing uh some great |
| 159s | work and uh |
| 161s | I guess you know that's uh sort of a |
| 164s | very quick introduction as far as myself |
| 167s | I've been doing game audio since the mid |
| 168s | 90s and yeah I teach game audio and I do |
| 172s | composition for you know uh games uh |
| 176s | most recently Counter-Strike which was |
| 178s | pretty fun to work on I want to do some |
| 180s | stuff for Eco and I am very happy to be |
| 185s | able to join stream yeah it's fun and |
| 187s | thanks for accommodating us uh because |
| 189s | Yeah It's tricky to get like three |
| 191s | people's schedules to align so yeah I |
| 195s | guess uh yeah back to you |
| 197s | yeah thank you that was an amazing uh |
| 200s | introduction and I hope everyone is |
| 202s | thrilled to uh to see you participate |
| 204s | here as well it's it's you know it's a |
| 206s | rarity to kind of get everyone |
| 208s | in and around the project to be involved |
| 211s | in the streams as well |
| 212s | um |
| 213s | but yeah so with that uh Phil do you |
| 218s | wanna |
| 218s | take it away |
| 220s | um yeah |
| 221s | sounds good can everyone hear me |
| 223s | yep yeah okay yeah so I'm I'm Phil |
| 227s | allanie I'm a composer and a guitarist I |
| 231s | live in Minneapolis Minnesota |
| 233s | and um I've been working on Eco on and |
| 237s | off I guess for about three years |
| 239s | um |
| 240s | I uh yeah I studied with Leonard at his |
| 243s | um School of video game audio and uh |
| 246s | and he reached out to me about um |
| 249s | writing some music for Eco and so I'm |
| 252s | super excited to be working on it and uh |
| 256s | yeah so I guess today we'll be talking |
| 258s | about a few new |
| 260s | um tracks that I wrote for the game and |
| 262s | uh |
| 264s | let's see what else can I tell you |
| 267s | um I guess that's pretty much it for my |
| 269s | end yeah yeah so we've got Leonard who's |
| 271s | telling everyone what to do with the |
| 273s | audio and then you gotta feel that is |
| 274s | creating the audio and kind of |
| 277s | composing it and making sure that it's |
| 279s | sounding all right getting a pass from |
| 281s | Leonard and then it's it hits and gets |
| 284s | implemented into the game and |
| 287s | um it's not necessarily just audio music |
| 289s | music per se in in terms of Leonard's |
| 292s | responsibilities but he's also the one |
| 294s | kind of directing and checking with all |
| 297s | of the other surrounding ambient effects |
| 299s | like footsteps and and just you know |
| 301s | anything that you hear basically |
| 305s | um so yeah no we've got a a very kind of |
| 309s | casual technical stream I guess you |
| 312s | could call it um we've got we've got a |
| 314s | couple of pre-recordings from |
| 317s | the uh two different audio tool sets |
| 320s | that we're working on with Eco |
| 322s | um |
| 323s | that um |
| 325s | I think we can uh we can kind of just |
| 328s | switch over and uh |
| 331s | kind of start start to start going over |
| 333s | these |
| 334s | um |
| 336s | just arrange stuff around here yeah |
| 341s | got the application and that and um |
| 346s | there we go that should be uh hoping |
| 349s | everyone can see it |
| 351s | um First Recording isn't super high |
| 354s | crisp so there there's a little bit of |
| 356s | fuzziness going on I apologize for that |
| 358s | but uh |
| 361s | you know |
| 362s | Max what can you do |
| 368s | it's all about the audio it's all about |
| 371s | the audio |
| 372s | uh yeah no I I guess I just play and uh |
| 377s | um sure yeah I can I can introduce this |
| 379s | a little bit um |
| 380s | so this track is |
| 383s | um |
| 383s | for pollution for you know when you |
| 386s | build up the city and you're starting to |
| 388s | get |
| 389s | uh |
| 390s | yeah so that well that was the prompt |
| 392s | pollution so I tried to |
| 396s | create um |
| 398s | you know textures and harmonies that |
| 400s | that give that Vibe and uh |
| 404s | yeah I guess you can just kick it off |
| 405s | and I'll I'll talk through it um |
| 408s | there's some recurring themes that you |
| 410s | hear throughout all the songs so |
| 415s | and are you guys hearing that audio |
| 418s | um |
| 422s | okay yeah I'm not hearing it either |
| 425s | uh let me let me do this quickly |
| 430s | um I think the stream is hearing it fine |
| 432s | but oh okay I think |
| 436s | there we go |
| 437s | awesome now it's just a fade in yeah |
| 440s | awesome |
| 444s | there we go yeah all right yeah so |
| 449s | here's the first part where you can hear |
| 450s | one of the that's kind of a recurring |
| 452s | theme throughout |
| 454s | um several of the songs in the game |
| 458s | but um twist it a bit to fit that |
| 462s | that harmonies we have here |
| 473s | and one of the things exciting about the |
| 475s | new tracks is I've made some upgrades to |
| 477s | my sound libraries in general so there's |
| 479s | much better marimba sounds and upright |
| 482s | bass sounds |
| 484s | and um |
| 488s | yeah you'll notice this one's a little |
| 489s | more dense and a little more complex |
| 491s | than the other songs so this was one |
| 493s | where Leonard gave me kind of he told me |
| 496s | to just go crazy |
| 498s | um |
| 499s | and uh |
| 502s | so you can hear some more of my um Jazz |
| 504s | influence in this this one |
| 508s | [Music] |
| 515s | no it's just it feels so Eco but |
| 519s | everything else kind of working out oh |
| 521s | great yeah |
| 523s | yeah I tried to make it feel good with |
| 525s | uh this this one's also strange in that |
| 528s | it's there's lots of different time |
| 529s | signatures happening it's kind of |
| 530s | switching back and forth between seven |
| 532s | eight and four four |
| 542s | and as we're kind of going through a lot |
| 544s | of these audio things uh chat in any |
| 547s | source |
| 549s | um |
| 550s | just let us know if there's any you know |
| 553s | if the uh if the music volume is a bit |
| 555s | too loud versus or shattered so |
| 558s | we don't go overboard on one or the |
| 560s | other |
| 561s | yeah and then here we'll kind of break |
| 564s | it down into |
| 565s | sections |
| 567s | um we so we export the music in layers |
| 570s | so that it can be implemented um in the |
| 573s | game |
| 574s | in different ways so |
| 576s | um is it still yeah |
| 578s | um I paused it temporarily oh yeah yeah |
| 580s | you can let it go so first we're going |
| 582s | to kind of show off this |
| 583s | percussion layer |
| 585s | um |
| 587s | so let me eat everything else so you can |
| 593s | there we go yeah |
| 595s | nice and so this is all stuff that I |
| 598s | hammered out on the keyboard here like I |
| 599s | didn't use any Loops or anything it's |
| 601s | all kind of just |
| 603s | jamming and going with the flow |
| 606s | um |
| 606s | and this is the the bed layer this is |
| 608s | kind of the core of the song |
| 612s | and then |
| 613s | we've got this harmony layer where you |
| 615s | get all these spooky sounds we got some |
| 617s | bass clarinets there and along with that |
| 620s | Eerie synth |
| 622s | so this is what really gives that |
| 623s | pollution feel to me yeah |
| 627s | that's awesome |
| 629s | and then here in the melody layer |
| 632s | that the Melody has |
| 634s | um some interesting textures |
| 636s | I kind of started with this with this |
| 639s | Spacey piano here |
| 644s | and then |
| 647s | let's see |
| 649s | yeah I've also got this this um |
| 652s | I'm not I'm not sure exactly how you say |
| 654s | that |
| 655s | it's a really cool instrument though um |
| 658s | and then layering that with some banjo |
| 661s | and some english horns so it's very like |
| 664s | all over the world like there's like an |
| 666s | instrument from like every continent |
| 668s | there |
| 670s | that's a very nice |
| 672s | a little vibraphone in there |
| 677s | that's a seven eight vibe to it |
| 680s | yeah and then when it all comes together |
| 683s | you know and then then it's up to |
| 684s | Leonard to kind of mix those |
| 687s | in the game and you know |
| 690s | sometimes it's neat to only have like |
| 692s | the harmony layer going or only having |
| 694s | the percussion going |
| 696s | it's just the percussion and the harmony |
| 699s | [Music] |
| 709s | yeah and so that's pretty much it |
| 711s | um |
| 713s | and that that's how most of the songs |
| 714s | are working you know they're kind of |
| 716s | broken into those those four layers yet |
| 718s | the percussion in the kind of the core |
| 721s | of it and then Harmony and Melody so |
| 723s | yeah yeah I'm just gonna switch over |
| 726s | here for a second here so I I think like |
| 728s | in general when it comes to like |
| 730s | composing things digitally |
| 733s | um |
| 734s | they are like I think a lot of a lot of |
| 737s | older |
| 739s | um gamer Community is probably familiar |
| 741s | with the layout in some way shape or |
| 744s | form I know we had the whole like a |
| 746s | massive surge of a lot of these tools |
| 749s | coming out in like the um early 2000s |
| 752s | um where everyone was kind of poking and |
| 754s | then and plonking away at it and it was |
| 757s | a lot of fun but |
| 759s | um |
| 760s | it's generally working the same way as |
| 763s | it's always done |
| 765s | but it's just |
| 766s | technically more advanced and allows |
| 769s | more options and kind of do more stuff |
| 771s | with it but it's fundamentally it's the |
| 774s | same |
| 776s | um |
| 776s | yeah yeah I'd say so and and these these |
| 779s | virtual instruments have come a really |
| 780s | long way like that the marimba sounds |
| 782s | that are available now you know are just |
| 785s | incredible and |
| 786s | you know I would I would love to do this |
| 788s | all like you know in the recording |
| 789s | studio with live instruments but for |
| 792s | you know for some projects it's not |
| 794s | possible to do that so yeah it's really |
| 797s | cool to have |
| 798s | um such great great sounding virtual |
| 800s | instruments |
| 801s | yeah |
| 803s | it's it's it's coming together quite |
| 805s | nicely and it's I I really really love |
| 807s | the fact that all of these are kind of |
| 811s | they're they're giving tones of |
| 812s | similarity between the soundtracks but |
| 814s | they're all very cohesive even though |
| 816s | they might be very different in terms of |
| 818s | their composition which is really really |
| 820s | nicely done no that's nice because we've |
| 823s | spent a lot of time on that you know if |
| 826s | you if you were to see the email threat |
| 828s | between Phil and I it's like yeah it's |
| 831s | nice it's getting to the point exactly |
| 834s | with Gmail where it's actually like when |
| 837s | we start an email it's scrolled almost |
| 839s | all the way over to the side so |
| 842s | um yeah as far as the you know the way |
| 845s | that the music's put together I mean you |
| 846s | know |
| 847s | bill is a you know he's a guitarist you |
| 850s | know primarily but then also like all |
| 852s | the stuff being played in you know as |
| 854s | you can see using his uh his keyboard |
| 856s | there it gives a really you know it's |
| 859s | not programmed in like as far as like |
| 861s | placing the notes and stuff which is a |
| 862s | lot of what I do and when I'm working |
| 864s | I'm anyways so it's it's nice to hear a |
| 869s | lot of that just organic sort of texture |
| 870s | that Phil's able to add and just the |
| 872s | amount of technical dexterity on like a |
| 875s | lot of the songs have him playing guitar |
| 877s | in it as well which I just love so if |
| 879s | there's any excuse to try and Crown more |
| 882s | you know stringed instruments in there I |
| 884s | try to do that so yeah yeah and some |
| 888s | oh yeah some of the new tracks have have |
| 890s | like live guitar on there as well this |
| 892s | one in particular was done all on the on |
| 895s | the keyboard but um |
| 896s | yeah so there's a there's a |
| 898s | good mix of live instruments and virtual |
| 901s | instruments some of the new songs so uh |
| 904s | I like it it's really really nice and I |
| 907s | know a lot of |
| 908s | it's |
| 909s | I don't think I've seen a negative |
| 911s | comment on |
| 913s | outside of like why isn't there more I I |
| 917s | think it's the only the only negative |
| 919s | one nice nice yeah so we've gone over |
| 922s | we've gone over some of the stuff that |
| 924s | you know how you're working and kind of |
| 926s | what it's looking like from you in terms |
| 928s | of digitally composing it so what we're |
| 930s | seeing right now is where kind of |
| 933s | Leonard takes over and |
| 936s | gets this kind of organized so I don't |
| 938s | know do you want to uh |
| 942s | uh so this is this is B Vice which is no |
| 946s | not wheat Wise It's just Wise It's just |
| 948s | Wise It's just called I'm going I'm |
| 951s | going with revised because there's |
| 952s | there's two W's on it but you know I |
| 954s | didn't want to name it be wise then they |
| 956s | should have removed one |
| 958s | now it's a joke within the community |
| 960s | it's because it's like uh it's an |
| 963s | acronym and they named it years ago and |
| 966s | yeah it is a it's highly problematic |
| 970s | that they call it wise it's kind of like |
| 972s | you know Worcestershire sauce being |
| 974s | called Worcester sauce or you just skip |
| 976s | over a bunch of letters this is like |
| 979s | okay so yeah just saying that you know |
| 982s | this is sort of where uh as far as in my |
| 984s | process I do the technical audio stuff |
| 987s | so this is also known as music design |
| 989s | these days so I take the composition |
| 991s | from Phil to you know basically he's |
| 994s | done and he has stemmed it out into |
| 996s | those you know different layers what |
| 998s | we've decided on is four different |
| 1000s | layers one being the bed then you can |
| 1003s | see Harmony there is in yellow but once |
| 1006s | we get to the stream and then there's a |
| 1008s | Melody layer and percussion layer and |
| 1010s | then that allows me to to basically use |
| 1012s | the game to dynamically mix those uh |
| 1015s | sort of layers as the gameplay changes |
| 1018s | so if there's more pollution we can add |
| 1020s | more percussion say and so yeah anyways |
| 1023s | we can just uh I guess basically roll |
| 1025s | into the clip here and see how that |
| 1027s | works for me basically basically doing |
| 1029s | the technical side of things so it's |
| 1031s | still somewhat creative but it's I'm not |
| 1034s | composing here I'm taking his stuff and |
| 1036s | basically arranging it so that it |
| 1038s | dynamically fits the actions yeah so |
| 1041s | just to just to clarify on advice being |
| 1043s | the integration part of it's basically a |
| 1046s | module plugin that works for any of the |
| 1049s | major game engines uh be it Unity or |
| 1052s | unreal or whichever it's kind of a |
| 1054s | bridge between audio that's been created |
| 1056s | through audio that's played in the game |
| 1059s | exactly |
| 1061s | yeah take it away |
| 1063s | cool |
| 1065s | all right well uh yeah so uh this is |
| 1069s | showing how Phil's track pollution |
| 1071s | actually gets placed into wise and so in |
| 1075s | that little window I scroll past all the |
| 1077s | sound uh effects and I get to the music |
| 1080s | which is the important part that we'll |
| 1082s | be looking at for this first chunk and |
| 1084s | right now the tracks depending on the |
| 1086s | vibe they play in different parts of the |
| 1088s | day so this is sort of currently the |
| 1090s | full mix for pollution is set for |
| 1091s | Sunrise nothing like the smell of |
| 1094s | pollution in the morning so |
| 1098s | there's the event for the music that's |
| 1102s | the thing that actually gets called by |
| 1103s | the game and then it plays it like this |
| 1106s | and so the music starts out and then |
| 1109s | I've basically used an rtpc which is |
| 1112s | basically like a parameter that allows |
| 1114s | me to modulate the mixed levels between |
| 1118s | all four of those depending on just one |
| 1120s | parameter so instead of having four |
| 1122s | sliders I can use one and sort of use |
| 1124s | that this test music parameter to slide |
| 1128s | between different mixes |
| 1130s | so you know right now I'm sort of at 50 |
| 1132s | going down to like you know sort of a |
| 1135s | thinner mix |
| 1136s | and then I'll show you how the rtpcs are |
| 1140s | sort of mapped so you hear the |
| 1141s | percussion came in more there as I |
| 1143s | ramped it up to back to 100. right |
| 1147s | so if we look at the parameter the |
| 1149s | real-time parameter control and this is |
| 1152s | changing the voice volume |
| 1154s | and this one happens to be for the |
| 1155s | percussion because that's what I've |
| 1156s | selected |
| 1158s | and see it just ramps up so the higher |
| 1161s | the test music is that value is the more |
| 1164s | percussion we get and it's like that |
| 1166s | simple it's just just the way that it's |
| 1168s | being demonstrated for now obviously I |
| 1171s | can get a lot more complex but you know |
| 1174s | a lot of the times here's what you want |
| 1176s | yeah |
| 1177s | so more action more intensity you know |
| 1180s | more percussion |
| 1182s | right and if I scroll down a little bit |
| 1185s | more here |
| 1186s | I've sort of got a spot where I took out |
| 1188s | part of the um actually the harmony see |
| 1191s | where it's there's a dip there |
| 1193s | so the harmony is gone right now |
| 1198s | and then I can ramp it back in |
| 1202s | right |
| 1205s | so that we can hear that layer again |
| 1208s | yeah |
| 1210s | yeah it's interesting for you to hear |
| 1211s | this how you feel |
| 1215s | remember from taking your your class |
| 1216s | like how complicated this thing is |
| 1220s | yeah he was wise yeah but that's the |
| 1224s | idea is to try to you know basically |
| 1227s | uh translate something that's sort of |
| 1230s | emotive like you know a parameter uh you |
| 1233s | know like the the feeling of intensity |
| 1235s | of that parameter to an actual change in |
| 1238s | the music and then here I can solo |
| 1240s | things out the same thing that you know |
| 1242s | Phil was doing before I can bring in the |
| 1244s | melody that's the melody line that's |
| 1245s | that remember that piano sound now I've |
| 1248s | got that you know sort of like I guess |
| 1250s | it's sort of like a I don't know what |
| 1251s | you would call that that was the creepy |
| 1253s | layer I think yeah it was in the Harmony |
| 1256s | and then when I bring them all back in |
| 1258s | that's right at the end of the song so |
| 1260s | you know that's just fading out there |
| 1262s | so yeah that's how things basically get |
| 1265s | translated from what Phil does you know |
| 1268s | the very creative side and he gives me |
| 1270s | those four layers and then I can play |
| 1272s | with those in the game and have those |
| 1274s | react dynamically |
| 1276s | so |
| 1286s | [Laughter] |
| 1293s | so now we're looking at some sound |
| 1295s | effects this one I'm kind of I like |
| 1297s | because it's it's using |
| 1298s | um synthesis within y's you can actually |
| 1300s | generate stuff you know randomly so I'm |
| 1303s | using a synthesizer to basically just |
| 1305s | play back random tones |
| 1308s | you know it's called a sample and hold |
| 1310s | function |
| 1312s | that's what my computer sounds like |
| 1314s | exactly yeah so when you're using the |
| 1317s | lasers at the end to like fire down the |
| 1319s | asteroid or a meteor sorry I think it's |
| 1321s | a meteor it's meteor right then yeah |
| 1323s | exactly I always got those two confused |
| 1325s | then it you know that's the sound that |
| 1327s | the computers make that the the guidance |
| 1329s | system for the lasers and so here's the |
| 1331s | layer same thing you can see that rtpc |
| 1333s | that little line right and where next to |
| 1337s | the base frequency there's an rtpc so |
| 1340s | that means that I can basically change |
| 1343s | those values as well so you know we have |
| 1346s | the original sound that you heard |
| 1348s | but I can also make it so that that if I |
| 1352s | wanted to change the sort of you know as |
| 1355s | the guidance systems are actually like |
| 1357s | you know zooming in and and you know |
| 1360s | like about to like roast the uh the |
| 1363s | meteor then I could actually like ramp |
| 1365s | it up I haven't done that in the game |
| 1367s | yet I was very happy just to get it |
| 1369s | working but you can hear that's sort of |
| 1371s | the you know that's the original version |
| 1373s | of it right I can make it louder |
| 1376s | if I want you know not super interesting |
| 1379s | but I think more interesting is being |
| 1381s | able to change the frequency at which |
| 1382s | the tones change so I think that's what |
| 1385s | I'm going to try to do next here |
| 1387s | I have to bring in a different rtpc so |
| 1390s | yeah that was the output level |
| 1392s | there's the sound and now |
| 1396s | there it is base frequency so now I can |
| 1398s | change the right |
| 1401s | so there you go |
| 1403s | and I can make it faster |
| 1406s | or slower right so it just shows you |
| 1409s | that you can do uh really flexible sound |
| 1412s | designs using synthesis within y's |
| 1415s | um there's not necessarily as many |
| 1417s | opportunities for that with an Eco |
| 1419s | because it's more of a naturalistic game |
| 1421s | let's say for more sci-fi and that's the |
| 1423s | whole sound of like you know there's the |
| 1425s | the tape machines whirring around and |
| 1428s | then also with the boot and here we are |
| 1430s | I wanted to show you uh this is the |
| 1432s | stamping machine and with this I |
| 1436s | combined a whole bunch of sounds that |
| 1437s | are synchronized to the animation of the |
| 1440s | machine |
| 1441s | so every time one of those uh frames is |
| 1445s | hit it'll actually play a different |
| 1447s | sound cued up and y's |
| 1449s | so this I really like the the vibe of |
| 1451s | this |
| 1471s | oh yeah |
| 1473s | um so when you're looking at a machine |
| 1475s | like this it really kind of kicks out |
| 1477s | and really and amplifies |
| 1482s | um |
| 1483s | yeah |
| 1485s | it is just ads and strengthens that |
| 1489s | Ambience and and you know you feel that |
| 1490s | you're in the world you see these things |
| 1492s | happening and you see an audio |
| 1493s | reflection on it |
| 1495s | exactly because it's not a loop and |
| 1497s | here's the animation points and so those |
| 1500s | little points the set atom num events |
| 1502s | are actually sending events out to wise |
| 1504s | at each of those frames and so each of |
| 1507s | those frames will actually trigger |
| 1508s | randomly a set of like five different or |
| 1511s | so you know variations so that every |
| 1514s | time it does that sound similar to a |
| 1516s | machine it would be slightly different |
| 1517s | so this is the reason why you can sit |
| 1520s | next to some of the machines I'm still |
| 1522s | working on it you can see this is like a |
| 1524s | lot of work because we have a lot of |
| 1526s | machines I don't know a lot of machines |
| 1528s | and so like this one I was particularly |
| 1530s | happy with but this is the level of |
| 1532s | detail I gotta go to so if I look in |
| 1534s | there's the electric stamping press and |
| 1537s | then here's the you know you see these |
| 1539s | different animation events here and yeah |
| 1542s | exactly yeah so each one of those is |
| 1545s | separate and they have separate |
| 1546s | variations and they also randomize pitch |
| 1548s | and volume and so I actually recorded a |
| 1551s | garbage truck for that sound I was like |
| 1553s | running next to the garbage truck and |
| 1555s | because it's got this robot arm that |
| 1557s | picks up the garbage yeah and that was a |
| 1559s | sound that I got from printing press |
| 1563s | yeah so there's that's and that's |
| 1565s | another garbage truck sound that right |
| 1568s | so I've recorded a lot of sounds for |
| 1571s | this game I've tried to do almost all |
| 1574s | the sounds from uh original recordings |
| 1577s | and so yeah it's um and it's also super |
| 1580s | powerful because |
| 1582s | since the events are kicking out |
| 1584s | regardless of the speed meaning that you |
| 1586s | know we can change the animation speed |
| 1588s | or or you know the interact ability of |
| 1590s | the animation and it the audio doesn't |
| 1592s | need to be adjusted because it |
| 1594s | automatically adjusts to that frequently |
| 1596s | uh yeah it's kind of going through |
| 1598s | exactly and that was the background Loop |
| 1601s | there it's just you know so that's what |
| 1602s | all the sounds play on top of so it |
| 1604s | creates this whole sort of soundscape |
| 1606s | yeah |
| 1608s | yeah exactly and you can you can tune |
| 1610s | the animations and the audio will |
| 1612s | automatically be in sync and then like |
| 1614s | I'm just scrolling down I just wanted to |
| 1616s | show at the end like there is like a |
| 1618s | crap ton of sounds in this game I didn't |
| 1621s | actually uh maybe I'll look that up on |
| 1624s | my computer but I'm gonna say probably |
| 1626s | like in the order of thousands of sounds |
| 1629s | that are for Eco you know there's a dirt |
| 1631s | walk sound you know and like I'm still |
| 1635s | like up at the top of like all the and |
| 1638s | these are not even individual sounds |
| 1639s | some of these have like you know more |
| 1641s | than one thing in them too so I'm just |
| 1643s | still in the footsteps |
| 1645s | and uh actually in that's one thing |
| 1648s | that's going to be new that I guess will |
| 1650s | come out with version 10 is um the idea |
| 1653s | of wetlands and so looking forward to |
| 1655s | making squishy |
| 1657s | like you know sort of footsteps as well |
| 1659s | so that that'll get that'll get added to |
| 1663s | the existing footsteps so yeah yeah oh |
| 1666s | and here's this one I want to talk about |
| 1668s | so this one the agouti what I did is I |
| 1670s | actually performed the sound of the |
| 1671s | agouti by pitching down a recording of a |
| 1674s | nagouti into a rage that I could perform |
| 1677s | and and then I practiced that and then I |
| 1680s | recorded it like using that lower octave |
| 1683s | and then I pitched it back up again |
| 1686s | not this is the wolf howl |
| 1689s | [Laughter] |
| 1690s | those are that those ones are Library |
| 1692s | sounds that's not me doing a waffle |
| 1695s | he didn't he didn't go up to a real |
| 1697s | jaguar no no squeeze a Jaguar yeah come |
| 1702s | on buddy I need you for our Eco give it |
| 1705s | up so here's the a Gucci sound yeah when |
| 1707s | when we get to it so this this I want to |
| 1709s | do to all the animal like you know the |
| 1711s | animals that it's appropriate for us |
| 1712s | actually make like little |
| 1714s | um uh movement sounds and stuff like |
| 1716s | that so they actually this is this uh |
| 1719s | their idle sound so that's let me see |
| 1723s | here and uh |
| 1726s | [Music] |
| 1730s | there we go |
| 1734s | see and it's got a little bit of Reverb |
| 1736s | on there just because it's got a forest |
| 1737s | Reverb on it so that's me actually doing |
| 1740s | the Gucci sound yeah nice |
| 1744s | yeah yeah it was fun that I uh sort of |
| 1747s | learned that uh trick from people that |
| 1749s | were doing bird songs by whistling |
| 1752s | so |
| 1754s | yeah so you can see there's so many like |
| 1756s | you know uh this is when you sit down |
| 1760s | there's like 10 different squeaks when |
| 1762s | you sit down into like a you know a |
| 1764s | random vehicle and then finally we got |
| 1766s | past the sound effects and we get back |
| 1768s | into the music and so here's some of the |
| 1772s | other examples of the musics that are |
| 1775s | there and I think I think we're getting |
| 1778s | pretty close to the end of that present |
| 1780s | too oh I know I was trying to find um so |
| 1782s | here's another track called desert I |
| 1784s | don't think I play this one |
| 1786s | I think I go back to the pollution one |
| 1788s | there so yeah but there's a lot of we're |
| 1791s | getting a lot of music in and yes thanks |
| 1794s | Phil for being available because it's |
| 1798s | one thing to you know uh be working on |
| 1801s | the title there it is so we'll just |
| 1803s | conclude with this is the way that you |
| 1805s | know sort of the sound effects and music |
| 1809s | get put together for uh for Eco and uh |
| 1812s | yeah we're really looking forward to the |
| 1814s | next release having all basically we've |
| 1817s | got was it three or four new tracks |
| 1820s | three new tracks let's say three that |
| 1822s | are good I think it's four yeah I think |
| 1824s | we were able to sneak so it's probably |
| 1827s | three but let's say four just because I |
| 1830s | think it's four you know |
| 1831s | yeah hopefully maybe perhaps |
| 1834s | um yeah so yeah anyways we can tail out |
| 1836s | there and uh yeah yeah it's it's gonna |
| 1840s | be fun |
| 1841s | yeah yeah I think it's looking great |
| 1844s | um it's cheers it's like the whole |
| 1848s | generally the whole system and just |
| 1850s | making that architecture work and |
| 1853s | getting that Improvement to be able to |
| 1855s | extract all these sound events and and |
| 1857s | kind of callbacks to the sound events |
| 1859s | and then you know you can you can keep |
| 1861s | adding more stuff to the workbenches and |
| 1864s | it'll it'll feel more alive when you're |
| 1866s | walking into it and |
| 1869s | um it just feels more alive I don't know |
| 1872s | not really yeah more to to kind of |
| 1874s | elaborate on it it's |
| 1876s | it's really |
| 1878s | if you're looking at |
| 1880s | um I don't know if a lot of people have |
| 1881s | seen |
| 1883s | um just kind of as a reference |
| 1885s | um if you've seen pre-production series |
| 1887s | episodes and movies and whatnot before |
| 1890s | they kind of plug in they're on the |
| 1891s | overlay and audio on top of it |
| 1894s | um |
| 1895s | it's like a whole different scene |
| 1898s | um |
| 1899s | because it feels really Bland and really |
| 1901s | stale and then you add that background |
| 1904s | noise and stutter and effects and things |
| 1906s | happening in the background and it's |
| 1907s | suddenly a whole different scene |
| 1909s | and yeah |
| 1910s | we can see this with Eco really on that |
| 1914s | like we have even if you're running |
| 1916s | around and you have this amazing |
| 1918s | um Ambience like background music going |
| 1920s | on |
| 1921s | as you're walking around you come into a |
| 1923s | big workshop and |
| 1926s | you don't really hear anything like you |
| 1928s | can hear maybe maybe something chomping |
| 1930s | in the background but like |
| 1931s | you have you know six seven really big |
| 1933s | machinery and you see these are working |
| 1935s | and they're they're pressing plates and |
| 1937s | they're screwing things and they're you |
| 1938s | know messing around |
| 1941s | um |
| 1941s | and you just don't have an audio |
| 1944s | feedback from what you're visually |
| 1946s | seeing |
| 1947s | makes it feel very Bland very you know |
| 1951s | stale and boring if you will |
| 1954s | and then you see this with the the |
| 1956s | stamping press for instance where it |
| 1959s | just it just brought it to life like you |
| 1961s | you feel like you're in a workshop you |
| 1964s | feel you know that this is happening and |
| 1966s | you're you're You Know You're Building |
| 1967s | these things and assembling these things |
| 1969s | and and you have that noise |
| 1972s | um |
| 1973s | coming in and kind of influencing you |
| 1975s | with that that additional sense |
| 1978s | yeah it is uh because with say with |
| 1982s | computer Graphics it's hard to convey |
| 1984s | weight |
| 1986s | um and audio is really good for that |
| 1989s | um one of the one of the things that I |
| 1991s | was you know a while ago when I was |
| 1993s | working on eco that's uh you know I I'm |
| 1996s | doing the sound effects and stuff like |
| 1997s | that so I like the sound effects and I |
| 1999s | also don't want to overuse the music but |
| 2001s | on the team we had so many people that |
| 2004s | loved the music so much that they wanted |
| 2006s | to hear it more and more so I basically |
| 2008s | took you know the frequency at which the |
| 2011s | like they how often the music plays you |
| 2013s | know with without breaks and I doubled |
| 2016s | it up because with the team they're just |
| 2019s | like we got to hear more music we got to |
| 2021s | hear more music and I'm like okay you |
| 2022s | don't turn up the music and hopefully |
| 2024s | because it's a real balance of like not |
| 2026s | getting annoyed by you know uh both the |
| 2030s | sound design and the music audio is it's |
| 2032s | a really tricky balance to do that and |
| 2035s | one of the things when that was |
| 2036s | happening is that one of the the |
| 2037s | designers was just like oh yeah there's |
| 2040s | this great song and yeah here it is and |
| 2042s | he played it and I was just like oh no |
| 2043s | no that's a bug like it was only only |
| 2045s | playing one of the very strange layers |
| 2049s | out of the music and he was just like no |
| 2051s | no no you can't fix that bug and I was |
| 2053s | like okay fine so what I did is I made a |
| 2055s | special track like a special mix that |
| 2057s | doesn't play very often but it still |
| 2059s | plays in the game so that I could say |
| 2061s | like no no no it's it's still in there |
| 2063s | so yeah while working on it it's very |
| 2066s | it's very cool to get feedback from the |
| 2068s | team in here you know sort of the |
| 2070s | reactions to the music and how that |
| 2072s | really influences the game obviously |
| 2074s | along with the sound design but it it is |
| 2076s | awesome to be part of the team and yeah |
| 2078s | I also hear a lot of feedback from the |
| 2080s | community as well reflected through the |
| 2082s | team I also like you know look at the |
| 2084s | Discord from time to time and that is |
| 2087s | one thing that's very interesting when |
| 2089s | working on eco is that it's sort of like |
| 2090s | an open door kind of vibe is that you |
| 2093s | know you're working on a game flying the |
| 2095s | plane in the air and working on it at |
| 2097s | the same time so it is interesting to be |
| 2102s | trying to put out stuff like especially |
| 2104s | when it's like you know |
| 2106s | so much sound design |
| 2107s | you know and and trying to polish it |
| 2110s | enough for each release so that it's |
| 2112s | just like yeah no it's it's there and it |
| 2114s | sounds good enough and we'll continue to |
| 2116s | polish things when we have time so it's |
| 2119s | a it's a very interesting process that |
| 2121s | one |
| 2122s | yeah I think uh it's been going really |
| 2126s | really great and uh |
| 2129s | yeah we'll keep keep going through it |
| 2132s | and keep improving and and add more |
| 2135s | stuff as we uh |
| 2137s | move the project along |
| 2139s | um |
| 2141s | I know we haven't there's there's a |
| 2143s | couple of things that we haven't really |
| 2146s | shown off |
| 2147s | um as Leonard was mentioning with like |
| 2150s | squishy noises and |
| 2153s | things like that I don't know if I wanna |
| 2155s | want to go over some of the new visuals |
| 2157s | as well maybe maybe we can see this in |
| 2160s | here yeah they're so good like when I |
| 2163s | saw that on the meeting I was just like |
| 2165s | oh man that that is really impressive |
| 2167s | and I guess as well there's no uh |
| 2171s | questions just yet from no I suppose oh |
| 2174s | I think there are a couple that was |
| 2176s | wondering about |
| 2177s | um play test stuff |
| 2180s | um okay other than that it's just it's |
| 2184s | just nice nice comments on on audio |
| 2186s | things and oh |
| 2188s | um Everybody commenting that this is the |
| 2190s | first time I've seen this kind of modern |
| 2191s | sound design and integration |
| 2194s | um I've only seen the old school sfx |
| 2196s | collecting in some back room somewhere |
| 2197s | but this this type of interfacing is |
| 2199s | allowing so much more freedom and |
| 2201s | options |
| 2202s | yeah yeah and it's um |
| 2206s | it there's always more to do but I also |
| 2209s | because I teach game audio is that I |
| 2211s | also try to you know just always make |
| 2213s | sure that you know when Phil and I are |
| 2215s | working on stuff to make sure that it |
| 2217s | really underlines the emotional it |
| 2220s | supports the underscoring of the game to |
| 2223s | make sure that you know we're not just |
| 2225s | you know doing Tweaky stuff although in |
| 2227s | the in the pollution track musically |
| 2230s | there's a bunch of Tweaky stuff going |
| 2231s | there which I love |
| 2234s | so we do squeeze it in when we can but |
| 2237s | I'm just saying on the technical side |
| 2238s | you know that there has to be a reason I |
| 2240s | think you know to to add stuff not just |
| 2243s | for like technical stuff I mean yes I |
| 2246s | did Squeeze In the computer-y type sound |
| 2248s | thing but uh |
| 2250s | yeah the idea at any given moment is to |
| 2254s | support the uh the needs of the game and |
| 2257s | and to really support the players so |
| 2258s | that they don't get annoyed and I will |
| 2260s | say yeah it's very hard when you have |
| 2263s | like your sanctions like a room full of |
| 2265s | machinery |
| 2266s | for it not to sound annoying like it's |
| 2269s | just it is it has taken me a lot of time |
| 2272s | to tune uh the sounds so that they yeah |
| 2275s | they're sort of pleasing like you know |
| 2277s | and that's a core part of the game is |
| 2279s | that you know what the progression that |
| 2281s | you uh gain more capacity of creating |
| 2284s | different uh you know crafting uh you |
| 2288s | know machines and stuff like that you're |
| 2289s | able to make new things that the audio |
| 2291s | also supports that too oh man here we go |
| 2294s | all right so yeah um looks beautiful |
| 2297s | yeah it's awesome transitional there's |
| 2299s | even a little deer there |
| 2301s | um so we'll sneak sneak peek a little |
| 2304s | bit on so this is live on or what what |
| 2308s | will be the next play test for white |
| 2311s | tiger |
| 2312s | um Toby will probably |
| 2315s | chew me out a little bit we're showing |
| 2317s | this a little bit earlier than uh he |
| 2319s | kind of wanted some of it to be a bit of |
| 2321s | a shock surprise but |
| 2323s | I think we I think it's relative to what |
| 2326s | we're talking about in terms of audio |
| 2329s | um that will kind of go over a little |
| 2330s | bit of it just kind of like sneak sneak |
| 2333s | by it |
| 2334s | um so as you can see here we've done |
| 2338s | um some continued polish and and just |
| 2341s | like tweaks to textures and how they're |
| 2344s | interfacing and kind of the visuals and |
| 2346s | the blooms and and kind of all the |
| 2349s | all of the general effects to it and |
| 2351s | with that |
| 2353s | there's been like all of this is still |
| 2356s | work in progress um Toby is still |
| 2358s | tweaking it together with Geo um just |
| 2360s | kind of poking and fixing around all the |
| 2364s | different |
| 2365s | shade their magic around and some of the |
| 2367s | new structural things and I also have a |
| 2369s | helper here in my lab right now she's |
| 2372s | yeah |
| 2374s | um |
| 2375s | wants to participate here as well |
| 2378s | um |
| 2378s | let me switch over to Daylight maybe uh |
| 2384s | so so this is some of the changes that |
| 2387s | are being done to the wetlands and as |
| 2390s | Leonard was saying you know this is you |
| 2393s | are getting a much more |
| 2395s | kind of wet gritty mushy feeling to it |
| 2400s | um |
| 2402s | there's still a couple of tweaks and |
| 2404s | polishes to kind of really get it right |
| 2405s | but it is adding a layer of kind of |
| 2409s | wetness to it |
| 2411s | um |
| 2413s | and you know we're looking from an audio |
| 2415s | perspective of |
| 2417s | a bit of tweaks to those old kind of |
| 2419s | Step audios and making sure that each |
| 2420s | biome has their own kind of unique feel |
| 2423s | to them when you're walking around them |
| 2425s | yeah because I want to do a huge pass on |
| 2429s | all the animals too because |
| 2432s | um I've sort of tried to tune it so that |
| 2434s | when the animals are around you that you |
| 2435s | have an idea of the direction and |
| 2437s | whatnot but the the combinatorics of |
| 2440s | like the different sizes of animals how |
| 2443s | they move and then what material they're |
| 2445s | on is just it's gonna take me a while so |
| 2448s | just you know please give me a bit of |
| 2451s | time to do that and same thing for the |
| 2454s | player as well that we you know those |
| 2456s | footsteps that we have are the you know |
| 2458s | from years ago and the main thing is |
| 2460s | that I just wanted to do one pass in |
| 2463s | that same thing will still take a while |
| 2467s | yeah right now it's not sure if you can |
| 2470s | you can hear it completely but it's |
| 2472s | you can have like a crisp gravel kind of |
| 2474s | sound in the wetlands at the moment |
| 2476s | which |
| 2477s | hopefully be a bit more mushy and |
| 2482s | just gives you that heightened sense of |
| 2486s | where you are in the world rather than |
| 2489s | just |
| 2494s | can you also trigger the rain too |
| 2497s | because that's something that uh that |
| 2500s | was a you know basically like the |
| 2502s | weather stuff is another thing that Phil |
| 2505s | was working on as far as the music I |
| 2508s | think there's a uh |
| 2510s | command for changing the weather isn't |
| 2513s | there yeah |
| 2515s | I I don't know if this is actually |
| 2518s | working in the current version of it |
| 2521s | okay we set this to clear let me do |
| 2524s | uh sorry to throw that at you |
| 2529s | no so we we have been experimenting a |
| 2532s | bit um it does come in here in in one of |
| 2535s | the chats that you know some type of |
| 2537s | weather system would be nice |
| 2539s | um and it is something that we have been |
| 2541s | looking at in terms of |
| 2544s | actually visual yeah it is working it's |
| 2547s | not as fast as I wanted it to be yeah |
| 2551s | um so this is something that we're kind |
| 2553s | of tweaking and looking at in terms of |
| 2555s | just heightening that Ambience level |
| 2559s | um |
| 2560s | and also looking at sort of how we want |
| 2563s | to interact and how we want to implement |
| 2564s | it in terms of |
| 2565s | uh you know how is this going to be |
| 2567s | working when you transition between |
| 2569s | biomes that's inside the same type of |
| 2573s | Elementary kind of distance like you can |
| 2575s | walk into something that's |
| 2577s | an actual desert |
| 2579s | but it's like the moisture level ranges |
| 2582s | and like the The Greenery around you |
| 2584s | might not be entirely a desert |
| 2587s | so we don't necessarily want something |
| 2589s | that just flips back and forth between |
| 2592s | biomes just because you're passing over |
| 2594s | a tile |
| 2596s | and like pulling on on references of |
| 2600s | similar like the |
| 2602s | escapades in terms of games doing |
| 2604s | ambient weathers and and so on |
| 2608s | um |
| 2608s | I usually look at like things like |
| 2610s | Icarus for instance that is doing a |
| 2612s | stellar job as well as iron gates with |
| 2615s | well Hyman and so on that you know |
| 2617s | they're doing these really really |
| 2619s | amazing transitions from you know calm |
| 2622s | clear weather over into really |
| 2625s | murky storms and an eerie kind of |
| 2627s | ambient feelings to them |
| 2629s | yeah |
| 2631s | wherein Icarus I can feel that it's a |
| 2634s | little bit overbearing when you walk |
| 2635s | from a grassland area to a winter |
| 2637s | landscape and it just flips a switch |
| 2639s | basically |
| 2641s | yeah |
| 2642s | so from from a game design perspective |
| 2644s | it is kind of |
| 2646s | tricky in terms of you know where do we |
| 2649s | pull the lines and where do we want to |
| 2651s | do that |
| 2652s | or do we want to just add like a |
| 2654s | transition timer over like you walked |
| 2656s | into the new biome but the old weather |
| 2657s | is kind of hinging after you but then it |
| 2659s | would it would look kind of weird if |
| 2661s | you're walking from you know a snowy |
| 2663s | Peak and you have this gusting wind |
| 2665s | around you and then you know |
| 2668s | uh the blizzard going on and then you |
| 2670s | jump down a cliff into a desert and then |
| 2671s | you have that snowstorm kind of |
| 2673s | following you into the desert |
| 2675s | yeah right so there's a lot of there's a |
| 2678s | lot of key elements that we kind of need |
| 2679s | to get |
| 2681s | done correctly before we actually |
| 2683s | introduce this into a live Branch |
| 2687s | um |
| 2688s | but it is visually progressing quite |
| 2690s | nicely |
| 2691s | yeah no thanks for showing that that's |
| 2694s | great because that's something you know |
| 2696s | as far as the music side that is really |
| 2698s | good the vibe is a is great to you know |
| 2702s | like what is kind of like a wet sort of |
| 2705s | damp kind of vibe that we can change |
| 2707s | with the music and so there's things |
| 2709s | that we can change you know like |
| 2711s | either filtering stuff or bringing in |
| 2713s | different layers but yeah that's |
| 2715s | something that we've been looking at a |
| 2717s | little bit with some of the tracks |
| 2718s | anyways but this you know because they |
| 2721s | say on the side of the pollution side of |
| 2724s | things you know we didn't change things |
| 2726s | super quick but it just shows here at |
| 2728s | least with the rain that it it just |
| 2729s | changes the vibe of things when you see |
| 2732s | uh the visuals change like that we want |
| 2734s | to Echo that with the music side as well |
| 2736s | I guess something that we should talk |
| 2738s | about is soundtrack right so yeah I'll |
| 2743s | uh I'll just sort of dive into it and |
| 2745s | say that we are looking at doing a |
| 2748s | soundtrack release soon hopefully it'll |
| 2750s | be around version 10 ish and that'll |
| 2754s | have all the tracks you know that we |
| 2755s | currently have in the game and then |
| 2758s | they'll also be like sort of alternate |
| 2760s | mixes as well because some people |
| 2763s | like I was saying before they got very |
| 2765s | used to hearing like different mixes you |
| 2768s | know from the stems that we're playing |
| 2769s | in the game but like I thought they'll |
| 2772s | like I'll I will bounce them past you of |
| 2774s | course just from a creative standpoint |
| 2776s | because if you're like ah yeah you're |
| 2779s | not gonna make it a house remix |
| 2784s | no exactly so yeah we just want to make |
| 2788s | it make sure and that was part of the |
| 2789s | thing with the music design side of it |
| 2791s | is that you know that's the reason why |
| 2792s | there's a bed is that you know we always |
| 2795s | the idea is that the bed is always |
| 2797s | playing and then those other three |
| 2798s | layers always play over top so as far as |
| 2801s | the soundtrack you know we would strip |
| 2803s | it at most say back to the the bed layer |
| 2806s | probably but it would be uh yeah we'll |
| 2809s | see how many uh tracks are in there and |
| 2812s | I think there would be the idea would be |
| 2815s | to sell on Steam |
| 2817s | and then also do a similar |
| 2822s | way to download it on bandcamp as well |
| 2825s | and then depending on how we work with |
| 2827s | the team it would also possibly be |
| 2830s | available as part of a bundle with the |
| 2832s | game so you get the game and the |
| 2834s | soundtrack and probably at a you know |
| 2836s | well yes at a reduced cost but we need |
| 2838s | to synchronize with the team on that |
| 2840s | because the way that Phil is working |
| 2841s | with us as a composer is that you know |
| 2843s | he's retaining rights to his work which |
| 2846s | is good but it also means that you know |
| 2848s | then we just need to figure out with the |
| 2851s | team the best way of marketing the two |
| 2853s | things together so that the soundtrack |
| 2855s | release and the game really you know |
| 2858s | work well together as far as purchases |
| 2860s | that uh you know |
| 2862s | the folks out there can do for uh all |
| 2866s | things Eco including plushies and |
| 2868s | whatever else is in the master |
| 2871s | for strange Loop so yeah I just wanted |
| 2874s | to throw that out there I don't know |
| 2876s | when we'll have it available just yet |
| 2877s | but yeah it's it it is in the mix as |
| 2881s | they say |
| 2882s | yeah no it like there's a lot of things |
| 2885s | that are coming and a lot of things that |
| 2886s | are evolving and you know we're |
| 2890s | try to get as much information out as |
| 2893s | possible when we have more definitive |
| 2896s | set dates for things and um |
| 2900s | yeah working out the logistics on our |
| 2903s | end as well and then kind of |
| 2905s | everyone being in agreement and so on so |
| 2908s | uh |
| 2910s | yeah no I mean we're we're almost almost |
| 2913s | coming up on an hour here it's been |
| 2916s | quicker than than you might think I said |
| 2921s | um time just flies |
| 2923s | it is going crazy |
| 2927s | um |
| 2928s | talking about ambulance and immersion is |
| 2931s | there any ideas in regards to sound |
| 2933s | being muffled when in adjacency and |
| 2936s | closed off rooms oh |
| 2939s | I I know radiuses and kind of |
| 2944s | structural limitations and kind of |
| 2947s | Dynamic audio in that sense is really |
| 2950s | tricky and it gets really messy really |
| 2951s | quickly |
| 2954s | yeah so that is uh definitely possible |
| 2960s | um but yeah we would need to |
| 2964s | basically do a uh you know uh Ray |
| 2967s | casting so figuring out from the player |
| 2970s | sort of it puts out these imaginary like |
| 2972s | lines and that we could find out when |
| 2975s | you're in an enclosure and we have been |
| 2977s | working on the Reverb kind of system for |
| 2980s | a while but |
| 2982s | um quite honestly we've had a a little |
| 2985s | bit of motion on the audio programmer |
| 2987s | side of things so we're looking for a |
| 2989s | little bit of you know it's it has gone |
| 2993s | down in our list of priorities but yes |
| 2994s | it would make a lot of sense to have |
| 2997s | things like you know the scene that |
| 2998s | we're looking at having we're nowhere if |
| 3000s | you shout out you could hear the |
| 3002s | reflection like you know off the you |
| 3005s | know the opposing bank and stuff like |
| 3006s | that that would be really nice but that |
| 3009s | that is more of a that's a more |
| 3011s | long-term goal it's a good question |
| 3013s | though |
| 3015s | yeah |
| 3017s | uh |
| 3021s | don't think we have |
| 3023s | any other any other General |
| 3026s | uh |
| 3030s | General technical questions |
| 3033s | okay I was gonna ask if that new um |
| 3036s | music for the rain has been integrated |
| 3039s | yet |
| 3040s | um I don't I'm not I don't think it's |
| 3041s | been plugged in yet uh okay or actually |
| 3045s | hang on hang on I think it it has not it |
| 3048s | has okay and part of the reason for that |
| 3052s | is that uh Toby was working on stuff and |
| 3055s | he was just like oh hey do this thing |
| 3056s | and then and then he's been working on |
| 3058s | other things so I'm kind of like okay |
| 3060s | well I'll just leave it here so because |
| 3062s | I need a programmer hookup to basically |
| 3064s | 7bn rtpc on the amount of rain that's |
| 3068s | falling and then uh okay okay yeah from |
| 3071s | that then I know that the rain is |
| 3072s | falling otherwise currently I know time |
| 3074s | of day I know like sort of you know the |
| 3076s | amount of progression uh that when |
| 3078s | machines are producing things like |
| 3080s | crafting things then I know that but |
| 3082s | yeah as far as the uh the rain uh that's |
| 3087s | on the list of things to do one of the |
| 3089s | things that I also want to really get |
| 3091s | done is when you you're close to the |
| 3094s | ocean the the sound you know from the |
| 3097s | ocean happens and that was in a previous |
| 3099s | build but it got broken because of the |
| 3101s | way that the data structures of the way |
| 3104s | the game is put together got changed so |
| 3107s | yeah a lot of it is where |
| 3109s | um we have been working on the technical |
| 3113s | side to try to get that kind of help |
| 3115s | from coding and |
| 3117s | there's a lot of other priorities so |
| 3120s | yeah we've got a we've got a few things |
| 3122s | sort of you know like in the pocket with |
| 3125s | with audio and music so yeah we will get |
| 3128s | there yeah and audio has a tendency to |
| 3131s | kind of get the short stick |
| 3136s | in some of these situations where you |
| 3138s | know like things where the play tests |
| 3141s | are exploding and needing critical fixes |
| 3143s | then then suddenly You Know audio issues |
| 3145s | for stuff that we're working on for the |
| 3147s | future kind of gets de-prioritized |
| 3149s | uh which makes a very sad Leonard and |
| 3151s | then we don't get new audio I know |
| 3154s | um but uh |
| 3156s | but no it's as we're progressing and as |
| 3159s | we're adding these things we'll also |
| 3160s | keep publishing audio and that should be |
| 3164s | um |
| 3166s | should be sounding good and keep |
| 3169s | sounding good |
| 3170s | I remember when people were like stop |
| 3173s | fishing we can hear you yeah we had a |
| 3176s | bit of a global global fishing issue |
| 3179s | that wasn't me that wasn't me that was |
| 3181s | coding that that was that that was |
| 3183s | entirely on some of the other guys desk |
| 3186s | Leonard was actually free or fault on |
| 3188s | that one yeah I know the worst one I |
| 3190s | think was the one where because that was |
| 3193s | a general sort of server bug where |
| 3195s | sounds were just playing in people's |
| 3197s | heads so for me the worst one was with |
| 3200s | chewing so someone else is like cheering |
| 3204s | and you could hear everybody like in |
| 3207s | your head it was nuts |
| 3211s | the global eating problem |
| 3214s | um no I think as you mentioned in in |
| 3218s | terms of like balancing audio |
| 3219s | um especially for like machinery and and |
| 3221s | like natural natural sounds in terms of |
| 3226s | Nature's sound if that makes sense |
| 3229s | um |
| 3230s | feels like they're easier to scale and |
| 3232s | and so on and we've seen some issues |
| 3235s | with mechanical sounds that would really |
| 3238s | struggle with in terms of repetitiveness |
| 3240s | um back early nine nine two nine three |
| 3244s | somewhere where we had like The |
| 3245s | Machinist like the basic machines table |
| 3247s | was just like winning |
| 3249s | and whizzing on like crazy |
| 3252s | um that we're kind of tuned and tweaked |
| 3254s | to um to better fit in terms of the |
| 3256s | ambience round with all the other |
| 3258s | machinery |
| 3259s | um and stuff like that we really |
| 3262s | appreciate if you also post like bugger |
| 3265s | reports not necessarily bug reports but |
| 3268s | if you have you know specific audio |
| 3270s | issues or |
| 3273s | that may not necessarily be any you know |
| 3275s | an outright this is broken in the game |
| 3278s | but more of a this is really really |
| 3281s | frustrating for me or this is really |
| 3283s | really annoying for me to hear it you |
| 3286s | know repeatedly or |
| 3288s | um |
| 3289s | this particular environment or this |
| 3291s | particular kind of |
| 3293s | overload sensory wise are also |
| 3297s | appreciated to uh |
| 3299s | in particular for Leonard to kind of |
| 3301s | look at and see that you know if we have |
| 3303s | these issues then he can look at them |
| 3305s | and kind of get that information |
| 3308s | um |
| 3309s | because most of the times these things |
| 3311s | only really get reported if they're game |
| 3313s | breaking in some way shape or form |
| 3318s | yeah and |
| 3320s | exactly that would be really helpful |
| 3322s | because the thing is that I'm only one |
| 3324s | human and you know y'all are like many |
| 3328s | humans you know eco's a popular game and |
| 3331s | I don't have the time to play on the |
| 3334s | server all the time I try to when |
| 3336s | there's play testing but it is really |
| 3339s | important uh to to basically give those |
| 3342s | kind of feedback and just know that it's |
| 3345s | it's helpful you don't have to say like |
| 3348s | oh there's this sound and now I have to |
| 3351s | turn off the Audio I mean the the main |
| 3353s | thing is just if you can be a bit more |
| 3356s | like you know quality assurance and view |
| 3358s | it from that side just be if you can |
| 3361s | objective about like it's playing twice |
| 3364s | as loud as everything else |
| 3366s | and that those kind of feedbacks are a |
| 3368s | little bit more helpful than you know |
| 3370s | because there are sometimes when yeah |
| 3372s | it's anytime there's one thing like you |
| 3375s | know that goes wrong with the audio it |
| 3377s | can destroy the experience and that's |
| 3380s | fine but also if we know more of what |
| 3384s | the details are then it's just faster |
| 3385s | for me to know what's going on like if |
| 3387s | it's on server only or you know all |
| 3389s | those kind of things so yeah having that |
| 3391s | kind of feedback would be it's it's uh |
| 3394s | it's essential and and it is really |
| 3396s | helped actually with the developments of |
| 3398s | the game in certain ways |
| 3400s | um so yeah basically it's like it's a |
| 3403s | Community Driven game and it's awesome |
| 3406s | to to be part of this community and it's |
| 3408s | yeah once again it's nice to have you |
| 3410s | know Phil being able to join us on the |
| 3412s | music side of things because he's been |
| 3413s | you know sort of a quiet partner in a |
| 3417s | certain way but uh it's it's really |
| 3420s | essential for us on the audio side to be |
| 3423s | able to hear from everybody as well so |
| 3426s | yeah yeah oh I think |
| 3430s | uh |
| 3432s | don't think we have a whole lot about |
| 3434s | everything there's some technical stuff |
| 3436s | that |
| 3438s | um |
| 3438s | probably a lot of these questions have |
| 3441s | have kind of been rehashed and there's a |
| 3442s | lot of answers on Discord if |
| 3445s | people are interested in kind of digging |
| 3447s | into |
| 3448s | what's going on technically as well as |
| 3451s | the status of the play test |
| 3453s | um and and kind of FAQs and and what |
| 3456s | that is going on we have a play test |
| 3458s | that's coming up on that's currently |
| 3460s | scheduled for Wednesday date |
| 3465s | is pending because it's not a guaranteed |
| 3468s | set |
| 3469s | start as there is a couple of issues |
| 3472s | that we are working on fixing that is |
| 3473s | necessary for the play test to start |
| 3477s | um it's been updated from staging so |
| 3479s | there's a lot of new changes and and |
| 3480s | further polish to the interaction system |
| 3482s | and |
| 3484s | the tools that may have been working in |
| 3486s | the previous play test may be working |
| 3487s | slightly different |
| 3489s | um there may there may be new issues as |
| 3491s | we've been going over a lot of and |
| 3494s | ripping out a lot of the old code to |
| 3495s | work with the new interaction system for |
| 3497s | the new tools set the tool code that |
| 3499s | that mic is working really |
| 3501s | really hard at getting all of those kind |
| 3504s | of integrated and working |
| 3507s | um |
| 3508s | so yeah I would recommend just follow up |
| 3511s | on information on the Discord for |
| 3514s | anything playtest related |
| 3517s | um |
| 3520s | as more information can I get available |
| 3522s | fed just as it comes available and it's |
| 3526s | just easier for everyone to keep track |
| 3528s | on all of these things that are evolving |
| 3530s | and changing around it |
| 3532s | um |
| 3534s | but that's probably my my technical out |
| 3537s | throw of things that are not linked to |
| 3540s | the uh the audio stream so |
| 3543s | a |
| 3547s | very um very big thank you to Phil for |
| 3550s | participating and being here with us |
| 3553s | yeah thanks so much for having me |
| 3555s | uh so much fun to see how it's getting |
| 3558s | integrated and |
| 3560s | seeing the results see more of the |
| 3562s | process yeah yeah very cool |
| 3564s | and of course a big thank you to Leonard |
| 3567s | for |
| 3568s | putting up with us over over a long |
| 3570s | period of time and also staying with us |
| 3573s | for |
| 3575s | indefinitely |
| 3576s | um |
| 3579s | but no but thank you thank you sincerely |
| 3581s | both of you for being here and um |
| 3583s | uh wanting to come on stream and talk |
| 3586s | about what you do in revolving Eco and |
| 3590s | the surrounding systems |
| 3592s | oh thank you it's been awesome I've |
| 3595s | really I really adore this game it's uh |
| 3597s | it's just a great combination of like |
| 3599s | yeah Good Vibes good team good energy |
| 3602s | and good information you know like it's |
| 3605s | uh I think it's really important game to |
| 3607s | work on and it's really |
| 3609s | yeah I feel honored to be part of it so |
| 3611s | thank you |
| 3613s | yeah same here |
| 3615s | it's been so great to work on it soon |
| 3617s | yeah so with that thank you both I think |
| 3620s | we'll uh |
| 3622s | say good evening good night or good |
| 3624s | morning depending on where you are in |
| 3626s | the world |
| 3627s | um |
| 3628s | I will catch you all in the next stream |
| 3632s | and we'll bid Leonard and Phil goodbye |
| 3635s | for now who knows maybe we can coax them |
| 3637s | into uh showing up another time as well |
| 3640s | um who knows anyway |
| 3643s | I will catch you on the next stream and |
| 3646s | uh awesome take care everyone |
| 3648s | okay bye bye bye |