devtrackers.gg
8 months
ago -
PlayWarframe
-
Direct link
Transcript (by Youtube)
| 2s | [Music] |
|---|---|
| 12s | [Music] |
| 20s | hi everybody my name is Sean Slater I'm |
| 22s | the voice of tager in Warframe thank you |
| 24s | so much for playing it's so exciting to |
| 26s | be part of this amazing community and |
| 29s | have a great |
| 31s | conference hey tenos my name is Micah |
| 34s | Mason and I had the |
| 36s | absolute hey tenos my name is Micah |
| 38s | Mason and I had the |
| 41s | absolute hey tenos my name is Micah |
| 43s | Mason and I had the absolute pleasure of |
| 49s | voicing hey tenos my name |
| 52s | is stupid |
| 56s | words anyway I love it when you use the |
| 60s | bang make flat keep being awesome and |
| 62s | have a great con greetings Tenon my name |
| 66s | is Kieran flinton and I have the |
| 68s | absolute pleasure of voicing this fellow |
| 70s | right |
| 71s | here thank you all so much for coming |
| 74s | along this incredible journey with us if |
| 76s | you're continued support your enthusiasm |
| 78s | and your Immaculate gameplay we would |
| 81s | not be here without you now on to the |
| 84s | next adventure welcome all to ten oon |
| 89s | this is Stefan rodniki aka the voice of |
| 93s | albre and |
| 94s | tratti I am so proud to |
| 99s | be you are |
| 104s | late I am so proud to be a member of the |
| 108s | Warframe family welcome I look forward |
| 112s | to seeing you don't be |
| 115s | late hey there tenno it's Ben star here |
| 118s | at play Arthur in Warframe 1999 and I |
| 120s | just wanted to come on here and say I |
| 122s | hope you have an amazing tenoc con I |
| 125s | can't believe that I get to be a part of |
| 126s | this community this game would be |
| 128s | absolutely nothing without you so thank |
| 130s | you for welcoming me and I can't wait |
| 132s | for us to go on this journey so let's |
| 133s | celebrate it together and have an |
| 135s | amazing time lot of |
| 137s | love |
| 139s | so you come here to tenacon |
| 143s | Alpha it's a party |
| 146s | tenno see you there |
| 154s | amazing hello |
| 156s | everyone big round of applause for our |
| 158s | amazing voice actors who wanted to say |
| 160s | hello and welcome to the tanon 2024 |
| 163s | sounds of the system |
| 167s | panel my name is Zach and I we have a |
| 170s | fantastic hour of auditory experiences |
| 173s | for you all but before we Dive Right In |
| 175s | it's my honor to introduce our panelists |
| 178s | for today to my right you'd recognize |
| 180s | that voice anywhere it's Rebecca Ford |
| 183s | hey |
| 184s | everyone hello hello thanks for joining |
| 187s | I'm very excited for the panel Zach it's |
| 188s | going to be awesome me too next up a man |
| 192s | who loves walks in the park but mainly |
| 194s | just to record the sound of snapping |
| 196s | Twigs it's Eric Preston hey everybody |
| 199s | thanks for being here |
| 201s | hello on his right a newcomer to the |
| 204s | tennocon stage but a master of sound |
| 206s | design please welcome Mark |
| 208s | perin hi everybody thanks for coming |
| 211s | out next up a familiar face who makes |
| 214s | music for space it's George spos hey |
| 217s | everybody great to see |
| 220s | you last but not least a special guest |
| 222s | who you have most definitely heard |
| 224s | before it's Matt chamers hey everybody |
| 227s | thank |
| 229s | you all right shall we get started let's |
| 232s | do it let's do it our first topic of |
| 234s | today is music and effects for quests |
| 238s | let's jump back to December Eric |
| 241s | Reb comes to you and says we have an |
| 243s | eight-legged creature that players are |
| 244s | going to fight what's the first step you |
| 246s | took to create such a unique boss theme |
| 249s | uh this was an amazing enemy from the |
| 252s | get-go uh the concept art looked |
| 254s | phenomenal when it came across my desk |
| 257s | and uh I think the first thing that we |
| 259s | started thinking about was what the |
| 261s | voice would sound like um the writers |
| 263s | put together a really cool language |
| 265s | called void tongue and I think naturally |
| 267s | we're like yes we need to do void tongue |
| 270s | uh so a lot of his uh barks ability |
| 273s | barks uh are all based in that language |
| 277s | and uh it's uh Mark and I actually did a |
| 279s | session for that where we recorded a lot |
| 281s | of the dialogue and then it's kind of |
| 283s | manipulated and pitched down uh to |
| 285s | eventually form the final uh sounds that |
| 287s | you hear when you fight this guy um and |
| 289s | yeah a lot of the Void tongue stuff that |
| 291s | we started there eventually made its way |
| 293s | into the music as well I love it now |
| 295s | when you guys are creating themes for |
| 297s | bosses do you get to see the earliest |
| 300s | concept of how a fight is going to go |
| 301s | and does it help you make the music or |
| 303s | do you create a song and then the |
| 305s | designers go from there uh we actually |
| 307s | usually get to see really early versions |
| 309s | of the boss fight uh so it's a it's a |
| 311s | it's a combination between looking at |
| 313s | the mechanics of the boss fight looking |
| 314s | at how the boss fight looks and then |
| 316s | deciding on the intensity level where do |
| 318s | we want to go with the music how do we |
| 320s | want people to feel when they fight the |
| 321s | boss uh this one's a bit of a slam dunk |
| 323s | in terms of theme big imposing menacing |
| 327s | uh void tongue being the basis for the |
| 329s | for the language it all came together |
| 331s | pretty well actually um and then at that |
| 333s | point uh yeah getting on the phone with |
| 335s | Matt and starting to talk about how we |
| 337s | want to craft it yeah yeah and we we had |
| 339s | done some void tongue on the combat and |
| 343s | I think you told me like let's push that |
| 346s | even further let's feature the the huge |
| 350s | enormous layers of vocals and uh so I |
| 353s | got Fran who actually was the vocalist |
| 356s | for uh duviri the opera singer she |
| 359s | actually helped me on some of those |
| 361s | crazy uh void tongue chants and her |
| 365s | friend Ana and the three of us just |
| 368s | layered up all these |
| 372s | like and then we put a bunch of effects |
| 375s | on them and yeah that was kind of the |
| 378s | vibe for that uh that boss fight can we |
| 381s | just get a whole live performance of voy |
| 383s | tongue from you here sure yeah yeah I |
| 385s | won't have a voice after it but |
| 387s | yeah amazing amazing well let's take a |
| 389s | quick look listen to what you guys came |
| 390s | up with |
| 398s | [Music] |
| 425s | awesome love |
| 427s | that it's awesome nothing quite |
| 429s | resonates like the sound of the human |
| 431s | voice too right like whenever there's an |
| 433s | opportunity to to put some you know |
| 435s | vocals in something it always gives it |
| 437s | this much more flavor right it's just |
| 439s | yeah yeah I remember when we were |
| 441s | talking Matt and I we'd always go back |
| 442s | and forth with notes more voice more |
| 444s | voice more layers yeah yeah it it was |
| 446s | just like oh can we add another Rhythm |
| 449s | on top of all those sure let's try it |
| 451s | and then you just like were like yes |
| 453s | even more it adds to the playing |
| 455s | experience when enemies with hands are |
| 457s | jumping at you while vocals are playing |
| 459s | as you're fighting them as well love |
| 461s | that the same update Whispers in the |
| 463s | walls also brought a brand new tile set |
| 465s | to Warframe alick's laboratory filled |
| 468s | with beakers gilded machines and vials |
| 471s | of Elemental ooze there are many things |
| 472s | to break in this tile set I must |
| 475s | personally destroy everything in my site |
| 477s | so I have to know how many glass jars |
| 479s | were broken in the recording process and |
| 481s | did you have a favorite recording |
| 483s | technique for the labs uh I mean we |
| 486s | we're always breaking jars and glass we |
| 488s | have been for 10 years so we have lots |
| 490s | of sound libraries of all sorts of stuff |
| 492s | that we've kind of broken over the years |
| 495s | um but actually uh Laura and Jeff were |
| 497s | the sound designers who handed all the |
| 498s | breakables and as they started kind of |
| 501s | coming in we were starting to see all |
| 502s | these kind of little levels of detail |
| 504s | that were happening you could break the |
| 505s | little vase on the desk and the desk |
| 507s | itself and the machines on the desk so |
| 510s | they did a great job uh going through |
| 511s | and meticulously placing all those |
| 513s | sounds for all the different items that |
| 514s | you can break and when they all kind of |
| 516s | break together it's very satisfying it |
| 519s | is very satisfying and players can even |
| 521s | just walk around without breaking |
| 523s | anything you can hear the machine moving |
| 524s | and all of that so it's a very |
| 526s | complicated tile set would you say it |
| 528s | was the most complicated tile set you've |
| 530s | had to work on I think so far yeah I |
| 532s | mean the open World stuff is obviously |
| 533s | very complicated and there's a lot that |
| 535s | goes into the open worlds but in terms |
| 537s | of tile sets this is probably the most |
| 539s | complicated but I I I knew immediately |
| 541s | that the breakable stuff was was working |
| 543s | when I couldn't stop breaking things |
| 545s | it's like every time I'm running around |
| 547s | testing it's just just constant constant |
| 550s | breakables I love that we also met some |
| 553s | new faces in the labs let's talk about |
| 555s | the |
| 556s | CIA Reb how did this cast of characters |
| 559s | come to be right well when we originally |
| 563s | came up with the idea that we would find |
| 565s | Albert and trade's laboratory we were |
| 567s | trying to think of how we could make a |
| 568s | Syndicate out of kind of nothing cuz we |
| 571s | didn't know what the laboratory would |
| 573s | would host and I think there was a |
| 576s | moment when I remembered like how the |
| 577s | Russian sent Leica to space as like the |
| 579s | first animal in space and I was like oh |
| 581s | Alber would have sent animals into the |
| 583s | void at some point and they would have |
| 585s | come back speaking in void tongue and |
| 587s | that seems like a really compelling way |
| 589s | to start a character Arc for Al in some |
| 592s | of his lesser known science especially |
| 594s | because we knew he had a bond with |
| 595s | animals because of Kos from his entries |
| 598s | so um we the first one that came |
| 600s | together was the norg and I was like oh |
| 602s | sending a fish to the void and coming |
| 604s | back smart just makes sense and then we |
| 607s | actually had the um tag for as an art |
| 610s | asset I think one thing that we learned |
| 611s | in our pace of updates is if you have |
| 614s | something and it can work in an update |
| 616s | and you believe in it just go so we had |
| 618s | tager who is actually a deer species |
| 621s | that we were going to use in the planes |
| 622s | of idolon that never got used so I was |
| 624s | like oh he's going to the void and the |
| 627s | bird as well I was like sorry folks no |
| 629s | planet Earth for you you're going to the |
| 630s | void and we sent them all on their |
| 632s | journey and the rest is history I think |
| 635s | I remember an early version of that |
| 637s | actually that's right and I think we had |
| 638s | done sounds for it and everything and |
| 640s | then we pulled it I was like I'm not |
| 641s | going to waste work yeah into the voy so |
| 645s | yeah so it's all uh yeah sorry animals |
| 648s | we're efficient in our casting yeah for |
| 650s | people listen we got to got to do it |
| 653s | love it and the sound team how different |
| 655s | was it setting up all this voiceover |
| 657s | work for Animals I mean when we saw this |
| 660s | I think in initially we went to oh we're |
| 662s | going to have to process the voices a |
| 663s | lot add a lot of animal sounds in |
| 666s | between words but as we began to receive |
| 669s | the performances back from the actors |
| 671s | they were so strong that the decision |
| 673s | was made to just feature them basically |
| 675s | without any processing I think there's a |
| 677s | tiny little bit um here and there Bird 3 |
| 681s | almost sounds like there's animal noises |
| 684s | introduced but that's just the actor's |
| 685s | performance um so yeah we just kept it |
| 687s | super clean super raw and and featur |
| 690s | their their Great Performances it's all |
| 692s | about the casting too right like it's |
| 693s | such an important part of of the whole |
| 696s | thing and people don't think about that |
| 698s | as much it's like obviously great |
| 699s | writing and everything as well but when |
| 701s | you cast the right person it just works |
| 703s | and they embody that character right and |
| 705s | it just makes our job so much easier too |
| 707s | so yeah yeah totally I mean getting your |
| 710s | heartbroken by a ston you just end up as |
| 712s | a talking fish in Warframe that's I the |
| 715s | ultimate payback payback payback it's |
| 718s | been yeah the team that worked on on |
| 719s | that the writing everything was just |
| 722s | really lovely to behold and watch it |
| 723s | come together let's check in on our cast |
| 726s | of Critters |
| 728s | now hey how's it going are we |
| 733s | winning we all got something to do Mr |
| 736s | Fish and ai's got his thing Mr tager got |
| 739s | his thing I got my thing it's so nice |
| 750s | another day another nrel another poke in |
| 753s | the eye for the mother hugger that |
| 754s | consigned us to this mess come on let's |
| 761s | roll are we heading out |
| 766s | then |
| 770s | yep on you day dwns let us to |
| 775s | work yes yes go good |
| 782s | a good day to |
| 783s | you I love |
| 787s | you I love that line so so much love |
| 791s | you uh as you know we had a followup |
| 794s | update to Whispers In The Wall Dante |
| 797s | Unbound now the team had a chance to |
| 799s | cook up some unique vocals for this |
| 801s | update theme and they bring such a great |
| 803s | tone to the update Matt tell us a bit |
| 806s | about how the process of setting the |
| 809s | stage for page master Dante went yeah |
| 812s | well uh we had a piece that we I think |
| 815s | we actually showed this at last tenoc |
| 817s | con um a friend of mine Alex Samra sang |
| 820s | on it um and it was a section of an |
| 823s | ambient track that I did and I think it |
| 825s | was actually word from Reb that that was |
| 828s | like your favorite section and so we |
| 830s | were like how about we make a a combat |
| 833s | section or a combat track out of that |
| 835s | section um so I got Alex back over I |
| 838s | wrote a a new piece and featured the |
| 841s | same Melody but like the combat version |
| 843s | of it um and Alex just nailed it he he |
| 846s | had done a bunch of throat singing and |
| 848s | stuff for me as well um so he has like |
| 851s | the ability to do the really straight uh |
| 854s | beautiful melodic singing but then he |
| 856s | can also do the really intense like low |
| 859s | throat singing so we kind of just found |
| 861s | a happy medium and uh yeah his |
| 864s | performance was amazing I love it and as |
| 867s | you mentioned the vocalist Alex Sam does |
| 870s | make your return and we have a behind |
| 871s | the scenes video of him recording some |
| 873s | of the vocals for the Dante Unbound |
| 874s | update theme |
| 890s | [Music] |
| 902s | [Music] |
| 907s | [Applause] |
| 912s | amazing love it such a great Melody a |
| 916s | great little little Melody there |
| 918s | fantastic and some more void tongue |
| 920s | there too yes did Alex mention it was |
| 923s | hard to sing in a language he's never |
| 925s | read before it was actually okay cuz uh |
| 928s | he's also a singer so he does a lot of |
| 931s | do's and da and bips and Bops so he uh I |
| 934s | just I transl I said like this is kind |
| 936s | of how I'm saying it sorry writers if we |
| 939s | pronounced anything differently than |
| 940s | what you imagined but you know we just |
| 942s | used our our best interpret |
| 944s | interpretation of it so uh yeah |
| 947s | hopefully there's no void tongue |
| 948s | Specialists out there yeah anyone |
| 951s | scrutinize I love the uh void tongue and |
| 953s | Jazz connection I know I feel like jazz |
| 955s | just caught so much shade for being also |
| 957s | like it's the jazz is like the voice |
| 959s | tongue of music so I love it well let's |
| 963s | switch gears to a very recent Quest Jade |
| 967s | Shadows o spoilers kind of spoilers |
| 971s | actually yes spoilers yes uh rep this |
| 974s | Quest is an incredibly unique storyline |
| 976s | for Warframe keeping it light on |
| 978s | spoilers did you have an idea of where |
| 980s | you wanted the music to transport us |
| 981s | with the story of stalker and Jade yeah |
| 984s | so Jade shadows as a quest had actually |
| 986s | been in development for about 18 months |
| 988s | with different story beats and it was |
| 991s | like stock like we wanted the new war |
| 992s | ends stalker story stalker story and we |
| 995s | kept churning and churning and then when |
| 997s | Mike skyers proposed the choir frame |
| 1000s | that you know as Jade it really made |
| 1002s | every piece of idea fit together with oh |
| 1005s | Okay Jade and stalker are in the same |
| 1006s | update and they have a story together |
| 1008s | and when skyers called it the choir |
| 1010s | themed frame right away that set in |
| 1013s | motion a series of sound decisions and |
| 1015s | then when the story finished and we kind |
| 1018s | of like looked over the script and it |
| 1020s | was this is what's going to happen like |
| 1022s | how can you make this work because |
| 1024s | there's I don't think there's any way |
| 1026s | that the story we told in Jade Shadows |
| 1029s | would have worked with like of course |
| 1032s | you know if you can't hear it that's of |
| 1033s | course fine but the music was an |
| 1035s | artistic Choice uh to S to pair with the |
| 1038s | animations that you can see so that uh |
| 1041s | yeah yeah we took that theme and and ran |
| 1044s | with it and with with the theme for Jade |
| 1047s | Shadows specifically I think we wanted |
| 1049s | bring together a lot of themes from uh |
| 1053s | older parts of Warframe as well uh so |
| 1056s | we're we're bringing in you know |
| 1057s | stalker's theme Jade's theme tying it |
| 1060s | together with you know the Naga drums so |
| 1062s | there's a lot of pieces that we wanted |
| 1064s | to incorporate into this so kind of this |
| 1066s | big ball of stuff you know eventually |
| 1068s | throwing that over to Matt and then uh |
| 1070s | when I heard kind of Matt's first draft |
| 1072s | it was like yes this is this is totally |
| 1074s | going to work the big beautiful section |
| 1076s | where the choir kind of swells and |
| 1078s | ascends um yeah it was It was kind of |
| 1080s | great from the get-go and then after |
| 1082s | that it was just on to polishing it up |
| 1084s | and working on different production |
| 1086s | elements love it and you guys got to |
| 1088s | work with a choir and did a lot of |
| 1089s | recording sessions for that how was that |
| 1091s | experience for you with the uh for you |
| 1093s | guys oh it was amazing I mean I love |
| 1096s | being able to go to a studio and record |
| 1099s | live anything any musicians vocalists |
| 1102s | and uh this was a special one because we |
| 1105s | were able to get 12 singers all in one |
| 1107s | same the same room and |
| 1109s | uh you know hearing my theme the first |
| 1112s | time was just like oh yeah okay that's |
| 1114s | perfect that's way better than the midi |
| 1117s | um that was just a placeholder and uh |
| 1120s | yeah yeah it it it was it was great |
| 1122s | awesome and we do have a behind the |
| 1124s | sounds look at how that choir session |
| 1126s | went let's take a look get your Kleenex |
| 1128s | ready |
| 1132s | [Music] |
| 1159s | I'm Eric Preston I'm audio lead at |
| 1160s | digital extremes I've been here for |
| 1162s | coming up on 10 years and here to talk |
| 1164s | about the music and sound effects for |
| 1166s | Jade Shadows they kind of do a pitch for |
| 1168s | her landing and and then I guess you'll |
| 1169s | take that middle section as the move |
| 1171s | right exactly yeah I'm Mark perin I'm a |
| 1174s | sound designer on Warframe here at |
| 1175s | digital extremes I've been here for uh |
| 1178s | just about 5 years we'll get those |
| 1180s | shouted as well as like an awe I've got |
| 1182s | a choir background myself so when I |
| 1184s | heard that there was going to be the |
| 1185s | choir frame I asked Eric if I could take |
| 1187s | the sound design that's one ability that |
| 1190s | chord right you can cast any of the |
| 1193s | three f a c sh abilities while you're up |
| 1198s | there |
| 1200s | so we need to keep keep it pretty keep |
| 1202s | it the |
| 1205s | same when Mark was kind of workshopping |
| 1208s | his ideas for the choir he had wanted to |
| 1211s | record a live choir we were going to do |
| 1213s | it separately but after I'd spoken to |
| 1216s | Matt and we decided to record a choir |
| 1218s | for the music then we thought it was |
| 1221s | just a natural progression to do a |
| 1222s | session that included both the music and |
| 1225s | the sound effects for the Warframe so |
| 1227s | yeah |
| 1229s | so we wanted there to be that Coral |
| 1231s | aspect for sure but we also wanted there |
| 1233s | to be a bit of |
| 1238s | dissonance and add a little bit of that |
| 1240s | strange tone that you hear in the |
| 1242s | Warframe so there's lots of offkey |
| 1244s | singing lots of whisper shouting from |
| 1247s | the |
| 1249s | choir we kind of played with all sorts |
| 1251s | of different vocal effects chords |
| 1255s | notes we wanted to tap into the strange |
| 1258s | sounds of that they were able to |
| 1260s | [Music] |
| 1264s | produce the choir is so talented that |
| 1267s | whenever we would suggest ideas or want |
| 1269s | to try different ideas they could |
| 1271s | reproduce that very quickly on the |
| 1274s | fly it felt like s having your own live |
| 1278s | synthesizer except they're human beings |
| 1280s | and they're |
| 1281s | amazing cool was the tuning of those |
| 1285s | chords okay all good Eric definitely had |
| 1288s | some great ction as to how he wanted the |
| 1291s | frame uh overall to sound I had some |
| 1294s | specific ideas for the four abilities |
| 1296s | that I wanted to hear and then Matt was |
| 1299s | able to pull that all together in a very |
| 1301s | musical way and in a way that fits with |
| 1304s | the music that we'd also recorded for |
| 1306s | Jade all of the notes that you hear in |
| 1309s | the frames abilities are all in the same |
| 1311s | key and in one chord actually that fit |
| 1313s | really well with the music that we' |
| 1315s | already recorded |
| 1323s | whenever you're in the studio recording |
| 1326s | the magic and the feel that you get from |
| 1328s | live musicians you just can't reproduce |
| 1330s | that uh so that's something that we'll |
| 1332s | definitely be looking to do for score |
| 1334s | again in the |
| 1335s | [Music] |
| 1343s | future amazing |
| 1352s | now Mark a choir background oh tell us a |
| 1356s | bit more about that uh yes shout out to |
| 1359s | am choirs of Canada uh yeah local very |
| 1364s | renowned local choir here uh I grew up |
| 1366s | uh singing so I've got a coral |
| 1367s | background yet I was very excited when I |
| 1370s | heard about Jade I absolutely wanted to |
| 1372s | grab the sound designed for her was |
| 1374s | there something how come I'm only |
| 1374s | finding out about this now Mark come on |
| 1376s | where have you been hiding this |
| 1380s | secret might have come up in an |
| 1381s | interview |
| 1382s | George |
| 1383s | oh what were some of the specific things |
| 1386s | from your time in acquir that jumped out |
| 1388s | when you were making the ability sounds |
| 1389s | for J sorry say that again Zach what |
| 1391s | were some of the things that you had |
| 1393s | from your time inquired that jumped out |
| 1395s | right as you were making these |
| 1397s | abilities honestly a lot of the Sounds |
| 1400s | in Jade and a couple people in the choir |
| 1402s | uh that we recorded with Matt remarked |
| 1405s | on this that it's really a lot of vocal |
| 1408s | warm-ups that you're hearing in Jade |
| 1410s | it's a lot of that that whisper shouting |
| 1413s | the dissonance it's uh people loosening |
| 1416s | up their voices and you just get some |
| 1419s | really cool creative sounds when there's |
| 1421s | a group of people doing that and they |
| 1423s | play off each other as well uh yeah it's |
| 1425s | just something that you need live |
| 1428s | singers to be able to do like Eric said |
| 1430s | you can't just use a synthesizer for |
| 1432s | that I love it right let's move on to |
| 1435s | our next topic weapons and warframes if |
| 1439s | you've seen a devstream before we love |
| 1440s | taking a look at how certain weapons in |
| 1442s | warframes are made directly from the |
| 1444s | deaths of our sound designers and we do |
| 1445s | have a few videos for you today covering |
| 1447s | all things Jade Shadows but before we |
| 1450s | dive in Mark again you had a chance to |
| 1453s | do some of the ability ons for Jade as |
| 1455s | we were talking about how did that |
| 1456s | differ from previous Warframe sounds |
| 1458s | that you you've worked on yeah I guess |
| 1460s | just coming back to the coral background |
| 1462s | for Jade I had a pretty good sense right |
| 1465s | out of the gate |
| 1467s | the the old overall tone that I was |
| 1469s | going for um it wasn't something that I |
| 1472s | had to figure out or sit down |
| 1474s | and you know Workshop I had a pretty |
| 1477s | good sense in my own mind of the type of |
| 1480s | tone we were going for and that's pretty |
| 1481s | similar to what you hear and then for |
| 1483s | the more to to bring that into the |
| 1486s | Warframe language of sound design Eric |
| 1488s | had some great uh design Direction there |
| 1492s | as well and in terms of dealing with the |
| 1495s | choir themselves I mean Matt's the choir |
| 1498s | Whisperer over here he was able to take |
| 1500s | what was in my head and just communicate |
| 1502s | it to them in just an incredible way and |
| 1505s | try out some new things too well Mar |
| 1506s | Mark had a lot of great ideas and I |
| 1509s | would just be like okay let's try that |
| 1511s | and then uh basically direct them if |
| 1513s | we're wavering pitch or something I'd be |
| 1515s | like if I go up we're all going up or if |
| 1518s | I'm like going up on this side and down |
| 1520s | on this side so we just like got them |
| 1522s | all doing a bunch of experiments and and |
| 1525s | you'll hear it in the upcoming videos |
| 1527s | that they were put to good use yeah |
| 1530s | absolutely we got a great library of |
| 1532s | sounds now with this choir um you're |
| 1535s | going to hear a lot of it even later on |
| 1537s | today on some of the 1999 stuff oh yeah |
| 1540s | oh my goodness hell yeah well let's take |
| 1545s | a listen to what you cooked |
| 1547s | up hey I'm Mark and I'm a sound designer |
| 1550s | here at digital extremes today we're |
| 1552s | going to be taking a look at the sounds |
| 1554s | behind Jade's thirdd ability let's take |
| 1556s | a quick listen to how the ability sounds |
| 1558s | in |
| 1562s | game now let's check out the reaper |
| 1564s | session so we can peel back the layers |
| 1566s | that make up this ability sound let's |
| 1568s | take a listen to Just the Coral sounds |
| 1570s | in this |
| 1572s | [Music] |
| 1575s | ability now let's mute the choir to hear |
| 1578s | everything |
| 1579s | [Music] |
| 1580s | else that's good but what really makes |
| 1583s | Jade special is all that choir and so |
| 1585s | here's how that fits in first we have |
| 1587s | the initial impact |
| 1591s | this is made up of a |
| 1595s | shout some harsh |
| 1598s | Whispers And the choir singing |
| 1603s | Accord we also have this sustained |
| 1605s | section which represents the eyes that |
| 1607s | surround Jade during this |
| 1611s | ability and making up this section we |
| 1614s | have another more dissonant choir chord |
| 1617s | [Music] |
| 1619s | and some more sustained choir |
| 1621s | [Applause] |
| 1623s | Whispers And now let's listen to these |
| 1625s | without any effects to get a better |
| 1627s | sense of how the choir sounds on their |
| 1632s | own that's incredible but we still want |
| 1635s | to add a bit of movement there are a |
| 1637s | handful of plugins on each of these |
| 1638s | tracks but this spin Tracer is really |
| 1641s | doing some heavy lifting it's kind of |
| 1643s | like a granular synth meets Doppler and |
| 1645s | it has some pretty good visuals to show |
| 1647s | how we're throwing the Whispers all |
| 1649s | around to add some movement and now that |
| 1651s | we have Jade's voice nailed down let's |
| 1653s | take a quick listen to the other layers |
| 1655s | that make up a lot of the impact and |
| 1657s | sci-fi elements of Jade sound we have |
| 1660s | our LF layer truly a must for any |
| 1663s | Warframe some glass impacts with delay |
| 1666s | added for Fantastical Vibes and some |
| 1669s | mid-frequency synth to round it all |
| 1671s | [Music] |
| 1672s | out with an ear for these elements on |
| 1675s | their own let's take one last listen to |
| 1677s | the ability in game |
| 1689s | love it thanks Mark yeah thank you |
| 1691s | thanks |
| 1693s | amazing the whispering is making it very |
| 1697s | hard to play Jade late at night because |
| 1699s | they're all around your head and you're |
| 1701s | like someone's behind me awesome uh of |
| 1705s | course this update also featured a fan |
| 1707s | favorite character the |
| 1710s | stalker yeah cheers for the stalker I |
| 1712s | love the stalker but more importantly |
| 1715s | stalker generously donated the blueprint |
| 1716s | for his sick ride the new stalker |
| 1719s | landing craft there it is uh sound |
| 1722s | designer Chris Tara is going to take us |
| 1724s | behind the scenes on how the sounds were |
| 1725s | made for this one-of-a-kind landing |
| 1729s | craft hey everyone it's Chris from The |
| 1731s | Sound team today I want to show you how |
| 1733s | I did the sound design for stalker's |
| 1735s | Terror landing craft skin let's go for |
| 1738s | the terror landing craft I wanted to |
| 1739s | have sound elements that sounded ominous |
| 1742s | and Powerful just like stalker I also |
| 1744s | wanted it to be completely recognizable |
| 1747s | as stalker ship but first I needed |
| 1749s | realistic sounds for the landing Craft's |
| 1752s | engine lucky for me our team recorded |
| 1754s | jet sounds at the London air show a few |
| 1755s | years back I used these jet flybys as a |
| 1758s | core part of my |
| 1765s | sound thanks guys first here's the jet |
| 1768s | sounds on their |
| 1770s | [Applause] |
| 1778s | own then I added some low frequency |
| 1780s | droning and some aggressive Thruster |
| 1793s | sounds now let's stalker IE it your |
| 1797s | sentence |
| 1799s | is death I started with the stalker bow |
| 1802s | fire sound first I Tim stretched it then |
| 1806s | I added some processing then I ramped |
| 1808s | the pitch up over the course of the |
| 1811s | [Applause] |
| 1812s | [Music] |
| 1813s | [Applause] |
| 1813s | [Music] |
| 1818s | sound next I took samples of stalker's |
| 1821s | breathing I pitched it down and I added |
| 1823s | some processing |
| 1825s | [Applause] |
| 1829s | and here's the final result the terror |
| 1831s | landing craft taking |
| 1833s | [Applause] |
| 1845s | off and there you have it thanks for |
| 1847s | watching and enjoy the rest of |
| 1849s | [Music] |
| 1853s | tenacon love it thanks Chris thanks |
| 1856s | Chris is here right now somewhere Chris |
| 1858s | here sh sh K yourself Chris thank you uh |
| 1862s | now we did have a taste of some stalker |
| 1863s | gameplay with the DU Paradox last year |
| 1866s | but his ability's got a Fresh coat of |
| 1868s | paint for Jade Shadows sound designer |
| 1870s | Giovanni agapito is going to show us how |
| 1872s | those ability sounds for stalker were |
| 1875s | made hey ten my name is Joan and I'm |
| 1878s | sound designer at De today I'm going to |
| 1881s | show you how I created the sounds of one |
| 1884s | of the stalker abilities first let's |
| 1887s | listen to the sound in game |
| 1894s | for the stalker we wanted to maintain |
| 1896s | the balance between a very feared |
| 1898s | character like an overall dark Vibe but |
| 1901s | at the same time without losing the |
| 1903s | game's Sonic pet for the punishment |
| 1906s | ability I created three sounds that play |
| 1909s | at the beginning middle and end of it |
| 1912s | let's hear the first of these sounds |
| 1917s | [Music] |
| 1919s | this one has some really cool layers for |
| 1921s | example this energy layer that has a |
| 1923s | pitch Automation and becomes more acute |
| 1926s | over time creating a Sonic tension until |
| 1929s | the stalker releases the projectiles at |
| 1931s | the |
| 1933s | [Music] |
| 1936s | end for the build up sound there are |
| 1938s | more tonal and sci-fi elements as you |
| 1941s | can |
| 1946s | notice one of the layers say a really |
| 1948s | cool Automation in one of the plugins |
| 1951s | which makes the sound becomes a riser |
| 1953s | until the last sound is play |
| 1959s | it let's hear the sound of projectiles |
| 1962s | being released at |
| 1966s | enemies for that I created several |
| 1969s | wishes using my own mouth and made them |
| 1972s | very high pitched distorting each layer |
| 1975s | a little to contribute to a more sci-fi |
| 1977s | vibe |
| 1981s | after putting out together this is what |
| 1983s | the punishment ability sounds like in |
| 1995s | game so that's it thank you very much |
| 1998s | for watching this behind scenes and I |
| 2000s | hope you enjoy the rest of the show |
| 2002s | bye |
| 2004s | bye thanks Giovani |
| 2009s | all right before we move on we actually |
| 2011s | have an audience question all the way |
| 2013s | back from a Dev shorts in April the |
| 2016s | question is what is your go-to software |
| 2019s | for creating these sounds do you have a |
| 2021s | plug-in or tool that you can't live |
| 2023s | without we'll start with you Eric unless |
| 2025s | Reb you've been dabbing in some sound |
| 2027s | design lately hey I just do what Eric |
| 2029s | tells me when it comes to sound so get |
| 2031s | in the booth cry cry some |
| 2034s | more cry |
| 2036s | more okay |
| 2039s | yeah uh we use a uh well I use a program |
| 2042s | called Reaper I think most of the team |
| 2043s | does too uh Matt you use logic right |
| 2046s | yeah yeah um so yeah we use Reaper as |
| 2049s | our as our Daw that's what you saw on |
| 2051s | the screen in the videos and uh yeah my |
| 2053s | favorite plugin is the L2 limiter I |
| 2056s | definitely cannot live without that one |
| 2057s | so did they pay you to say you that some |
| 2060s | big L2 heads Mone in the |
| 2064s | house my turn right your uh you you see |
| 2068s | the uh spin Tracer I'm milking every |
| 2070s | drop I can get out of that he's also got |
| 2072s | shares in spin Tracer that's |
| 2075s | right uh another one that I uh probably |
| 2078s | put on it's in every session almost |
| 2081s | every track uh kiloh Hearts has this |
| 2082s | little plug-in called hos and basically |
| 2086s | what that does is just delays your left |
| 2089s | or right channel by a anywhere from a |
| 2092s | few to 100 milliseconds and spreads your |
| 2096s | stereo image |
| 2098s | so you can turn any mono sound into a |
| 2100s | stereo sound is what you're saying uh I |
| 2103s | think it already needs to |
| 2107s | be no you're |
| 2109s | right it's my boss you're |
| 2111s | [Laughter] |
| 2113s | right you're hired |
| 2116s | yeah yeah for me I think Q3 I really |
| 2119s | love Pro Q3 just great EQ I like |
| 2122s | microshift as well and I use that on uh |
| 2125s | uh on all the prime trailers uh widen |
| 2128s | the voices and stuff but you know at the |
| 2130s | end of the day we get this question a |
| 2131s | lot too but it's it's important to just |
| 2134s | not think too much about plugins and and |
| 2136s | software and everything and it's like |
| 2137s | it's more about what you put into it and |
| 2140s | where do you start with you know what |
| 2141s | the sounds you start with again like the |
| 2143s | voice acting it all STS it all starts |
| 2145s | with good source right so you have good |
| 2147s | source going in and that's that's the |
| 2149s | big thing and then the creativity behind |
| 2151s | it um yeah don't let don't let that |
| 2153s | limit you in your creativity if you |
| 2155s | don't have a certain plugin for sure so |
| 2159s | I think the analogy that probably a lot |
| 2160s | of people here would would is easy to |
| 2163s | digest is if you've ever played the |
| 2167s | vocal patch on an electric keyboard and |
| 2170s | you can hear the Oz doesn't sound like a |
| 2173s | real choir but going back to the real |
| 2175s | choir that we were able to record and |
| 2177s | that Source that's what we're talking |
| 2179s | about when we talk about having good |
| 2180s | sources is it's always unique right |
| 2182s | there's always a unique performer it's |
| 2184s | in a unique space it's a unique delivery |
| 2186s | it's always going to feel different and |
| 2187s | that's it's the magic there right the |
| 2189s | magic of the of the performance and and |
| 2192s | of the the sonic fingerprint really yeah |
| 2194s | it's so important for sure yeah I'll |
| 2197s | give a shout out to a little plugin |
| 2199s | called little alter boy um it's uh I it |
| 2203s | was used a ton on anytime I need to have |
| 2207s | really low vocals and I'm doing it |
| 2209s | myself and I can't sing a certain low |
| 2212s | note I just you can pitch it's basically |
| 2215s | you can pitch it down but you can also |
| 2216s | change the formance so you can adjust |
| 2220s | how you can make yourself sound like a |
| 2221s | chipmunk and you like get really high |
| 2223s | and nasally or you can have sort of this |
| 2226s | dark sort of sound and so for all the |
| 2231s | like that I think i' pitch that down an |
| 2235s | octave and and you can adjust it to make |
| 2237s | it kind kind of sound natural um but I I |
| 2240s | think it worked really well with the |
| 2241s | void tongue and stuff CU it just sounds |
| 2244s | kind of |
| 2245s | Otherworldly that's a great plugin yeah |
| 2247s | back there that one up for sure boy |
| 2249s | tongue brought to you by little alter |
| 2251s | boy exactly just big alter boy oh my God |
| 2255s | hey I love the hey yeah I sang it in my |
| 2257s | head for like yeah that's awesome well |
| 2259s | if you asked that question back in April |
| 2261s | there you go my next question for the |
| 2263s | cast is focused on our weapons many of |
| 2266s | our weapons can be identified just from |
| 2268s | their shot reload or swing how do you |
| 2272s | craft a weapon's identity through sound |
| 2275s | yeah weapons are a really fun uh process |
| 2277s | and I think everyone on the sound team |
| 2279s | really enjoys working on them um we all |
| 2282s | take turns doing weapons I would say um |
| 2286s | but the the core experience of doing a |
| 2289s | weapon is an iterative one uh because |
| 2291s | it's a sound that you hear so often uh |
| 2294s | there's often a lot of time put into |
| 2297s | just playing with it so after we've done |
| 2299s | our first draft getting the character |
| 2301s | right getting the punch right and |
| 2302s | getting the power right then it's just a |
| 2303s | matter of hearing it over and over and |
| 2305s | over and kind of sanding off all the the |
| 2308s | off edges um yeah it's it's a super fun |
| 2311s | process and uh each one is unique uh |
| 2314s | because we all work on them we it's |
| 2316s | funny too because it's like you have to |
| 2318s | kind of be happy with what goes in |
| 2320s | because if you try to change it later |
| 2322s | you know you'll hear about it in the |
| 2324s | forums no bueno and it's it's but it's |
| 2326s | great though it's like the fact that |
| 2327s | people get so attached to the sound of a |
| 2329s | weapon it's just yeah it's so it's so |
| 2332s | awesome to to to see that the Sonic |
| 2334s | identity is is just so resonates with |
| 2336s | people so much sometimes in bad ways but |
| 2339s | most of the time in good ways seems like |
| 2341s | you're still traumatized from the Braton |
| 2342s | Vandal sound change and lot of little |
| 2345s | trauma there the heck too I think back |
| 2347s | in the day it was what the heck cuz we |
| 2349s | changed it but we changed it back too so |
| 2352s | that's okay that's okay now there is |
| 2354s | such a thing as riters block do you guys |
| 2356s | have sound block have you ever just been |
| 2359s | struggling to find that perfect identity |
| 2361s | for a weapon through the sound oh yeah |
| 2363s | for sure all the time it's a totally |
| 2365s | normal part of the process I think I |
| 2367s | think with any kind of creative |
| 2368s | discipline you you're always going to |
| 2369s | run into a block or where the ideas |
| 2371s | aren't coming as easily and uh usually |
| 2374s | like you said at the very beginning of |
| 2375s | the panel a good a good long walk in the |
| 2377s | park does the trick for me at |
| 2380s | least sometimes for me too like when |
| 2382s | that happens I'll just go into the sound |
| 2383s | library and instead of using Search |
| 2385s | terms I'll just randomly click on things |
| 2387s | and listen to them and sometimes you |
| 2389s | come up with the most unique sounds that |
| 2391s | way because something you wouldn't |
| 2392s | expect would be like oh that'll actually |
| 2394s | work really well for this weapon and |
| 2396s | that's what gives you the Unique Kind of |
| 2398s | weird sounds right the unexpected I find |
| 2400s | I do that a lot actually yeah exploring |
| 2403s | old libraries that you've recorded that |
| 2405s | you're just like when am I going to use |
| 2406s | this but you record it anyways I've got |
| 2408s | stuff that I recorded a long time ago |
| 2410s | and come across it and I'm like oh man I |
| 2412s | forgot about this sound this is just |
| 2413s | perfect here so yeah it's always fun |
| 2415s | it's like Christmas every day when you |
| 2417s | do |
| 2418s | that love that well a similar topic but |
| 2422s | something more new/old let's talk about |
| 2425s | some 1999 stuff today as we saw on the |
| 2428s | art panel things are a lot more real how |
| 2432s | was the sound design process for things |
| 2433s | that have a real life counterpart was it |
| 2435s | easier or was it |
| 2437s | harder uh Mark I'll let you handle that |
| 2439s | one man if you want you've designed a |
| 2441s | lot of the 1999 stuff we're talking |
| 2443s | about we'll leave the thing for later |
| 2445s | we'll leave the thing okay so uh working |
| 2448s | on 1999 stuff I'd say it's more of a |
| 2452s | technical challenge uh if anything to |
| 2455s | get uh to get some of these real world |
| 2458s | sounds uh into the game uh in ways that |
| 2462s | we new systems that you're able to |
| 2465s | interact with things that you haven't |
| 2466s | really been able to interact with before |
| 2468s | and figuring out how are we going to |
| 2470s | ground that in reality while also giving |
| 2473s | it that signature sci-fi sound that you |
| 2477s | know um that we love to put into |
| 2479s | Warframe yeah a lot of it comes down to |
| 2481s | subtlety as well um I mean in in some of |
| 2485s | weapons traditional Warframe weapons we |
| 2487s | can go as crazy as we want especially |
| 2489s | with the kind of the Corpus stuff uh |
| 2491s | there's really no limit to how Wild you |
| 2492s | can get um for these we're definitely |
| 2495s | taking it a more a more realistic |
| 2497s | grounded approach but we still love to |
| 2499s | put our spin on things you know kind of |
| 2501s | subtle interesting layers here and there |
| 2503s | that maybe are from a synthesizer or |
| 2505s | from just a weird library that we |
| 2508s | recorded a long time ago so there is |
| 2510s | still a little bit of that war frame |
| 2512s | iation that goes into uh all the sounds |
| 2515s | we've been making awesome of course |
| 2517s | course we have uh two Familiar Faces by |
| 2519s | now from 1999 Arthur and OE you may have |
| 2523s | seen him walking around the convention |
| 2524s | but the amazing benar and alphat |
| 2526s | Takahashi lend their voice to these new |
| 2528s | faces George once there was a time where |
| 2531s | we were recording our own staff for |
| 2533s | Warframe characters what's changed over |
| 2534s | the years now that we have these epic |
| 2536s | cinematic quests yeah it's pretty crazy |
| 2538s | to think like that it was from humble |
| 2540s | beginnings right where it was pretty |
| 2542s | much all staff you know like darvo uh |
| 2545s | sargus Ruck Lotus obviously um and yeah |
| 2549s | it it was a lot of fun because you could |
| 2551s | just like just grab someone after lunch |
| 2553s | and be like hey can you meet me in my |
| 2554s | office and we have some lines to record |
| 2556s | and it's kind of crazy too cuz one of uh |
| 2559s | you know one of the uh the employees who |
| 2562s | impressed me the most James he's so |
| 2564s | quiet and he's so like unassuming he's |
| 2566s | like oh hey how's it going then he gets |
| 2567s | in the booth he's like and you're just |
| 2570s | like where did that come from and so |
| 2572s | that was always cool but you know |
| 2574s | obviously as we've grown the universe |
| 2576s | and we've developed the character it's |
| 2578s | important to you know seek outside |
| 2580s | Talent as well but we still use people |
| 2581s | from in the office but yeah it's uh it's |
| 2584s | always great again like the sounds to |
| 2586s | have a mixture of of different flavors |
| 2588s | in there right so yeah love that uh now |
| 2592s | we do actually have a little tease of |
| 2594s | another character from 1999 just a |
| 2597s | little audio tease let's take a |
| 2600s | listen a slug dares to show its face at |
| 2605s | night o who Could That be I guess we'll |
| 2608s | have to just watch and find out now I |
| 2611s | know you guys had some fun with the |
| 2613s | music design for 1999 and we did get a |
| 2616s | little bit of a taste and Whispers In |
| 2617s | The Wall but Matt did it feel like you |
| 2619s | had a blueprint for '90s music We |
| 2621s | composing or did you want to make |
| 2623s | something unique that could still fit |
| 2624s | within |
| 2625s | Warframe yeah well it's it's a similar |
| 2627s | process every time um you know you got |
| 2630s | to do your research and and figure out |
| 2634s | okay what because you can say '90s music |
| 2636s | but it's like what what 90s music so we |
| 2639s | narrow that down we're like okay more |
| 2642s | rock industrial rock metal Punk okay |
| 2645s | we're getting closer and the first thing |
| 2648s | I did was that that combat track that |
| 2650s | you saw in the subway scene last Tenon |
| 2654s | and that kind of became I I did a bunch |
| 2657s | of creating sounds and finding sounds |
| 2660s | for that and then that session became |
| 2662s | sort of my template for where to start |
| 2664s | with a fresh piece of music um and |
| 2668s | that's kind of how you do it you just |
| 2669s | like start fresh but you have all these |
| 2671s | sounds that you can pull from so if I'm |
| 2673s | like oh I need a a lead synth and it's |
| 2675s | like oh well I have 10 of them right |
| 2677s | here let's see if any of these work um |
| 2680s | and yeah you just kind of keep working |
| 2682s | on it and talk to Eric he's like it |
| 2685s | let's get it sounding more Warframe okay |
| 2687s | what does that mean let's try some other |
| 2688s | thing you know like you just you |
| 2690s | experiment trial and error and |
| 2692s | eventually you have something in the |
| 2695s | game I love that now it wouldn't be a |
| 2697s | panel without a little bit of a tease |
| 2699s | let's listen to an upcoming track from |
| 2701s | 1999 |
| 2703s | [Music] |
| 2715s | [Music] |
| 2730s | [Music] |
| 2743s | night the little teeth yes love that |
| 2747s | excited to show you where that will be |
| 2749s | worldwide Premiere right there right |
| 2751s | worldwide Premiere what yeah yeah world |
| 2753s | yeah worldwide worldwide World premiere |
| 2755s | World premiere that's one of the uh the |
| 2757s | ambient tracks so you heard kind of the |
| 2760s | the combat version of that Whispers in |
| 2762s | the walls this is the the ambient |
| 2764s | version of it so yeah it really set the |
| 2766s | vibe and uh as soon as we introduced |
| 2769s | that into the the game it was like okay |
| 2771s | yeah locked in when we got that song so |
| 2774s | we have like in our internal channels |
| 2776s | where we work together we were really |
| 2777s | early in some of the 1999 World building |
| 2779s | for feel and we actually got that track |
| 2781s | dropped it in the internal Global |
| 2783s | Channel and said this song that ambient |
| 2786s | track everybody work to it so you can |
| 2788s | feel the tone of what we're going for so |
| 2790s | that was one of the first like |
| 2792s | established tone pieces and it's just |
| 2795s | I'm so excited to have it in the game |
| 2796s | yeah and there there's a theme in there |
| 2798s | that kind of became sort of the the |
| 2801s | Warframe 1999 theme so we'll be using |
| 2804s | that in other pieces and uh that kind of |
| 2807s | just happened accidentally it's one of |
| 2809s | those things where you write a set you |
| 2811s | know you're writing different sections |
| 2812s | to keep it fresh so it's not just one |
| 2815s | thing for four minutes and then it loops |
| 2817s | for an hour while you're playing um and |
| 2820s | Eric was like this this uh line right |
| 2823s | here let's let's turn that into the main |
| 2826s | theme so I was like okay cool it's |
| 2829s | always cool to evolve the universe too |
| 2831s | right even like musically and everything |
| 2832s | and to hear how it's it's becoming |
| 2834s | something else but yeah still maintain |
| 2836s | some of those Warframe Roots right which |
| 2838s | it's awesome totally yeah yeah we're |
| 2840s | trying lots of new stuff with the music |
| 2841s | this time around and Matt's been killing |
| 2843s | it so are we saying how many songs are |
| 2845s | in the demo tonight or is that part is |
| 2847s | that you you tell me would you like to |
| 2850s | we have five wow so yeah yeah stay tuned |
| 2855s | one demo in one demo tonight yeah so |
| 2857s | stay tuned for a lot of music tonight |
| 2860s | they're being very humble but it is |
| 2862s | truly ridiculous the the music tonight |
| 2864s | so I hope everyone will enjoy it later |
| 2867s | awesome well we have arrived at our |
| 2869s | final talking point of the day but it's |
| 2870s | a great one let's talk about the atama |
| 2873s | cycle oh yeah look at that thing it's |
| 2877s | it's beautiful crazy Mark beautiful tell |
| 2880s | us a bit about how the sound for the |
| 2881s | atama cycle was crafted mhm okay so this |
| 2884s | is we've come to the thing so yeah this |
| 2888s | is kind of what I was alluding to |
| 2890s | earlier uh the atomac cycle the |
| 2893s | direction on it was try and hit the |
| 2896s | engine as close to a '90s racing bike as |
| 2900s | you possibly can uh so that was a just a |
| 2903s | big challenge right out of the gates to |
| 2905s | get the engine to sound big and powerful |
| 2908s | but also realistic and |
| 2910s | then uh Eric gave some great direction |
| 2914s | as to where we could start to push some |
| 2916s | other things that the bike can do into |
| 2919s | more of the Sci-Fi realm but really keep |
| 2921s | that engine engine grounded the uh |
| 2924s | technical implementation on this was |
| 2925s | super tricky you you tried a bunch of |
| 2927s | stuff and yeah you you've been working a |
| 2929s | long time on it it turned out great yeah |
| 2931s | huge part of the work in this has gone |
| 2932s | into how are we going to get a bike to |
| 2935s | work in Warframe remember you started on |
| 2938s | and I remember seeing like an early |
| 2940s | version of it I was blown away at that |
| 2941s | point even just like with the technical |
| 2943s | implementation it's the first for like |
| 2945s | for for Warframe as far as like how it's |
| 2947s | all going in the engine a lot of |
| 2948s | programming a lot of cross inter |
| 2951s | departmental kind of uh work there too |
| 2954s | absolutely I want to say thanks to jeem |
| 2956s | because I could not have done could not |
| 2958s | have worked on the bike without him |
| 2961s | amazing audio programmer yeah he's great |
| 2963s | shout out to jam J yeah yeah and he |
| 2967s | represents turkey on the team AB that's |
| 2970s | right so if you're here from |
| 2971s | Turkey yeah just to what you were |
| 2974s | talking about George yeah the early uh |
| 2976s | proof of concept for the bike just had a |
| 2978s | s tone as an engine to show that as the |
| 2981s | bike increased in speed we could also |
| 2983s | increase pitch and as the bike leans and |
| 2987s | does different things that we could |
| 2988s | change the volume and pitch and that's |
| 2990s | all all thanks to this new tech that we |
| 2991s | have like all the gears and everything |
| 2993s | right like you're talking about that how |
| 2995s | like you have an in-depth knowledge now |
| 2996s | of how like bikes work too right like |
| 2998s | engineering wise cuz it's like you got |
| 3000s | to make it feel realistic in that sense |
| 3002s | right yeah and how do we make it feel |
| 3004s | responsive as well to to all the user |
| 3006s | input uh it's been yeah it's been a |
| 3009s | puzzle but it's been a fun puzzle to |
| 3010s | work on yeah I love that all right well |
| 3013s | before we sign off we have one more |
| 3015s | thing it's time for some audience |
| 3018s | participation yes we need all of you |
| 3020s | desperately uh it's very important my |
| 3023s | shirt will make a lot more sense at the |
| 3025s | end of the night uh but we do need a |
| 3027s | chant so similar to last year where we |
| 3029s | had the New Year's countdown we do need |
| 3031s | a chant this year Eric has the recording |
| 3034s | uh and I'm I'm hoping that you know Zach |
| 3036s | you just kick us off and we'll see what |
| 3038s | we can get from everyone here this is |
| 3040s | the biggest room we've ever had so this |
| 3041s | is our opportunity to get the most |
| 3043s | voices at once yeah look at all You |
| 3045s | Beautiful People yeah so this is great |
| 3047s | I'm sure you're loud too what would you |
| 3048s | like us to say the instructions are very |
| 3050s | simple you just have to chant the word |
| 3052s | online online on the count of three give |
| 3055s | me your best online chant online just |
| 3058s | like that and we're going to do it five |
| 3060s | times after five onlines I'm going to |
| 3062s | point at you all and you're going to |
| 3063s | give your best cheering Applause |
| 3066s | everyone ready all right three two one |
| 3072s | go |
| 3091s | oh my gosh wow do you think you uh got |
| 3094s | that |
| 3096s | one you're all hired |
| 3099s | W amazing look under your seat for your |
| 3104s | paycheck yeah amazing well we do have |
| 3107s | just time for one more question and I |
| 3109s | have to know on the couch what is the |
| 3111s | most difficult sound you've ever had to |
| 3113s | make in |
| 3115s | Warframe um |
| 3118s | grle |
| 3121s | sounds oooo burps barfs yeah yeah uh we |
| 3125s | have a resident kind of burping |
| 3126s | specialist Willam shaan who contributed |
| 3128s | his beautiful burping tones to |
| 3131s | grindle stay burping buddy stay |
| 3134s | [Laughter] |
| 3136s | Burpy okay uh honestly this bike uh yeah |
| 3141s | uh there were three animals that I had |
| 3143s | to put into it and trying to figure out |
| 3144s | how I could fit those in if you if you |
| 3147s | listen closely to the demo tonight |
| 3148s | you'll hear a lion a tiger and a bear oh |
| 3152s | my |
| 3153s | wow yes Octavia for me I remember |
| 3157s | working on that like forever trying to |
| 3160s | get all the music implemented the |
| 3162s | sequencer all of that that that was that |
| 3164s | was tough but it was great and yeah |
| 3167s | proud of that one but it was really |
| 3170s | hard amazing oh what well thank you |
| 3172s | everyone for tuning in to the sounds of |
| 3174s | the system panel huge shout out to you |
| 3176s | guys on the couch for sharing us a look |
| 3178s | into your world huge shout out to the de |
| 3180s | sound team as a whole they kill it with |
| 3182s | every single update we'll see you soon |
| 3184s | for the cosplay contest see you for |
| 3186s | cosplay thank you everyone bye everyone |
| 3187s | thank you thanks |