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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
almost 2 years ago - EVE Online - Direct link

Transcript (by Youtube)


1s so thank you all for being here
3s my name is
4s ccp oldboy
7s and with me here is
10s my audio department ccp christian
13s and ccp zoetrope
16s and somewhere around here
18s our producer
20s right there
21s ccp k1 p1
25s so it's a small audio department
34s are happy to be a small department
36s because it gives us uh
38s we get to do many different things
40s and we learn new a lot of new things so
43s it's a good thing we also
46s outsource some things that we don't have
48s time to do
50s also to get
51s new perspectives
53s but mostly
55s all of our work is done in house fires
60s so i'm gonna talk a little bit about the
62s philosophy
64s and
65s the practice of
68s the sound in eve
70s and talk about us a little bit how we do
72s it
73s so um
75s the first thing we have to do is
77s we
78s sort of have to
80s you know
82s not be too scientific because
84s simply it's impossible because we're in
87s space
88s and we have sound in space
90s so we have to forget about that
92s of course we had had ideas of
94s uh being more you know more real totally
97s real
98s and having
100s kind of um
101s no sound in space but rather inside the
104s ships
105s but since the game happens
107s kind of outside the ship in third person
110s that's not possible so
112s maybe one day
115s um
116s so we have to completely forget about
118s science here and just try to enjoy
121s creating sound in space
123s which is which is fine with us
127s so i have this clip here and imagine if
130s this
132s did not
134s can you see it
136s no no
137s can you turn the light off
140s so imagine if this
143s was silent
145s you still can't see it can you no no
148s anyway
150s it's a it's a road thrown harvest
152s structure from from last year
155s it's very nice
156s incredibly good looking stuff from the
159s graphics department
162s but having this totally silent would be
165s well
167s boring or not as exciting at least
171s so that's just one example i can't we
174s don't have
175s enough time to play
176s a lot of examples here you can just go
178s and test it out
180s so
184s we're fine with that
187s what we have in front of us is
190s an environment that is
192s unknown and in most cases very hostile
196s and
200s the the fact that we can add sound to
202s things in space allows us to amplify the
205s over feel of the universe if we wouldn't
207s have a sound
208s it wouldn't be
210s as exciting at least for most people
214s and the ultimate goal is to make the
216s sounds and music support
218s and amplify the online unknown and
221s hostile environment
223s that is the that is our main goal
230s we when creating this
232s it's uh it's important to think about
236s that we as humans know certain
238s kinds of sounds in the world we live in
240s uh at the moment
243s and we have to
245s bring in some sounds into our sound
248s designs
249s that we recognize as
252s uh you know we recognize in our head
254s that something
255s that we can relate to for example
258s we take a turret blast
260s we
261s you know we we we create those with our
264s with our equipment and with our
266s computers with some
267s you know sci-fi elements
270s but we then also have to take
272s you know
274s a gunpowder and stuff and put into it
277s in order to make it
279s make you believe that it is actually a
281s third blast
283s so we
284s that's a big part of what we have to do
287s it's always a challenge to do this
290s but it's a lot of fun
293s the goal of the the endpoint it should
295s make sure you the player
297s actually believes
300s that you are in the future
302s and actually believes that you are
304s shooting a turret
305s that is the goal
309s and yeah
311s you don't you would not need to uh
314s imagine where you are you just you you
316s should feel it every time you uh shoot
319s the turret
322s designing these uh sounds is is a
324s challenge
327s in in one sentence it's a good sentence
330s i think
331s it's a challenge
336s so so this image you see here
339s it's like we often think about the eve
342s universe at least the sound department
344s as a huge uh painting
348s as a the the the biggest uh piece of art
352s there is in the world
354s that at least how we see it often
357s and
357s you know
358s it really is isn't it this is like a
360s huge jackson pollock painting
364s right
365s and
369s it's very difficult to design for it
370s because
371s we have to
373s people are so uh subjective and we have
376s to cater to everyone's taste
379s and it's it's hard
382s but we have to you know have trust
384s ourselves to make the you know best
386s thing we can do
388s at each time
391s we have to create it uh interesting
394s but not so interesting as to take away
396s from the whole it has to be a part of
398s the graphics
400s and
401s you know the sound and the graphics have
403s to
404s be in marriage together
406s and make this impact
408s together
409s because if we take too much from the
411s graphics which is actually extremely
413s hard because it's so awesome
415s but it's uh yeah it has to be one thing
419s that
420s the people are experiencing
423s so
424s designing sounds in such a way that they
426s can exist on their own
428s as well as mixed with thousands of
430s others that's also a huge technical
433s problem that we will go a little bit
435s more into uh later
438s um
442s yeah and and another thing
444s so designing the sound is one thing
447s and
448s you know in in your computer and with
450s your with your stuff
451s but then implementing it is another
453s thing that's like uh it's like 50 of the
456s thing 50 percent of the sound happens in
460s in real time inside the game so it's
462s impossible to design something and just
465s yeah this is done you have to put it in
467s the game
468s you have to test it thoroughly with all
470s kinds of situations all kinds of other
473s sounds going on
474s and
476s then you know then you should be good to
479s go
480s we sometimes put sounds into the game
482s and we can't
483s test every scenario with all other
485s sounds and
488s what's going on maybe maybe in a fleet
490s fight or whatever
492s but uh sometimes we have to you know fix
494s the sound afterwards
496s not very often but it happens
500s so during code times
503s we
505s you know obviously you had to stay at
506s home a lot
508s and
510s well we were isolated like probably most
512s of you
513s and lonely you know
515s kind of
517s so
519s you know staying at home along with a
521s computer and maybe a
523s synthesizer or a controller or something
527s was not enough for us
528s so what we decided to do
531s this is my home now
534s we decided to
537s get some analogue synthesizers
540s and play with electricity directly
543s this is christians
547s and uh
548s it it has changed the sound design a bit
551s for us
552s uh it's more it's more fun for us
556s uh i'm not sure if you've heard the
557s change uh maybe
559s you know
560s wait you know one or two years then you
562s will then you will hear more of it
565s but it has changed a little bit of the
567s sound
568s it's a little bit warmer now
570s and we hope it's going to be a good
572s thing
574s to for you to experience and we'll build
577s the ccp studio
578s in a similar way
582s so talk about talking about the music
586s the the current empire space music has
589s uh um
590s you know done a lot for to uh
593s you know
594s for everyone you know it's uh
599s you know it has been great i mean it it
602s by now it's it's almost iconic
605s you know in space music but it has it is
608s still it is linear it has a beginning or
610s middle and an end what we want to do
614s we want to
615s make the experience more vertical
620s you know
621s you don't know what i'm talking about
624s but it's easily christian explain later
627s so we want to um
630s you know we want to make the uh
632s experience more in line with the sound
634s effects and the graphics
636s right now the the this is just music
639s inside the game and what it is doing
641s it's playing its own thing
643s and then there's the graphics
645s you know you you could really just turn
647s off the music like this and play it from
649s spotify to do a similar thing or same
652s thing
653s or from a
654s playlist inside the audio menu or
656s whatever
657s so what we want to do is
659s change it to be more
663s interactive for lack of a better world
666s we have started this we actually started
668s this in 2009 or 2010 maybe
672s with
674s zero zack and wormhole sack we put some
678s like vertical
680s you know music there
681s it didn't have a beginning and an end or
684s a middle
686s it has worked fine and we're going to
690s take that to the next level
699s so
700s we are always exploring new tech to
702s allow us to
704s take the the sound and music further
707s and
709s we are now
712s in
713s exploring a technology that will allow
715s us to create the the sounds
719s kind of
720s while the game is happening
723s not create them before on these guys
726s and then sample them and put them in the
727s game
729s but kind of
730s create what notes to play
733s and then it's like uh you know it's like
736s kind of midi those of you who know that
739s but still it's more than that the sounds
741s will be created
743s by for example
746s how you are flying what shape you're
747s flying and so on
749s and the sound will be after
752s uh
753s you know
755s depending on
756s what you're doing and so on but this is
759s very much work in progress
761s and
762s a lot of work is still uh to be you know
765s still to be done to uh to finish this
769s but uh we hope for the best if we have
771s time
773s but like i promised you
775s i promised we would get back to the
777s vertical aspect of music
780s and here is christian ross
785s ccp christian
791s hello hello hello
793s thank you
794s can you you can hear me right
797s good to see you
798s and and happy to see that everyone
800s survived the pop crawl yesterday you
803s know
804s um
806s so um my name is christian
809s uh i am an audio designer and a composer
811s for eve online
813s um
814s and
816s i it's become sort of a passion of mine
818s to um to try and find a
820s voice you could say for
823s for the sort of the depth and the
825s mystery of outer space and do it through
828s music
829s and
830s and as you mentioned before i came to
832s ccp i was i was working
834s at ulp university and i was doing a phd
837s there about
838s adaptive vertically dominated music
842s in outer space games
845s and i'll explain what that means
847s and so i'm really excited to
851s have this opportunity to sort of drag
853s you with me into her into a rabbit hole
856s of some
858s of some of the philosophy that's behind
860s the music the new music that that's
862s coming into even that is already in
864s eve um
871s this is music um
873s vertically dominated music is music
876s which is continuous it is it has a
878s limitlessness to it it's timeless
882s infinite
884s it's in a way incomprehensible
886s you can't control it it's unknown it's
889s weightless homeless and it's
891s unpredictable at least
894s and so this is a very scary sort of
896s scary sounding example but it can also
897s be quite beautiful and wonderful really
901s and it lends these properties to
902s whatever it's
904s coupled to
905s so
908s if you couple it to being in outer space
911s on a small screen or whatever you have
912s at home when you're playing
914s you know you can begin to
916s give even something you're experiencing
918s on a small screen something infinite to
921s it like like this with this kind of
922s music
924s um so when i'm talking about vertical
926s and horizontal i'm talking about
929s space time okay it's like space time but
932s it it's not the kind of space that
934s you're that you know it's not like 3d
936s space it's pitch space
939s so it's the space that pitches
942s occupy
943s you can even call it spectral space
945s because then you're going not just the
946s pitch of the note but the note and how
948s it sounds
949s and everything in between the 12 notes
951s that we usually operate with in the
954s western world
955s and just as a demonstration
958s i'd like to to plan an example that
960s demonstrates what happens as you move
963s from the the horizontal
966s dimension of events that happen over
968s time
969s and if you make you know if you play a
971s pulse that goes over time and you speed
973s it up and speed it up and speed it up
974s something magical happens at one point
977s many of you may know this of course
979s is that you it becomes one thing instead
981s of being individual events it becomes
984s one vertical experience the way that we
986s experience it or perceive it
1012s so
1024s okay so the so the horizontal is
1027s structures happening over time so then
1029s we're talking about rhythm and pulses
1032s and beats
1033s melody also melody happens a lot over
1035s time it's dependent on being able to
1037s develop itself over the time dimension
1041s chord progressions you can say the same
1044s any progression of chords needs
1045s obviously time as it's as a significant
1048s component to how how it lives
1051s and
1052s and and so on
1055s on the other hand the vertical dimension
1057s that is the sounding now
1059s it's whatever sort of it's whatever is
1061s sounding in a sort of
1063s simultaneity it's like simultaneously
1065s sounding now and that has to do with
1067s pitches
1068s that's to do with harmonies of
1070s simultaneously sounding pitches tempra
1074s so
1075s the reason why a
1076s violin sounds differently from an oboe
1079s for it would be the tambra
1082s and texture as well and texture
1085s if you could you could explain it as
1087s sort of a micro variation within the
1089s sounding of the instrument so that's
1092s like you know a quick vibrato on a
1094s violin or something like that creates a
1095s certain texture
1097s and that list goes on that's a rabbit
1098s hole all on its own you can
1101s it sort of goes on infinitely if we try
1104s to describe the the sound
1106s of the sounding now okay so the point is
1108s coming
1109s and the point is
1111s the point is
1112s that if we have music that is dominated
1115s by the horizontal
1118s dimension in music then it's dominated
1120s by rhythm pulses beats and melodies and
1123s chord progressions and how they sort of
1127s speak to themselves and refer back to
1129s themselves so if it's like
1135s then there's definitely some you know
1137s it's talking to itself in a way and
1139s imitating itself and repeating
1141s uh things that all happens on a over
1144s time right
1145s and that's most music that we normally
1147s listen to it works like that like most
1149s music in the radio any you know most
1151s jazz and pop and you know reggae and
1154s techno or whatever
1155s is there
1156s but
1157s if you then imagine
1160s music which is dominated more by the
1162s vertical dimension then you get a very
1164s different kind of you know sonic
1166s experience
1167s then you have the sounding now as the
1170s most significant
1172s aspect of the music
1176s and these things like horizontally
1178s dominate music inversely dominant
1180s dominated music they can sort of they're
1182s spanning over
1184s over sort of a scale you could say we're
1186s gonna look at that later but
1188s i just wanna i'm gonna play an example
1190s now it's um it's from 2001 a space
1193s odyssey
1194s stanley kubrick he's been using this
1197s music a lot this sort of style of music
1200s and we're about to see these primordial
1202s apes wake up to find something just
1205s extraordinarily weird to them like
1207s something they could they don't have the
1210s capabilities of comprehending what
1212s they're gonna experience
1214s and just try and notice how the
1216s the music is lending these properties of
1219s the continuous limitless timeless you
1221s know chaotic
1223s incomprehensible to to this object
1236s uh
1259s uh here's another example later in the
1260s movie when they they're far into space
1263s beyond jupiter
1265s and the
1266s sort of reality becomes quite weird
1269s interesting
1298s yeah so
1299s so
1301s the perception or the experience of of
1303s music happens through
1306s among other things through our body so
1308s we use the capabilities we have for
1309s understanding our own body
1312s and
1312s and also capabilities for language
1316s and of course emotion when we listen to
1318s music
1318s and i like to think about
1320s music as um
1322s some form of communication like it's
1324s coming from something or somewhere not
1327s necessarily a composer but it's like
1329s there's like an entity somewhere
1331s abstract maybe communicating to us and
1333s we then receive this
1335s music
1337s and
1339s and this that entity sending music like
1342s vertically dominated music is one
1344s strange foreign
1348s thing
1349s and it lends those properties again to
1351s whatever it's coupled to here's a here's
1353s another example
1356s in here mrs torrance is where we keep
1359s all the dry goods and the canned goods
1361s we got canned fruits and vegetables and
1365s fish and meats
1366s hot and cold serums post toasters corn
1370s flakes sugar puffs rice krispies oatmeal
1374s we din and pre-movie you got a dozen
1377s drugs of black molasses we got 60 boxes
1380s of dried milk
1398s now we got dried peaches dried apricots
1402s dried raisins and dried prunes
1405s and this is a good example of it's
1407s actually
1408s the music and only the music that is
1411s telling us that there is something
1414s completely unfathomable going on here
1416s they can't show it because how would you
1418s show it but the music can do something
1419s like that
1420s and
1422s so i just want to
1423s i think i should
1424s maybe skip a few things here i'm going a
1426s bit over time
1428s but it has to do with musical
1430s anticipation so i'm going to go through
1432s this very fast and
1434s you're very welcome to contact me
1436s afterwards and if you want to know more
1438s about this so i'm i'm going to i'm going
1440s to speed up a bit at the most complex
1442s part of the talk okay so anyway so
1446s three
1447s ways of anticipating predicting when you
1449s listen to music past listening
1452s future listening and now listening so
1454s past listening is happening all the time
1457s so you
1458s you try to predict the the
1460s coming music based on what you just
1462s experienced so
1465s based on your immediate past so you
1466s listen to something you hear patterns
1469s and based on those patterns you try to
1471s predict what's coming in constantly and
1473s that's your
1474s your immediate past with this piece of
1476s music but it's also your whole musical
1479s your personal musical history
1481s every music that you ever heard you use
1483s that you know those maps that you have
1485s for that to kind of predict what's
1486s coming
1488s so that's past listening future
1490s listening is when you would know the
1493s music like you know it so well and i
1495s promise there's a point to this as well
1497s so you you know it so well that you
1499s actually are able to project the music
1502s that you know is coming into the future
1504s and then it comes and you're like oh
1505s yeah i knew that
1507s that's you know it's a kind of a
1509s pleasant way in a way you know it's not
1510s very stressful
1512s on the other end of the spectrum
1515s is something we could call now listening
1518s and that has to do with vertically
1519s dominated music this is where
1521s you have no idea what's coming
1525s it happens when you don't know the music
1527s and there is no way for you to predict
1528s what's coming and
1530s so um
1532s you this sort of state of no patterns
1534s and no sense of control
1537s in a way pulls the rock under you
1539s continuously
1543s and during this research i had a there
1545s was like an eureka moment at some point
1546s because i've been working with this kind
1548s of liner scale from now listening and
1551s vertically dominated music and
1553s and you know future listening and
1555s horizontally dominated music at some
1557s point i realized it's not a
1559s it's not a liner scale it's a they meet
1563s because if you imagine music becoming so
1565s chaotic in a way that we actually in our
1567s musical listening we stop looking for
1570s patterns like the musical patterns just
1572s become so impossible that we just
1575s we just let it go
1577s and at that point
1579s you move from a quite stressful somehow
1582s full of tension a state of musical
1584s listening onto just something completely
1587s relaxed
1588s and so there's a sort of wormhole
1590s between the
1592s between the two states of listening and
1595s and this model becomes a
1597s circle
1598s and
1600s in this singularity that arises there
1602s that's the singularity between time and
1604s space
1605s so
1607s but musical space
1609s and
1611s it has to do with anticipation and it
1613s also has to do with time scales there is
1615s a fusing of the as we
1618s experienced with this with this pulse
1621s that becomes a pitch there is a fusing
1623s around this place where the with a
1625s vertically dominated music lives in the
1627s sounding now something fuses there in a
1629s sort of singularity uh where um
1633s time sort of becomes space you could say
1635s anyway but i won't go further into that
1638s so
1641s vertically dominated music has made its
1643s way into eve online already and i'm
1645s going to play a couple of examples this
1647s is from a wormhole space
1687s and um
1689s gonna just skip forward here and also
1692s triglavian the triglavian invasion we
1694s gave that some pretty
1696s dark music which is also vertically
1699s dominated
1715s so
1726s and as you might be able to hear
1729s in this music here
1731s there is actually a pulse
1733s you have these
1736s that come in and it even has some an
1738s echo that goes
1740s and you can actually predict that and
1742s that's kind of
1743s proving a point which is that you don't
1746s need
1747s one or the other you can find a way in
1749s between and there it becomes really
1751s interesting because it's a super
1753s powerful as a composer it's a very
1755s powerful thing to play with how much do
1757s you want it to be over in this
1759s vertical
1761s end of the scale and how much do you
1762s want it to have some structures that has
1764s a
1766s time
1766s time
1767s aspect to them
1769s and
1770s so that's something that
1773s is in eve online already and we'll be
1775s rolling it out more
1778s for example in the in the eve npe the
1781s tutorial
1783s we've been playing with this so you
1784s would have
1785s some
1786s periods where you want this mystery to
1788s be the focus but then the players called
1790s to action might need to do some mining
1793s or kill someone
1795s and
1795s and there you just by adding a pulse for
1798s example you all of a sudden have you
1800s know you have forward movement
1803s um
1804s it is in a few dungeons
1807s but the plan is
1809s we'll be doing more of this and it will
1810s be adaptive so it's changing right now
1813s the the eve tutorial is the most
1815s adaptive music that we have in eve
1817s and
1819s there will be more of this so it will
1821s change with player actions and the
1823s scenario that the player is in to a much
1825s larger degree than it does
1827s at the moment
1829s it will be in many more dungeons and
1832s in empire space as well
1835s adaptive music so empire space won't be
1838s this kind of very scary music it might
1840s have vertically dominated aspects to it
1842s but it won't be you know it will be more
1844s of the wonderful kind
1847s um
1848s so and this adaptive music
1851s that we're we're doing requires uh
1854s expansion of our technical framework and
1856s so i'm gonna leave you with this and
1859s give the mic over to eric and thanks for
1861s listening
1877s eve online
1879s i have the privilege of working with
1880s these two amazing sound designers to
1882s help them get their sounds in the game
1886s i just wanted to talk a little bit i'm
1889s going to cover the past very short
1891s and then talk mostly about the present
1893s and then give you a little bit of
1894s insight into the future
1897s in the past three years we've
1900s overhauled the
1901s ship engine
1903s sounds and we've done a lot of work
1904s modernizing our internal tools to help
1907s them create faster
1909s to be faster in creating getting their
1911s sounds in the game
1913s we've been making we've been working on
1915s these adaptive music systems that
1917s christian talked about and
1918s we also modernized the hanger sounds
1923s and we've been doing a lot of
1924s explorations into generative synthesis
1927s and composition in the game which is not
1930s viewable we're still doing a lot of
1933s explanations there
1936s in addition to that we just um add a lot
1938s of the music and the effects that you
1940s hear from things that come out in the
1942s game
1943s um but let's focus on the present
1946s i want to go back to what ccp old boy
1948s said
1949s with
1949s his wonderful sentence designing sound
1951s environments is a challenge and i want
1953s to go back to this picture
1955s for the actual technical foundation of
1957s audio and eve this has been the biggest
1959s problem in eve
1961s you've probably noticed this when you
1962s turn off audio when you go into fleet
1964s flights because of the performance
1966s um
1968s let's just cover a little bit of why
1970s that's so hard
1972s when you look at a scene like this
1974s you have
1975s thousands of um
1977s and you have to play all the important
1979s sounds uh
1981s without playing too many at once
1983s without degrading performance too much
1984s and you still have to maintain that
1986s great atmosphere that they build
1991s a lot of popping
1993s um
1994s one of the hardest parts about our game
1997s is that the you the player controls our
1999s camera which means we have no idea where
2001s you'll be looking at any point in time
2003s you could be zoomed out all the way you
2005s could be looking at details of a
2007s we can't really know
2009s where you're going to go in other games
2011s they have the opportunity of knowing
2013s that you'll go to this next level so we
2014s can load up these sounds and then you're
2017s going to go to this next room so we can
2018s get this these sounds ready we don't
2020s have that
2021s um
2022s and
2024s uh eve has a lot of large looping sounds
2026s and that's that's challenge in and of
2028s itself
2029s but i can't really go over
2031s why um
2033s so currently we use a third-party audio
2035s engine uh named wise and we've been
2038s using their
2039s their their tools
2041s uh for a long time now however when it
2043s comes to limiting sounds in a scene that
2045s large then it doesn't give us enough
2048s granularity
2049s of what sounds you should be hearing
2051s based on where you are or what's
2052s important
2055s and looping sounds in particular you
2057s have to take into account
2059s uh you have to hold on to them so that
2061s when you return the loop continues it's
2063s different than if you had like a gunshot
2066s we can just kill that if you're away
2068s if there's a sound that's looping you
2070s need to hear it when you come back and
2071s wise doesn't have very good
2074s a very good ability to do that
2076s so in some cases we're actually holding
2078s on to loops the whole system when you're
2080s in a system there's some minimal
2082s processing going on with jump gates and
2084s stations
2085s and moon and planets and suns whether
2088s you know it or not
2090s the configuration is really prone to
2092s human error
2093s and there's a huge performance cost like
2095s i said which is most likely why you turn
2097s off audio when you're in a fleet fight
2099s however i am working on a fix
2101s um
2102s i'm calling audio calling
2104s uh
2106s yeah
2108s uh
2108s it's currently being developed
2110s um the logic of what sounds are
2113s important is actually in the in our
2115s engine and then we work in tandem with
2117s wise
2118s right now with wise we can just say we
2120s only want 30 ship engine sounds
2122s and then we can't be smart about like
2124s never kill the players sound so that's
2126s why sometimes you might hear some things
2127s just drop out when you're playing the
2129s game especially in large scenes some
2130s sounds just don't play
2133s um
2135s instead of talking about it i'll just
2137s let you hear it um
2139s this is before audio
2140s this is what you would get now
2142s i spawned 100 ships and had them all
2144s shoot me
2146s and then
2148s what you need to listen for is you're
2149s going to hear a lot of popping and
2151s that's the audio engine is playing a
2153s sound and then yeah just like that
2157s the audio engine is playing a sound and
2159s then it decides to kill it immediately
2160s so you get like a millisecond of sound
2162s and you're gonna notice that when when
2164s you zoom in on something
2166s um is you don't necessarily get the
2168s sound of the thing you're looking at
2199s right there when i was zoomed up you
2200s could like you didn't even hear that
2202s shot even though you were looking
2204s um
2205s so this is what it sounds like now this
2207s is keep in mind a prototype
2210s uh
2211s there's a lot of work to be done but it
2212s it's really clean already
2265s hmm
2274s so
2275s that's all happening on the engine side
2278s they don't have to do anything to make
2279s that work and the performance is already
2281s looking really good with that so
2283s um
2285s like usually if you were to zoom out
2286s while there's a fight there's a lot of
2288s processing going on whether or not
2289s you're there like just a ton
2292s but yeah
2293s let's move on
2294s because i don't have tons of time
2296s uh here's just a little glimpse into the
2298s future uh obviously calling we're gonna
2300s release that
2301s i'm not gonna make any promises right
2302s now win
2303s um
2304s uh we're gonna look into modernizing the
2306s turret audio we already have the sounds
2308s but
2309s audio calling was a problem we couldn't
2311s put the new sounds in there it's too too
2312s expensive
2313s um
2314s we're going to redesign important module
2316s sounds
2317s and
2318s as christie mentioned uh we're going to
2320s look into more adaptive empire music
2323s or empire space music and we'll continue
2325s to look into these generative synthesis
2327s and composition technologies um to see
2329s if we can use them
2331s but uh yeah thank you so much and
2335s now that we have all this gear set up
2338s we're gonna play out
2362s we're gonna do it
2385s and also we have now we bought all these
2386s synthesizers you know there's no way
2388s we're not gonna bring them to
2390s the fan fest so
2502s so
2895s you