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2s | [Music] |
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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 |