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almost 2 years
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Play New World
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| 0s | do a couple weeks of just practicing |
|---|---|
| 2s | throat singing every morning so that was |
| 4s | just pretty fun throwing out my voice |
| 6s | drinking coffee you can't say that |
| 8s | without doing a little showcase oh it's |
| 11s | already I'm gonna throw out my voice for |
| 13s | the rest of the interview if I do that |
| 16s | Symphony of throat singers |
| 24s | hey |
| 26s | welcome to forged internal uh this is |
| 29s | the show where we talk all good things |
| 30s | about New World audio we're obviously |
| 34s | the sound team here I'm Michael Finley |
| 37s | this is Kyle Bailey |
| 39s | yeah John Edward mclell and Tony |
| 43s | Martinez |
| 44s | and Char is going to have a look |
| 47s | I don't know I was just feeling it |
| 52s | yeah that's true so today is fine |
| 55s | because |
| 56s | um I think Mark you you wanted us to |
| 59s | talk about uh the dungeons right yeah |
| 61s | we're going to be talking about uh the |
| 62s | dungeon audio I figured that's a cool |
| 64s | thing dungeon audio is a really fun uh |
| 67s | playground for us sound folks to really |
| 70s | explore some Unique Sounds uh you know I |
| 74s | know in particular you know for all of |
| 76s | us it's like yeah we just kind of go for |
| 78s | it you know dungeons uh you know they're |
| 81s | compared to the open world they're very |
| 83s | like a you know a curated sort of |
| 86s | experience so we uh you know we can do |
| 89s | some crazy things uh you know a few that |
| 92s | come a few ideas that come to mind are |
| 94s | like the uh the mirror guard dungeon |
| 96s | right like thinking of like nice shaten |
| 100s | um one of the one of the cool bosses in |
| 102s | that dungeon you know he's a cool |
| 104s | serpent demon corrupted dude uh you know |
| 107s | he portals up from the ground and it's |
| 110s | just like okay this guy is a pretty |
| 112s | badass so it's how how are we gonna |
| 114s | reflect that in the VL |
| 116s | um you know that was that was kind of |
| 117s | what one of the discussions we had |
| 120s | uh I know some cool cool things that we |
| 122s | did that we wouldn't normally do is we'd |
| 124s | have like the voice it's just this |
| 127s | omnipresent voice you know the player |
| 129s | experiences it for for some of the |
| 131s | dialogue lines at least it's like in |
| 133s | your head you know as opposed to like oh |
| 135s | if you're 100 meters away from it it |
| 138s | sounds 100 meters away yeah it's funny |
| 140s | because players never complain about |
| 142s | that it's something they naturally like |
| 144s | accepted it's that emotional right you |
| 147s | know just yeah |
| 148s | so that was that was cool and when it |
| 150s | when it does hit you it changes the mix |
| 152s | uh you know in the game you know it's |
| 155s | we've dropped all the sound effects you |
| 157s | know somewhat and some of the music and |
| 160s | it's like we just hear this voice and we |
| 162s | hear the Roar of this you know the kind |
| 164s | of the sounds we designed underneath it |
| 166s | to really make it it's really crazy |
| 168s | because we have like a dynamic music uh |
| 171s | a dynamic sorry a mixing system right or |
| 173s | you were matching like things actually |
| 175s | get ducked uh lowered by that voice like |
| 178s | we use the term HDR a high Dynamic uh |
| 182s | range mixing right it's like we have |
| 184s | little faders basically and when we |
| 186s | crank up that voice everything else that |
| 188s | is not as important just gets lowered |
| 191s | right but uh totally yeah there's a lot |
| 194s | of like I love that area because it's |
| 196s | one of the most beautiful dungeon as |
| 198s | well I feel like you've done like such |
| 199s | an incredible job not just for the view |
| 202s | but also like the music direction right |
| 204s | yeah that was your first dungeon |
| 205s | actually where you work directly with |
| 207s | Remy and Brandon are composed yeah yeah |
| 209s | on the spot yeah it was in the pressure |
| 212s | cooker yeah |
| 214s | the the idea there with the music was |
| 217s | um to be able to be more like |
| 220s | um uh Gothic uh by like putting |
| 223s | underneath like an organ a church organ |
| 225s | right and uh we tried a few things that |
| 228s | worked more or less but |
| 230s | um uh I think that that you really |
| 231s | worked well with the visuals right right |
| 234s | yeah I mean there's Isabella's like you |
| 236s | know they're her Cathedral that you |
| 238s | visit so we just yet felt appropriate to |
| 240s | have like those kind of church organ |
| 242s | sounds and it's kind of a nice |
| 244s | juxtaposition you know |
| 246s | corrupted evil but |
| 249s | um you know you're hearing this church |
| 250s | organ it's just a makes for a nice |
| 253s | tonality and going back to the view like |
| 255s | something you worked on the um the the |
| 258s | pirate uh brute right oh yeah that's uh |
| 261s | one of the other dungeons the uh Barnes |
| 263s | and Barnacle dungeon which is also a |
| 265s | really good dungeon for uh vo uh I think |
| 269s | me and Michael both worked on it and |
| 270s | both bosses had some interesting uh vo |
| 274s | uh the one I worked on was uh Admiral |
| 277s | black powder which was a uh more of a |
| 280s | pirates themed brute and for that we had |
| 284s | a pretty fun recording video session |
| 287s | because |
| 288s | that character wasn't using any uh |
| 291s | actual English we were using kanglang |
| 293s | but we also wanted him to sound like a |
| 295s | pirate so and this Con line we don't |
| 297s | have any like uh sounds associated with |
| 300s | pirates already like or uh sounds like |
| 305s | that for like Pirates uh so it was |
| 308s | pretty pretty interesting during the |
| 309s | recording session we basically uh would |
| 311s | have the actor |
| 313s | um |
| 314s | perform the line first in English |
| 317s | and really emphasizing the pirate accent |
| 320s | and then and then right after doing that |
| 322s | going straight to the kanglang languages |
| 324s | that we have and that really helped |
| 326s | translate the piratesness of the accent |
| 329s | onto our commonly which I think it |
| 331s | turned out really well and uh there's a |
| 334s | few special moments in there where uh he |
| 338s | had these really interesting laughs that |
| 340s | I'm really glad he did uh which I ended |
| 343s | up using for when he's charging you and |
| 346s | it really kind of like uh helped out the |
| 349s | gameplay to know where he's running at |
| 350s | you and it's kind of like a menacing |
| 352s | laugh and uh yeah so Zeo is really |
| 355s | interesting in the dungeons uh there was |
| 358s | Oscar also the nieriad which I believe |
| 360s | you worked on Michael which was also |
| 362s | pretty cool if you want to talk about |
| 363s | that yeah um the Myriad so it's you know |
| 367s | it's this uh kind of mystical siren you |
| 371s | know uh kind of presence you know boss |
| 374s | that you fight at the end of the dungeon |
| 376s | and uh you know we wanted you know it's |
| 379s | like you said Tony the the theme of the |
| 382s | dungeon is very Pirates and it's you |
| 385s | know even the music that we experience |
| 387s | is very kind of like upbeat throughout |
| 390s | most of it but you know at the end |
| 391s | you're gonna fight this person who's you |
| 394s | know not a pirate but this like like I |
| 396s | said this kind of mystical creature and |
| 398s | so we wanted to have uh you know some of |
| 401s | the music at the beginning kind of take |
| 404s | on a different |
| 405s | um you know different kind of form you |
| 407s | know it was a little more mysterious |
| 409s | it's this female voice that you hear |
| 411s | that's very Ghostly and It's haunting |
| 413s | and it's kind of luring you into this |
| 414s | dungeon you know come you know what kind |
| 417s | of drawing you into it um so you it's |
| 420s | it's a little bit of a foreshadowing you |
| 422s | know yeah that was an awful pretty cool |
| 424s | about that dungeon where we use music to |
| 426s | uh tell the story and build on the |
| 430s | actual layers of it like we're just |
| 432s | starting off with the with her siren |
| 434s | calls and then building up to the music |
| 436s | that was really that's something we |
| 438s | can't do in the open world it's it's |
| 440s | much harder because there's so many like |
| 442s | random aspects that can happen at any |
| 444s | moment because it's a Dungeons as you |
| 446s | said at the beginning it's more linear |
| 448s | so we can create like a story uh with a |
| 450s | story arc actually right we when we put |
| 453s | music into the game we have this intro |
| 455s | first as you respond into the dungeon |
| 456s | and we try to set the you know like a |
| 459s | through a little hint at the player be |
| 461s | like hey this is something you're gonna |
| 463s | hear at the end but right now like |
| 465s | you're just like you know putting a |
| 467s | question mark what is this thing right |
| 469s | um little Mystery Box yeah what we're |
| 471s | always talking about yeah so I love that |
| 474s | aspect of Storytelling in the dungeon |
| 478s | um one of my uh proud this moment |
| 480s | actually it's in the Amarin dungeon it's |
| 482s | something we haven't you know it's |
| 484s | something that came not really like a |
| 486s | plan in the process something that |
| 489s | happened like after the dungeon was |
| 490s | released but |
| 491s | um there's this big room at the end when |
| 494s | you fight Simon gray |
| 496s | um and he looks like you're strange |
| 498s | there's a lot of like blue things in in |
| 500s | the in the space it's actually the |
| 502s | interior of the one of the the the |
| 503s | shattered Obelisk and I was trying to |
| 506s | figure out like what kind of you know |
| 508s | sound this space could actually have |
| 510s | that is like otherworldly and um I |
| 513s | happen to to talk to my neighbor uh uh |
| 515s | don who's a radio amateur |
| 519s | um uh you know he has like uh short Rave |
| 522s | radios they're actually amazing for |
| 525s | anybody who's actually not familiar with |
| 526s | short Rave radio it's actually like |
| 528s | analog radios that uh use the |
| 530s | stratosphere to actually bounce uh radio |
| 533s | waves and around the planet you can hear |
| 535s | people on on the other side of the |
| 537s | planet sorry and back in the day I |
| 539s | people even used it to communicate with |
| 542s | on the moon |
| 544s | and so you can really like reach you |
| 547s | know far distances and it made me think |
| 549s | like what if the shattered Obelisk was |
| 553s | actually like an antenna you know a |
| 555s | communication an ancient communication |
| 557s | device that was used for you know other |
| 560s | civilization in space and um so I |
| 563s | recorded the the radio uh with people I |
| 565s | we I don't even know what they were |
| 567s | speaking but by turning the knobs it |
| 569s | created this ring modulation and it was |
| 572s | very strange and I took those recordings |
| 575s | and put them into four speakers like |
| 577s | front left front right back left back |
| 579s | right and put it into a nickel chamber |
| 582s | and it became the Ambient sound of this |
| 584s | space and when you enter it you |
| 585s | basically entered an ancient |
| 587s | telecommunication room and um this is |
| 589s | kind of like telling you the story of |
| 591s | that space and we try to push ourselves |
| 594s | right always to what else we can do with |
| 596s | sound to advance the story to put some |
| 599s | underlying mystery box there and that's |
| 601s | I love that aspect Kyle do you have |
| 603s | anything to say about maybe like |
| 605s | storytelling with sounds and um in |
| 608s | general or more specific to dungeons or |
| 611s | anything you've done yeah I mean like |
| 612s | you said the uh nature of dungeons |
| 616s | um kind of lets us you know hint at |
| 617s | certain things as you're going through |
| 619s | them |
| 621s | um the Myriad is a really good example |
| 623s | of that |
| 624s | um and being able to set up you know |
| 626s | different points in different rooms to |
| 628s | where Maybe |
| 629s | you know maybe this room is more |
| 630s | dangerous so you change the ambiances |
| 633s | based on that um or you change the music |
| 635s | based on that having a why really to the |
| 639s | sounds that we make and you know why is |
| 643s | uh this music like in the Myriad |
| 647s | um dungeon why is there a female singing |
| 650s | in this music there's a reason is |
| 652s | because later on you're gonna see that |
| 654s | that enemy and you're gonna fight it |
| 657s | um it's often like Junior sound |
| 659s | designers you know they're more |
| 660s | interesting to the how you know they |
| 662s | want to ask I was like oh how did you |
| 664s | make that sound or like how can I make |
| 666s | like a Sci-Fi sound or how can you make |
| 668s | like 100 wishes in two minutes and often |
| 671s | it's like yeah we take it for granted |
| 673s | for what's really more important is the |
| 675s | meta of the sound like the meaning of it |
| 677s | you know what it makes you feel like uh |
| 680s | is it something that's familiar to you |
| 681s | you're like and how can we use that you |
| 684s | know to actually like inject something |
| 685s | that connects you to the world that |
| 687s | makes you feel credible and it's one of |
| 689s | the best guiding devices when you're |
| 691s | trying to make decisions when you're |
| 692s | actually putting the sounds together and |
| 694s | doing the sound design and how you're |
| 695s | going to implement it when you have that |
| 697s | when it's a why type of a question |
| 699s | instead of like a what or how type of a |
| 701s | question |
| 703s | um it really makes you think more deeply |
| 704s | about how to accomplish something |
| 708s | um when you think about why you want to |
| 710s | accomplish it and |
| 712s | you know just going through those |
| 714s | motions and using that as |
| 717s | um |
| 718s | an inspiration for the design |
| 720s | um really helps |
| 723s | um |
| 724s | push our sound design forward and also |
| 726s | helps come up with unique ideas that |
| 729s | if I was just thinking of how or what I |
| 731s | don't think I would come up with some of |
| 733s | the ideas that have come up with more |
| 734s | when I'm thinking about why I'm doing |
| 736s | something yeah I think a lot of our |
| 737s | players really like our sound design |
| 738s | mainly because we do focus a lot on the |
| 741s | why |
| 742s | and because we do that it kind of makes |
| 744s | our sounds more grounded because they |
| 745s | have more meaning to them rather than |
| 747s | just oh we need a a wish sound just |
| 750s | throw a wish in there we're trying to |
| 752s | find a deeper meaning to advance the |
| 754s | story the story is always King and |
| 757s | in my eyes yeah |
| 760s | the um sometimes like we also like what |
| 763s | what I really like about the way that we |
| 765s | think about sound is we push ourselves |
| 766s | so far into the why but also also into |
| 770s | the how you know like the details the |
| 772s | amount of details that we put if you go |
| 773s | into the star Stone uh Expedition and |
| 776s | you enter this uh actually right at the |
| 778s | beginning of the dungeon you hear |
| 780s | something in the distance that's that's |
| 782s | almost like a a train station it's like |
| 787s | and this is hum that is not part of the |
| 789s | music and as you progress through it you |
| 792s | start to hear that this sound comes from |
| 794s | a room full of lasers and as you get |
| 796s | closer to the lasers |
| 798s | um the distance sound changes and now |
| 800s | you hear like a a sound that is like |
| 804s | granularized right it's like |
| 807s | it feels almost like dangerous and then |
| 810s | you get close to the sound right that |
| 812s | follows the the spline the beam uh the |
| 814s | beam and there's also another sound on |
| 816s | the grinding stone as the beam I'm |
| 818s | moving there's a sound of like a |
| 821s | shimmering sound almost at the impact of |
| 823s | the laser in the in the stone and |
| 825s | there's like you know four or five |
| 827s | different sounds just for one laser and |
| 829s | this room is full of like I don't know |
| 831s | 20 different lasers and it creates like |
| 834s | a musical Thing of its own I think |
| 835s | that's you know like I love that we take |
| 838s | a sound as like a a little particle but |
| 841s | as you duplicate it we can create a full |
| 843s | palette a full experience of just almost |
| 846s | like a ASMR people mention that but I |
| 848s | prefer the term like music concrete |
| 851s | um just because it's French |
| 853s | yeah but uh yeah we we try to surprise |
| 857s | the players so if you we think about |
| 859s | this room it's like okay we've done sort |
| 861s | of like a musical area with like those |
| 863s | lasers how can we surprise the players |
| 865s | after that and um this is these cool you |
| 867s | know little area where uh you have to |
| 870s | ignite your A's of staff and it creates |
| 872s | a an Arcane bubble that protects you |
| 875s | from going through those uh laser beams |
| 877s | and then when that thing spawns now we |
| 881s | play with the emotions of the player and |
| 882s | we have like your nadius 80s you know |
| 885s | kind of like synth line synth Melody |
| 888s | um that plays and I think like he |
| 890s | responded it it players responded very |
| 892s | well to it just because it creates this |
| 894s | emotional you know uh response uh yeah I |
| 898s | just thought it was pretty cool that we |
| 899s | did that I like that example too because |
| 902s | um you mentioned that you actually hear |
| 903s | the sound before you even are in the |
| 906s | room that has the lasers so there's an |
| 909s | audio cue telling you there's something |
| 911s | different in here I don't know what it |
| 912s | is I haven't seen yet |
| 915s | um and as you get closer and because you |
| 917s | know you're Shifting The Sounds |
| 919s | um based on distance it's changing |
| 922s | you know the auditory experience for the |
| 924s | player as they're getting closer and it |
| 926s | helps them you know potentially track |
| 928s | down where this thing might be that's |
| 930s | making the sound and then as they get |
| 933s | close to it they hear the finer details |
| 934s | the more music concrete stuff that maybe |
| 936s | is able to uh communicate more danger |
| 940s | and like these things are going to hurt |
| 942s | you versus maybe at the beginning when |
| 944s | you're just hearing parts of it it's |
| 946s | more about there's something here I |
| 948s | don't know what it is and as you get |
| 949s | closer you realize this is probably |
| 950s | going to be something dangerous |
| 952s | it would be nice to talk about some of |
| 954s | the fun things we get to do while we're |
| 956s | here I think a lot of players will enjoy |
| 957s | that uh on our last update uh we did uh |
| 962s | Brimstone Sands and one really |
| 964s | interesting thing that we got to do was |
| 966s | for me I got to uh just uh |
| 970s | pretty much uh |
| 973s | uh do a couple weeks of just practicing |
| 975s | throat singing every morning so that was |
| 977s | just pretty fun throwing out my voice |
| 979s | drinking coffee you can't say that |
| 981s | without doing a little showcase uh it's |
| 984s | already I'm gonna throw out my voice for |
| 986s | the rest of the interview if I do that |
| 989s | Symphony |
| 991s | well we have a cool video online of you |
| 994s | doing it oh yeah there is a video check |
| 996s | it out on YouTube |
| 999s | and subscribe |
| 1001s | subscribe comment below |
| 1005s | where's that camera like And subscribe |
| 1010s | one of my favorite sounds is actually |
| 1012s | um Again by made by uh Austin hey Austin |
| 1017s | it's when those Darkness events you know |
| 1019s | like the erupt from the ground yeah and |
| 1022s | it's not the sound that you hear in the |
| 1023s | close proximity it's the one that you're |
| 1025s | in the distance so yeah sound as a |
| 1027s | porter is a one of our uh I get I guess |
| 1030s | for the for the game you know when you |
| 1032s | mentioned |
| 1033s | um |
| 1034s | um as well like the the sources of |
| 1036s | sounds that we use |
| 1037s | um like if there's like a turkey in the |
| 1040s | distance or an elk or something like |
| 1041s | very specific we're very like adamant |
| 1043s | we're very like specific uh to the |
| 1047s | sounds we can and cannot use for example |
| 1049s | you know if we use bird sounds as part |
| 1052s | of the ambience you can't attract too |
| 1054s | much attention right if we use like a uh |
| 1057s | you know red tail uh uh Hawk |
| 1063s | like that would draw too much attention |
| 1066s | if he was part of the the the ambience |
| 1068s | but if we place that for like a real AI |
| 1071s | then that's something that's a clue that |
| 1073s | you clearly can identify that doesn't |
| 1075s | you can tell it's not part of like the |
| 1077s | ambient bed of like crickets and you |
| 1080s | know |
| 1081s | um yeah that's something I also love |
| 1082s | about our game our ambient system |
| 1084s | because the AI creatures of the world |
| 1086s | actually make up the bed that we have |
| 1089s | because we don't actually have uh howls |
| 1092s | and dogs barking in our uh yeah these |
| 1098s | are directional pointers from uh wolves |
| 1101s | in the distance and that's I really find |
| 1103s | that just just really cool just having |
| 1105s | playing with Those Distant sounds |
| 1108s | nothing is fake and it's like you hear |
| 1111s | it you can go there and you're gonna see |
| 1113s | it and fight it |
| 1115s | and then skin it |
| 1118s | it's so brutal yeah |
| 1121s | uh cool so that was an awesome talk |
| 1124s | about uh audio in Dungeons and sound is |
| 1128s | pointer uh yeah so this wraps it up uh |
| 1131s | this and brings us to our community |
| 1133s | question so what's something uh you |
| 1135s | folks haven't heard in a dungeon for the |
| 1137s | audio uh we'd love to hear get your |
| 1139s | thoughts comment below |
| 1141s | like And subscribe |