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EVE Online
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| 12s | [Music] |
|---|---|
| 19s | [Music] |
| 29s | [Music] |
| 66s | [Music] |
| 85s | no |
| 93s | oh |
| 95s | okay |
| 98s | can you hear me now |
| 101s | fantastic |
| 103s | so thank you all for being here |
| 105s | my name is uh ccp old boy |
| 109s | and with me here is |
| 111s | my audio department ccp christian |
| 115s | and ccp zoetrope |
| 117s | and somewhere around here |
| 119s | our producer |
| 121s | right there |
| 123s | ccp k1 p1 |
| 127s | so it's a small audio department |
| 132s | we |
| 136s | are happy to be a small department |
| 138s | because it gives us |
| 140s | we get to do many different things and |
| 143s | we learn new a lot of new things so it's |
| 145s | a good thing we also |
| 148s | outsource some things that we don't have |
| 150s | time to do |
| 152s | also to get |
| 153s | new perspectives |
| 155s | but mostly |
| 156s | all of our work is done in-house fires |
| 162s | so i'm gonna talk a little bit about the |
| 164s | philosophy |
| 166s | and |
| 167s | the practice of |
| 169s | the sound in eve |
| 172s | and talk about us a little bit how we do |
| 174s | it |
| 175s | so |
| 176s | [Music] |
| 177s | the first thing we have to do is we |
| 180s | sort of have to |
| 182s | you know |
| 183s | not be too scientific because |
| 186s | simply it's impossible because we're in |
| 188s | space |
| 189s | and we have sound in space |
| 191s | so we have to forget about that |
| 194s | of course we had had ideas of |
| 196s | uh being more you know more real totally |
| 199s | real |
| 200s | and having |
| 201s | kind of um |
| 203s | no sound in space but rather inside the |
| 206s | ships |
| 207s | but since the game happens |
| 209s | kind of outside the ship in third person |
| 212s | that's not possible so |
| 214s | maybe one day |
| 218s | so we have to completely forget about |
| 220s | science here and just try to enjoy |
| 223s | creating sound in space |
| 225s | which is which is fine with us |
| 229s | so i have this clip here and imagine if |
| 232s | this |
| 233s | did not |
| 236s | can you see it |
| 237s | no no |
| 239s | can you turn the light off |
| 242s | so imagine if this |
| 245s | was silent |
| 247s | you still can't see it can you no no |
| 250s | anyway |
| 252s | it's a it's a road drone harvest |
| 254s | structure from from last year |
| 257s | it's very nice |
| 258s | incredibly good looking stuff from the |
| 261s | graphics department |
| 263s | but having this totally silent would be |
| 267s | well |
| 269s | boring or or not as exciting at least |
| 273s | so that's just one example i can't we |
| 276s | don't have uh enough time to play |
| 278s | a lot of examples here you can just go |
| 280s | and test |
| 282s | so |
| 285s | we're fine with that |
| 289s | what we have in front of us is |
| 292s | an environment that is |
| 294s | unknown and in most cases very hostile |
| 298s | and |
| 302s | the the fact that we can add sound to |
| 304s | things in space allows us to amplify the |
| 306s | overfeel of the universe if we wouldn't |
| 309s | have a sound it wouldn't be |
| 312s | as exciting at least for most people |
| 316s | and the ultimate goal is to make the |
| 318s | sounds and music support and amplify the |
| 321s | online unknown and hostile environment |
| 325s | that is the that is our main goal |
| 332s | we when creating this |
| 334s | it's uh it's important to think about |
| 337s | that we as humans know certain |
| 340s | kinds of sounds in the world we live in |
| 342s | at the moment |
| 345s | and we have to |
| 347s | bring in some sounds into our sound |
| 350s | designs |
| 351s | that we recognize as |
| 354s | uh you know we recognize in our head |
| 356s | that something |
| 357s | that we can relate to for example |
| 360s | we take a turret blast |
| 362s | we |
| 363s | you know we |
| 364s | we create those without without |
| 366s | equipment and with our computers with |
| 368s | some |
| 369s | you know sci-fi elements |
| 372s | but we then also have to take |
| 374s | you know |
| 376s | a gunpowder and stuff and put into it |
| 379s | in order to make it |
| 381s | make you believe that it is actually a |
| 383s | third blast |
| 385s | so we |
| 386s | that's a big part of what we have to do |
| 389s | it's always a challenge to do this |
| 392s | but it's a lot of fun |
| 394s | uh the goal of the the end pro that |
| 396s | should make sure you the player |
| 399s | actually believes |
| 402s | that you are in the future |
| 404s | and actually believes that you are |
| 405s | shooting a turret |
| 407s | that is the goal |
| 411s | and |
| 412s | yeah |
| 413s | you don't you would not need to uh |
| 415s | imagine where you are you just you you |
| 418s | should feel it every time you uh shoot |
| 421s | the turret |
| 424s | designing these uh sounds is uh is a |
| 426s | challenge |
| 429s | in in in one sentence it's a good |
| 431s | sentence i think |
| 432s | it's a challenge |
| 435s | um |
| 437s | so so this is the image you see here |
| 441s | it's like we often think about the eve |
| 444s | universe at least the sound department |
| 446s | as a huge uh painting |
| 449s | as a the the the biggest uh piece of art |
| 454s | there is in the world |
| 456s | that at least how we see it often |
| 458s | and you know |
| 460s | it really is isn't it it's like a huge |
| 463s | jackson pollock painting |
| 466s | right |
| 467s | and |
| 470s | it's very difficult to design for it |
| 472s | because |
| 473s | we have two |
| 475s | people are so |
| 476s | subjective and we have to cater to |
| 479s | everyone's taste |
| 481s | and it's it's hard |
| 483s | but we have to you know have trust |
| 485s | ourselves to make the you know best |
| 488s | thing we can do |
| 490s | at each time |
| 492s | we have to create it |
| 494s | interesting |
| 495s | but not so interesting as to take away |
| 498s | from the whole |
| 499s | it has to be a part of the graphics |
| 502s | and |
| 503s | you know the sound and the graphics have |
| 505s | to |
| 506s | be in marriage together |
| 508s | and make this impact |
| 509s | together |
| 510s | because if we take too much from the |
| 513s | graphics which is actually extremely |
| 515s | hard because it's so awesome |
| 517s | but it's uh |
| 519s | yeah it has to be one thing that |
| 521s | the people are experiencing |
| 525s | so |
| 526s | designing sounds in such a way that they |
| 528s | can exist on their own |
| 530s | as well as mixed with thousands of |
| 532s | others that's also a huge technical |
| 535s | problem that we will go a little bit |
| 537s | more into |
| 538s | later |
| 544s | yeah and and another thing |
| 546s | so designing the sound is one thing |
| 548s | and |
| 549s | you know in in your computer and with |
| 552s | your with your stuff |
| 553s | but then implementing it is another |
| 555s | thing that's like it's like 50 of the |
| 558s | thing 50 percent of the sound happens in |
| 561s | in real time inside the game |
| 564s | so it's impossible to design something |
| 566s | and just yeah this is done you have to |
| 568s | put it in the game |
| 570s | you have to test it thoroughly with all |
| 572s | kinds of situations all kinds of other |
| 575s | sounds going on and |
| 578s | then you know then you should be good to |
| 580s | go |
| 582s | we sometimes put sounds into the game |
| 583s | and we can't |
| 585s | test every scenario with all of the |
| 587s | sounds and |
| 590s | what's going on maybe maybe in a fleet |
| 591s | fight or whatever |
| 593s | but uh sometimes we have to you know fix |
| 596s | the sound afterwards |
| 597s | not very often but it happens |
| 602s | so during covert times |
| 605s | we uh |
| 607s | you know obviously had to stay at home a |
| 608s | lot |
| 610s | and |
| 612s | well we were isolated like probably most |
| 614s | of you |
| 615s | and lonely you know |
| 617s | kind of |
| 619s | so |
| 620s | uh you know staying at home alone with a |
| 623s | computer and maybe a |
| 625s | synthesizer or a controller or something |
| 628s | was not enough for us |
| 630s | so what we decided to do |
| 633s | this is my home now |
| 635s | we decided to |
| 639s | get some analog synthesizers |
| 642s | and play with electricity directly |
| 645s | and this is christians |
| 649s | and uh |
| 650s | it it has changed the sound design a bit |
| 653s | for us |
| 654s | uh it's more |
| 655s | it's more fun for us |
| 657s | uh i'm not sure if you've heard the |
| 659s | change uh maybe |
| 661s | you know wait you know one or two years |
| 664s | then you will then you will hear more of |
| 666s | it |
| 666s | but it has changed a little bit of the |
| 668s | sound |
| 669s | it's a little bit warmer now |
| 672s | and we hope it's going to be a good |
| 674s | thing |
| 675s | to for you to experience |
| 678s | and we'll build the ccp studio |
| 680s | in a similar way |
| 684s | so talk about talking about the music |
| 687s | the uh the current empire space music |
| 689s | has uh |
| 691s | uh |
| 692s | you know done a lot for to uh |
| 695s | you know |
| 696s | for everyone you know it's uh |
| 701s | you know it has been great i mean it it |
| 704s | by now it's it's almost iconic |
| 706s | you know the in space music but it it |
| 709s | has it is still it is linear it has a |
| 712s | beginning or middle and an end what we |
| 714s | want to |
| 715s | do we want to |
| 717s | make the experience more |
| 720s | vertical |
| 722s | you know |
| 723s | you don't know what i'm talking about |
| 726s | but it's easily christian explain later |
| 729s | so we want to um |
| 731s | you know we want to make the uh |
| 733s | experience more in line with the sound |
| 736s | effects and the graphics |
| 738s | right now the the this is just music |
| 741s | inside the game and what it is doing |
| 743s | it's playing its own thing |
| 744s | and then there's the graphics |
| 747s | you know you you could really just turn |
| 749s | off the music like this and play it from |
| 751s | spotify to do a similar thing or same |
| 754s | thing or from a |
| 756s | playlist inside the audio menu or |
| 758s | whatever |
| 759s | so what we want to do is |
| 761s | change it to be more |
| 765s | interactive for lack of a better world |
| 768s | we have started this we actually started |
| 770s | this in 2009 or 2010 maybe |
| 773s | uh with uh |
| 776s | zero zack and uh wormhole sac uh we put |
| 779s | some |
| 780s | like vertical |
| 781s | you know music there |
| 783s | it didn't have a beginning and an end or |
| 785s | a middle |
| 788s | it has |
| 790s | worked fine and we're going to take that |
| 792s | to the next level |
| 799s | um |
| 801s | so |
| 801s | we are always exploring new tech to |
| 804s | allow us to |
| 806s | take the the sound and music further |
| 809s | and |
| 811s | we are now |
| 814s | in exploring a technology that will |
| 816s | allow us to |
| 818s | create the the sounds |
| 821s | kind of |
| 822s | while the game is happening |
| 825s | not create them before on these guys |
| 828s | and then sample them and put them in the |
| 829s | game |
| 831s | but kind of |
| 832s | create what notes to play |
| 835s | and then it's like |
| 837s | you know it's like kind of midi those of |
| 840s | you who know that but still it's more |
| 842s | than that the sounds will be created |
| 845s | by for example |
| 847s | how you are flying what shape you're |
| 849s | flying and so on |
| 851s | and the sound will be after |
| 854s | uh |
| 855s | you know |
| 857s | depending on |
| 858s | what you're doing and so on but this is |
| 860s | very much work in progress |
| 863s | and |
| 864s | a lot of work is still uh to be you know |
| 867s | uh is still to be done to uh to finish |
| 869s | this |
| 871s | but |
| 871s | we hope for the best if we have time |
| 874s | but like i promised you |
| 877s | i promised we would get back to the |
| 879s | vertical aspect of music |
| 882s | and here is christian ross |
| 887s | ccp christian |
| 893s | hello hello hello |
| 895s | thank you |
| 896s | can you uh you can hear me right |
| 899s | good to see you |
| 900s | and and happy to see that everyone |
| 902s | survived the pop crawl yesterday you |
| 904s | know |
| 907s | so |
| 909s | my name is christian |
| 911s | i am an audio designer and a composer |
| 913s | for eve online |
| 915s | um |
| 916s | and uh |
| 918s | it's become sort of a passion of mine to |
| 920s | to try and find a |
| 922s | voice you could say for |
| 925s | for the sort of the depth and the |
| 927s | mystery of outer space and do it through |
| 930s | music |
| 931s | and um |
| 932s | and as you mentioned before i came to |
| 934s | ccp i was i was working |
| 936s | at allport university and i was doing a |
| 938s | phd there about adaptive vertically |
| 942s | dominated music |
| 944s | in outer space games |
| 946s | and i'll explain what that means |
| 949s | and so i'm really excited to |
| 951s | [Music] |
| 953s | have this opportunity to sort of drag |
| 955s | you with me into her into a rabbit hole |
| 958s | of some |
| 960s | of some of the philosophy that's behind |
| 961s | the music the new music that uh that is |
| 964s | coming into even that is already in eve |
| 967s | um |
| 972s | so |
| 972s | this is music um |
| 975s | vertically dominated music is music |
| 977s | which is continuous it is it has a |
| 980s | limitlessness to it it's timeless |
| 984s | infinite |
| 986s | it's in a way incomprehensible |
| 988s | you can't control it it's unknown it's |
| 991s | weightless homeless and it's |
| 993s | unpredictable at least |
| 996s | and so this is a very scary sort of |
| 998s | scary sounding example but it can also |
| 999s | be quite beautiful and wonderful really |
| 1002s | and it lends these properties to |
| 1004s | whatever it's a coupled to |
| 1007s | so |
| 1009s | if you couple it to being in outer space |
| 1012s | uh on a small screen or whatever you |
| 1014s | have at home when you're playing |
| 1016s | you know you can begin to |
| 1018s | give even something you're experiencing |
| 1020s | on a small screen something infinite to |
| 1023s | it like like this with this kind of |
| 1024s | music |
| 1026s | um so when i'm talking about vertical |
| 1028s | and horizontal i'm talking about |
| 1031s | space time okay it's like space time but |
| 1034s | it it's not the kind of space that |
| 1036s | you're that you know it's not like 3d |
| 1038s | space it's pitch space |
| 1040s | so it's the space that pitches |
| 1043s | occupy |
| 1045s | you can even call it spectral space |
| 1047s | because then you're going not just the |
| 1048s | pitch of the note but the note and how |
| 1050s | it sounds and everything in between the |
| 1052s | 12 notes that we usually operate with |
| 1055s | in the in the western world |
| 1057s | and just as a demonstration |
| 1060s | i'd like to to play an example that |
| 1062s | demonstrates what happens as you move |
| 1064s | from the the horizontal |
| 1067s | dimension of events that happen over |
| 1070s | time |
| 1071s | and if you make you know if you play a |
| 1073s | pulse that goes over time and you speed |
| 1075s | it up and speed it up and speed it up |
| 1076s | something magical happens at one point |
| 1079s | many of you may know this of course |
| 1081s | is that you it becomes one thing instead |
| 1083s | of being individual events it becomes |
| 1085s | one vertical experience |
| 1088s | the way that we experience it or |
| 1089s | perceive it |
| 1103s | [Music] |
| 1126s | okay so the so the horizontal is |
| 1129s | structures happening over time so then |
| 1131s | we're talking about rhythm and pulses |
| 1134s | and beats |
| 1135s | melody also melody happens a lot over |
| 1137s | time it's dependent on being able to |
| 1139s | develop itself over the time dimension |
| 1142s | chord progressions you can say the same |
| 1146s | any progression of chords needs |
| 1147s | obviously time as it as a significant |
| 1150s | component to how how it lives |
| 1153s | and |
| 1154s | and and so on |
| 1156s | on the other hand the vertical dimension |
| 1158s | that is the sounding now |
| 1161s | it's whatever sort of it's whatever is |
| 1163s | sounding in a sort of |
| 1165s | simultaneity it's like simultaneously |
| 1167s | sounding now and that has to do with |
| 1169s | pitches |
| 1170s | that's to do with harmonies of |
| 1172s | simultaneously sounding pitches tamper |
| 1175s | so |
| 1177s | the reason why a uh violin sounds |
| 1179s | differently from an oboe for it would be |
| 1182s | the tambra |
| 1184s | and texture as well and texture |
| 1186s | if you could you could explain it as |
| 1188s | sort of a micro variation within the |
| 1191s | sounding of the instrument so let's like |
| 1194s | you know a quick vibrato on a violin or |
| 1196s | something like that creates a certain |
| 1197s | texture and that list goes on that's a |
| 1200s | rabbit hole all on its own you can |
| 1203s | it sort of goes on infinitely if we try |
| 1205s | to describe the sound |
| 1208s | of the sounding now okay so the point is |
| 1210s | coming |
| 1211s | and the point is |
| 1213s | the point is |
| 1214s | that if we have music that is dominated |
| 1217s | by the horizontal |
| 1220s | dimension in music then it's dominated |
| 1222s | by rhythm pulses beats and melodies and |
| 1225s | chord progressions and how they sort of |
| 1229s | speak to themselves and refer back to |
| 1231s | themselves so if it's like |
| 1237s | then there's definitely some you know |
| 1238s | it's talking to itself in a way and |
| 1241s | imitating itself and repeating |
| 1243s | uh things that all happens on a over |
| 1246s | time right |
| 1247s | and that's most music that we normally |
| 1249s | listen to it works like that like most |
| 1251s | music in the radio any you know most |
| 1253s | jazz and pop and you know reggae and |
| 1255s | techno or whatever |
| 1257s | is there |
| 1258s | but |
| 1259s | if you then imagine |
| 1261s | music which is dominated more by the |
| 1263s | vertical dimension then you get a very |
| 1265s | different kind of you know sonic |
| 1267s | experience |
| 1269s | then you have the sounding now as the |
| 1271s | most significant |
| 1274s | aspect of the music um |
| 1278s | and these things like horizontally |
| 1280s | dominate music university dominant you |
| 1281s | know dominated music they can sort of |
| 1283s | they're spanning over |
| 1286s | over sort of a scale you could say we're |
| 1288s | going to look at that later but i just |
| 1290s | wanna i'm gonna play an example now it's |
| 1293s | um it's from 2001 a space odyssey |
| 1296s | stanley kubrick he's been using this |
| 1299s | music a lot this sort of style of music |
| 1302s | and we're about to see these uh |
| 1303s | primordial apes wake up to find |
| 1306s | something just extraordinarily weird to |
| 1308s | them like something they could they |
| 1310s | don't have the |
| 1312s | capabilities of comprehending what |
| 1314s | they're gonna experience |
| 1316s | and just try and notice how the the |
| 1318s | music is lending these properties of the |
| 1321s | continuous limitless timeless you know |
| 1324s | chaotic |
| 1325s | incomprehensible to |
| 1326s | to this object |
| 1336s | [Music] |
| 1361s | uh here's another example later in the |
| 1362s | movie when they they're far into space |
| 1365s | beyond jupiter |
| 1367s | and the |
| 1368s | sort of reality becomes quite weird |
| 1371s | interesting um |
| 1376s | [Music] |
| 1400s | yeah so |
| 1401s | so |
| 1403s | the perception or the experience of of |
| 1405s | music happens through |
| 1407s | among other things through our body so |
| 1409s | we use the capabilities we have for |
| 1411s | understanding our own body |
| 1413s | and |
| 1414s | and also capabilities for language |
| 1417s | and of course emotion when we listen to |
| 1419s | music and i like to think about |
| 1422s | music as um |
| 1424s | some form of communication like it's |
| 1426s | coming from something or somewhere not |
| 1429s | necessarily a composer but it's like |
| 1431s | there's like an entity somewhere |
| 1433s | abstract maybe communicating to us and |
| 1435s | we then receive this |
| 1437s | music |
| 1438s | um and um |
| 1441s | and this that entity sending music like |
| 1444s | vertically dominated music is one |
| 1446s | strange foreign |
| 1449s | thing |
| 1451s | and it lends those properties again to |
| 1453s | whatever it's coupled to here's a here's |
| 1455s | another example |
| 1458s | in here mrs torrance is where we keep |
| 1460s | all the dry goods and the canned goods |
| 1463s | we got canned fruits and vegetables and |
| 1466s | fish and meats |
| 1468s | hot and cold serums post toasters corn |
| 1472s | flakes sugar puffs rice krispies oatmeal |
| 1475s | we din and green movie you got a dozen |
| 1478s | drugs of black molasses we got 60 boxes |
| 1481s | of dried milk |
| 1484s | [Music] |
| 1499s | have you now we got dried peaches dried |
| 1503s | apricots dried raisins and dried prunes |
| 1507s | and this is a good example of it's |
| 1509s | actually |
| 1510s | the music and only the music that is |
| 1513s | telling us that there is something |
| 1515s | completely unfathomable going on here |
| 1518s | they can't show it because how would you |
| 1519s | show it but the music can do something |
| 1521s | like that |
| 1522s | and |
| 1524s | so i just want to |
| 1525s | i think i should |
| 1526s | maybe skip a few things here i'm going a |
| 1528s | bit over time um |
| 1530s | but it has to do with musical |
| 1532s | anticipation so i'm going to go through |
| 1534s | this very fast and |
| 1536s | you're very welcome to contact me |
| 1538s | afterwards and if you want to know more |
| 1540s | about this so i'm gonna i'm gonna speed |
| 1542s | up a bit at the most complex part of the |
| 1544s | talk okay so anyways so |
| 1547s | three |
| 1548s | ways of anticipating predicting when you |
| 1551s | listen to music past listening |
| 1554s | future listening and now listening so |
| 1556s | past listening is happening all the time |
| 1558s | so you |
| 1560s | you try to predict the the coming music |
| 1563s | based on what you just experienced so |
| 1566s | based on your immediate past so you |
| 1568s | listen to something you hear patterns |
| 1571s | and based on those patterns you try to |
| 1573s | predict what's coming in constantly and |
| 1575s | that's your your immediate past with |
| 1577s | this piece of music but it's also your |
| 1580s | whole musical your personal musical |
| 1582s | history every music that you ever heard |
| 1584s | you use that you know those maps that |
| 1586s | you have for that to kind of predict |
| 1588s | what's coming |
| 1590s | so that's past listening future |
| 1592s | listening is when you would know the |
| 1594s | music like you know it so well and i |
| 1597s | promise there's a point to this as well |
| 1599s | so you you know it so well that you |
| 1601s | actually are able to project the music |
| 1603s | that you know is coming into the future |
| 1605s | and then it comes and you're like oh |
| 1607s | yeah i knew that |
| 1609s | that's you know it's a kind of a |
| 1610s | pleasant way in a way you know it's not |
| 1612s | very stressful |
| 1614s | on the other end of the spectrum |
| 1616s | is something we could call now listening |
| 1619s | and that has to do with vertically |
| 1621s | dominated music this is where |
| 1623s | you have no idea what's coming |
| 1626s | it happens when you don't know the music |
| 1628s | and there is no way for you to predict |
| 1630s | what's coming and |
| 1632s | so um |
| 1633s | you this sort of state of no patterns |
| 1636s | and no sense of control |
| 1638s | in a way pulls the rock under you |
| 1641s | continuously |
| 1644s | um and during this research i had a |
| 1646s | there was like an eureka moment at some |
| 1648s | point because i've been working with |
| 1649s | this kind of liner scale from now |
| 1652s | listening and vertically dominated music |
| 1654s | and |
| 1655s | and you know future listening and and |
| 1657s | horizontally dominated music at some |
| 1659s | point i realized it's not a |
| 1661s | it's not a liner scale it's a |
| 1663s | they meet |
| 1664s | because if you imagine music becoming so |
| 1667s | chaotic in a way that we actually in our |
| 1669s | musical listening we stop looking for |
| 1672s | patterns like the musical patterns just |
| 1674s | become so impossible that we just |
| 1677s | we just let it go |
| 1678s | and at that point |
| 1681s | you move from a quite stressful somehow |
| 1684s | full of tension a state of musical |
| 1686s | listening onto just something completely |
| 1689s | relaxed |
| 1690s | and so there's a sort of wormhole |
| 1692s | between the |
| 1694s | between the two states of listening and |
| 1696s | and this model becomes a circle |
| 1700s | and |
| 1702s | in this singularity that arises there |
| 1704s | that's the singularity between time and |
| 1706s | space |
| 1707s | so |
| 1709s | but musical space |
| 1711s | and |
| 1713s | it has to do with anticipation and it |
| 1714s | also has to do with time scales there is |
| 1717s | a fusing of the as we |
| 1720s | experienced with this with this pulse |
| 1722s | that becomes a pitch there's a fusing |
| 1725s | around this place where the where the |
| 1726s | vertically dominated music lives in the |
| 1729s | sounding now something fuses there in a |
| 1731s | sort of singularity uh where um |
| 1734s | time sort of becomes space you could say |
| 1736s | anyway |
| 1737s | but i won't go further into that |
| 1740s | so |
| 1743s | vertically dominated music has made its |
| 1745s | way into eve online already and i'm |
| 1747s | gonna play a couple of examples this is |
| 1749s | from a wormhole space |
| 1756s | [Music] |
| 1774s | [Music] |
| 1783s | [Music] |
| 1789s | and |
| 1790s | i'm gonna just skip forward here and |
| 1793s | also triglavian the triglavian invasion |
| 1795s | we gave that some pretty |
| 1798s | dark music |
| 1800s | which is also vertically dominated |
| 1803s | [Music] |
| 1828s | and as you might be able to hear |
| 1831s | in this |
| 1832s | music here |
| 1833s | there is actually a pulse |
| 1835s | you have these |
| 1838s | that come in and it even has some an |
| 1840s | echo that goes |
| 1842s | and you can actually predict that and |
| 1843s | that's kind of |
| 1845s | proving a point which is that you don't |
| 1848s | need |
| 1849s | one or the other you can find a way in |
| 1851s | between and there it becomes really |
| 1853s | interesting because it's a super |
| 1855s | powerful as a composer it's a very |
| 1857s | powerful thing to play with how much do |
| 1859s | you want it to be over in this |
| 1861s | vertical |
| 1863s | end of the scale and how much do you |
| 1864s | want it to have some structures that has |
| 1866s | a |
| 1867s | time time |
| 1869s | aspect to them |
| 1870s | and |
| 1872s | so that's something that |
| 1875s | is in eve online already and we'll be |
| 1877s | rolling it out more |
| 1879s | for example in the |
| 1881s | in the |
| 1882s | eve npe the tutorial |
| 1885s | we've been playing with this so you |
| 1886s | would have |
| 1887s | some |
| 1888s | periods where you want this mystery to |
| 1890s | be the focus but then the player is |
| 1892s | called to action might need to do some |
| 1894s | mining or kill someone |
| 1896s | and |
| 1897s | and there you just by adding a pulse for |
| 1900s | example you all of a sudden have you |
| 1902s | know you have forward movement |
| 1906s | it is in a few dungeons |
| 1908s | uh but the plan is |
| 1910s | we'll be doing more of this and it will |
| 1912s | be adaptive so it's changing right now |
| 1915s | the the eve tutorial is the most |
| 1917s | adaptive music that we have in eve |
| 1919s | and |
| 1921s | there will be more of this so it will |
| 1922s | change with player actions and the |
| 1924s | scenario that the player is in to a much |
| 1926s | larger degree than it does at the moment |
| 1930s | it will be in many more dungeons and |
| 1934s | in empire space as well |
| 1936s | adaptive music so empire space won't be |
| 1940s | this kind of very scary music it might |
| 1941s | have vertically dominated aspects to it |
| 1944s | but it won't be |
| 1945s | you know it will be more of the |
| 1946s | wonderful kinds |
| 1950s | so and this adaptive music |
| 1953s | that we're we're doing requires uh |
| 1956s | expansion of our technical framework and |
| 1958s | so i'm gonna leave you with this and |
| 1961s | give the mic over to eric and thanks for |
| 1963s | listening |
| 1972s | can you hear me perfect |
| 1975s | yeah i'm ceci bezotrope i'm the audio |
| 1978s | programmer on eve online |
| 1980s | uh i have the privilege of working with |
| 1982s | these two amazing sound designers to |
| 1984s | help them get their sounds in the game |
| 1986s | um |
| 1988s | i just wanted to talk a little bit i'm |
| 1991s | going to cover the past very short |
| 1993s | and then talk mostly about the present |
| 1994s | and then give you a little bit of |
| 1996s | insight into the future |
| 1997s | um |
| 1999s | in the past three years we've uh |
| 2002s | overhauled the |
| 2003s | ship engine sounds and we've done a lot |
| 2006s | of work modernizing our internal tools |
| 2008s | to help them create |
| 2010s | faster |
| 2011s | to be faster in creating getting their |
| 2013s | sounds in the game |
| 2015s | we've been making we've been working on |
| 2016s | these adaptive music systems that |
| 2018s | christian talked about and |
| 2020s | we also |
| 2022s | modernized the hanger sounds |
| 2024s | and we've been doing a lot of |
| 2025s | explorations into generative synthesis |
| 2028s | and |
| 2029s | composition in the game which is not |
| 2031s | viewable we're still doing a lot of |
| 2035s | explanations there |
| 2038s | in addition to that we just add a lot of |
| 2040s | the music and the effects that you hear |
| 2042s | from things that come out in the game |
| 2045s | um but let's focus on the present |
| 2047s | i want to go back to what cece old ccp |
| 2049s | old boy said uh with his wonderful |
| 2052s | sentence designing sound environments is |
| 2054s | a challenge and i want to go back to |
| 2055s | this picture |
| 2057s | for the actual technical foundation of |
| 2059s | audio and eve this has been the biggest |
| 2061s | problem in eve |
| 2063s | you've probably noticed this when you |
| 2064s | turn off audio when you go into fleet |
| 2066s | flights because of the performance |
| 2070s | let's just cover a little bit of why |
| 2072s | that's so hard when you look at a scene |
| 2075s | like this |
| 2076s | you have |
| 2077s | thousands of um |
| 2079s | and you have to play all the important |
| 2080s | sounds |
| 2082s | without playing too many at once |
| 2084s | without degrading performance too much |
| 2086s | and you still have to maintain that |
| 2088s | great atmosphere that they build |
| 2092s | there's a lot of popping |
| 2094s | um |
| 2096s | one of the hardest parts about our game |
| 2098s | is that the you the player controls our |
| 2100s | camera which means we have no idea where |
| 2103s | you'll be looking at any point in time |
| 2105s | you could be zoomed out all the way you |
| 2106s | could be looking at details of a ship |
| 2109s | we can't really know |
| 2111s | where you're going to go in other games |
| 2113s | they have the opportunity of knowing |
| 2115s | that you'll go to this next level so we |
| 2116s | can load up these sounds and then you're |
| 2118s | gonna go to this next room so we can get |
| 2120s | this these sounds ready we don't have |
| 2122s | that |
| 2123s | um |
| 2124s | and |
| 2125s | uh eve has a lot of large looping sounds |
| 2128s | and that's that's challenge in and of |
| 2130s | itself |
| 2131s | but i can't really go over why |
| 2134s | um |
| 2134s | so currently we use a third-party audio |
| 2137s | engine uh named wise |
| 2139s | and we've been using their |
| 2141s | their their tools |
| 2142s | uh for a long time now however when it |
| 2145s | comes to limiting sounds in a scene that |
| 2147s | large |
| 2148s | then |
| 2149s | it doesn't give us enough granularity |
| 2151s | of what |
| 2152s | sounds you should be hearing based on |
| 2153s | where you are or what's important |
| 2157s | and looping sounds in particular uh you |
| 2159s | have to take into account |
| 2161s | uh you have to hold on to them so that |
| 2163s | when you return the loop continues it's |
| 2165s | different than if you had like a gunshot |
| 2167s | we can just kill that if you're away |
| 2170s | if there's a sound that's looping you |
| 2171s | need to hear it when you come back and |
| 2173s | wise doesn't have very good |
| 2176s | a very good ability to do that |
| 2178s | so in some cases we're actually holding |
| 2180s | on to loops the whole system when you're |
| 2182s | in a system there's some minimal |
| 2184s | processing going on with jump gates and |
| 2186s | stations |
| 2187s | and moon and planets and suns whether |
| 2190s | you know it or not |
| 2192s | the configuration is really prone to |
| 2194s | human error |
| 2195s | and there's a huge performance cost like |
| 2197s | i said which is most likely why you turn |
| 2198s | off audio when you're in a fleet fight |
| 2200s | however i am working on a fix |
| 2203s | um |
| 2204s | i'm calling audio calling |
| 2207s | yeah |
| 2210s | it's currently being developed |
| 2213s | the logic of what sounds are important |
| 2215s | is actually in the in our engine and |
| 2217s | then we work in tandem with wise |
| 2220s | right now with wise we can just say we |
| 2221s | only want 30 ship engine sounds |
| 2224s | and then we can't be smart about like |
| 2226s | never kill the players sound so that's |
| 2227s | why sometimes you might hear some things |
| 2229s | just drop out when you're playing the |
| 2230s | game especially in large scenes some |
| 2232s | sounds just don't play |
| 2235s | um |
| 2237s | instead of talking about it i'll just |
| 2239s | let you hear it um |
| 2240s | this is before audio this is what you |
| 2243s | would get now i spawned 100 ships and |
| 2245s | had them all shoot me |
| 2247s | um and then |
| 2249s | uh |
| 2250s | what you need to listen for is you're |
| 2251s | going to hear a lot of popping and |
| 2252s | that's the audio engine is playing a |
| 2255s | sound and then yeah just like that |
| 2258s | the audio engine is playing a sound and |
| 2260s | then it decides to kill it immediately |
| 2262s | so you get like a millisecond of sound |
| 2264s | and you're going to notice that when |
| 2265s | when you zoom in on something |
| 2267s | um |
| 2268s | you don't necessarily get the sound of |
| 2270s | the thing you're looking at |
| 2275s | [Music] |
| 2282s | [Music] |
| 2291s | time |
| 2301s | right there when i was zoomed up you |
| 2302s | could like you didn't even hear that |
| 2304s | shot even though you're looking |
| 2306s | um |
| 2307s | so this is what it sounds like now this |
| 2309s | is keep in mind a prototype |
| 2312s | uh |
| 2312s | there's a lot of work to be done but it |
| 2314s | it's really clean already |
| 2319s | [Music] |
| 2337s | [Music] |
| 2362s | [Music] |
| 2368s | [Applause] |
| 2376s | so |
| 2377s | that's all happening on the engine side |
| 2380s | they don't have to do anything to make |
| 2381s | that work and the performance is already |
| 2383s | looking really good with that so |
| 2385s | um |
| 2386s | like usually if you were to zoom out |
| 2388s | while there's a fight there's a lot of |
| 2389s | processing going on whether or not |
| 2391s | you're there like just a ton |
| 2394s | but yeah |
| 2395s | let's move on because i don't have tons |
| 2397s | of time |
| 2398s | uh here's just a little glimpse into the |
| 2399s | future uh obviously you're calling we're |
| 2401s | gonna release that |
| 2403s | i'm not gonna make any promises right |
| 2404s | now win um |
| 2406s | uh we're gonna look into modernizing the |
| 2408s | turret audio we already have the sounds |
| 2410s | but |
| 2411s | audio calling was a problem we couldn't |
| 2412s | put the new sounds in there it's too too |
| 2414s | expensive |
| 2415s | um |
| 2416s | we're going to redesign important module |
| 2418s | sounds |
| 2419s | and |
| 2420s | as christie mentioned |
| 2421s | we're going to look into more adaptive |
| 2423s | empire music |
| 2425s | or empire space music and we'll continue |
| 2427s | to look into these generative synthesis |
| 2429s | and composition technologies um to see |
| 2431s | if we can use them |
| 2433s | but uh yeah thank you so much and |
| 2437s | now that we have all this gear set up |
| 2440s | we're gonna play out |
| 2442s | [Applause] |
| 2464s | we're gonna do it |
| 2487s | and also we have now we bought all these |
| 2488s | synthesizers you know there's no way |
| 2490s | we're not gonna bring them to |
| 2492s | the fan fest so |
| 2495s | [Music] |
| 2529s | so |
| 2546s | [Music] |
| 2587s | [Applause] |
| 2622s | [Music] |
| 2684s | [Applause] |
| 2686s | [Music] |
| 2696s | [Music] |
| 2701s | [Music] |
| 2712s | [Music] |
| 2719s | [Music] |
| 2783s | foreign |