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| 3s | foreign |
|---|---|
| 33s | hello everyone welcome to the telecon |
| 36s | 2023 sounds of the system panel over |
| 39s | here on the main stage at tanocon we are |
| 42s | going to take a little bit of a look |
| 43s | back at the 10 years of Warframe and |
| 46s | what it has sound like |
| 48s | uh I have some amazing guests up here so |
| 50s | if people are heading over to the stage |
| 52s | let's take a moment to introduce them |
| 53s | before we dive into everything sound |
| 56s | so closest to me is Miss Rebecca Ford hi |
| 59s | Bev what are you doing up here I'm just |
| 62s | here to you know talk about a couple |
| 63s | things these are the the real MVPs of |
| 66s | Warframe sound but I'm just excited to |
| 68s | be a part of the sound panel my name is |
| 69s | Rebecca Ford and I am the lotus in |
| 72s | Warframe very nice and then regrettably |
| 75s | for a lot of |
| 77s | and uh hi I'm George Spanos I'm the |
| 80s | audio director at digital extremes and |
| 82s | uh yeah I've been working on this little |
| 84s | game for I guess 10 years now with these |
| 86s | games for you George sorry |
| 91s | hi I'm Jeff hartling a senior sound |
| 93s | designer digital extremes I've been here |
| 95s | 13 years now |
| 97s | um and it's just been an amazing journey |
| 98s | to grow with Warframe and I'm looking |
| 101s | forward to the future yeah amazing |
| 104s | hey everybody my name is Eric Preston uh |
| 106s | lead sound designer and Warframe uh it's |
| 108s | amazing to see a whole bunch of faces |
| 110s | here it feels like it's been forever so |
| 112s | yeah super cool that you guys could all |
| 114s | join us for this panel and excited to be |
| 116s | here |
| 117s | hey everybody I'm Willem shonkin I've |
| 120s | been at De for uh 10 years I started in |
| 123s | 2014 so I guess nine and a half years |
| 125s | but I guess some of you might know |
| 128s | um some of the sounds I did was on |
| 129s | Guerra it was nidus Baruch and Goss to |
| 135s | name a few so those are some you know me |
| 139s | hey guys I'm Matthew Chalmers I'm fairly |
| 142s | new to Warframe uh just been working on |
| 145s | it for the last couple years I do the |
| 146s | music |
| 147s | um very excited to be here at my first |
| 149s | tenacon we're so happy to have you here |
| 152s | thank you everyone for joining us |
| 157s | you know as we're here at tennocon |
| 160s | celebrating 10 years of Warframe it's |
| 162s | inevitable that we're all going to look |
| 163s | back at truly How Far We've Come As game |
| 166s | devs because uh We've |
| 168s | dived into the archives and taken a look |
| 170s | at uh early Warframe and it sound Alexa |
| 173s | hell of a lot different than it does now |
| 175s | so before you get to it I have an asset |
| 178s | so we can listen to it and then we can |
| 180s | go from there |
| 186s | life support has been replenished |
| 192s | all right |
| 198s | that melee swing gets me every time it's |
| 201s | so good so why don't you tell us a |
| 203s | little bit about Warframe 2014 yeah I |
| 206s | mean 2014 geez yeah nine years ago uh A |
| 210s | lot's changed but you know we've tried |
| 211s | to keep a lot of consistency as well you |
| 214s | know I think one of the biggest things |
| 215s | for us is making sure we stay true to |
| 217s | the original Vision we developed but |
| 219s | growing it at the same time and then you |
| 222s | know sounds that we put in back then uh |
| 225s | you know some of them you you feel like |
| 227s | maybe you want to change but so many of |
| 229s | you of you players are you know said no |
| 230s | don't change them because you're so used |
| 231s | to them and you love them and so we try |
| 233s | to incorporate new with old and and make |
| 236s | it all kind of live together in this |
| 238s | beautiful uh beautiful universe so I |
| 240s | gotta ask specifically is the life |
| 242s | support sound in that camp because that |
| 245s | is the same sound that it's been for |
| 246s | like 10 years it probably is actually |
| 248s | there's there is a lot of like classic |
| 251s | sounds that are still the same uh yeah |
| 254s | yeah remember when you tried to change |
| 255s | the Bratton firing sound and then |
| 257s | reverted it because people love it that |
| 259s | was that was a whole Forum post that was |
| 261s | probably like 10 pages in the heck and |
| 263s | the heck and the heck what the heck |
| 265s | right |
| 266s | um yeah because we we had developed a |
| 267s | new weapon system for triggering you |
| 270s | know different layers of weapon when you |
| 272s | when you shoot the weapon different kind |
| 274s | of layers of it and so we got the bright |
| 276s | idea must have been what 2015 maybe |
| 278s | something like that to to change a few |
| 280s | of the weapons and we're like oh this |
| 282s | sounds much better now it's much cleaner |
| 284s | much punchier and then boy |
| 286s | you guys let us know what the heck were |
| 290s | we thinking so revert revert revert and |
| 292s | uh but you know what it's awesome it |
| 294s | just shows that everyone loves a lot of |
| 296s | the Sounds in the game which is more is |
| 299s | all we can ask for so I think that's the |
| 301s | busiest the sound forums have ever |
| 302s | gotten |
| 303s | oh that's not true that's not true |
| 306s | I know you know over the 10 years you've |
| 309s | managed to keep Warframe sounding new |
| 311s | and fresh but also the same so is there |
| 314s | like a core thread or like a line that |
| 316s | you have to walk over the past decade to |
| 318s | keep it feeling Warframe uh yeah I can |
| 321s | speak to warframe's design specifically |
| 323s | laboratoric frames himself I mean yeah |
| 326s | there's a Common Thread in the signature |
| 328s | that we want to create with those that |
| 330s | we still strive for today is that they |
| 331s | all sound unique and they're memorable |
| 334s | and iconic and you could not see them on |
| 337s | screen and you could just hear the sound |
| 338s | and you would recognize what Warframe |
| 340s | that sound is from |
| 342s | um and uh I think that kind of leads to |
| 345s | some valkyr where we started to add a |
| 348s | vocal to it and that added to another |
| 350s | level of uh of memorabilia to it and uh |
| 353s | yeah so it's uh and really cool and I |
| 356s | think you worked on that frame George |
| 357s | yeah yeah I think we yeah I it's that's |
| 360s | the thing right it's like it's trying to |
| 362s | have the consistency in trying to make |
| 364s | things feel new and fresh all the time |
| 366s | too right |
| 367s | um yeah yeah I mean you you spoke to |
| 370s | valkyr when you think of like Excalibur |
| 372s | and mag and volts there sounds are |
| 374s | fairly like maybe not simple but they |
| 376s | kind of get right to the point and |
| 378s | there's nothing complicated to it |
| 379s | whereas valkyr was any excuse to get |
| 382s | Megan to scream into the void basically |
| 384s | and she that was I think the first frame |
| 386s | that I had a human voice in it and we |
| 388s | you know I mean everyone knows you know |
| 391s | they don't speak and uh but you know we |
| 394s | um |
| 395s | I I forget what what the Genesis of the |
| 398s | idea was to put her put a voice in that |
| 400s | but you know people resonate so much |
| 401s | with the human voice and the Battle Cry |
| 403s | Just is such a signature and it's such a |
| 405s | good way of giving that frame its power |
| 408s | and it's it's uh you know feel yeah I |
| 412s | mean oh you go first it just has an |
| 415s | emotional resonance that you know comes |
| 416s | through I mean like at this point you |
| 419s | have so many warframes with voices in it |
| 420s | so we have valkyr |
| 422s | heaven |
| 425s | you're welcome may we get to listen to |
| 428s | you again |
| 429s | beautiful and then |
| 432s | angry yeah you probably told her that |
| 434s | anime sucks and that's all she needed |
| 438s | a point |
| 439s | um and then you know Cuervo is our next |
| 441s | Warframe with voices or our latest |
| 443s | Warframe with voices in it but over the |
| 445s | years you know has lore or different |
| 447s | aspects of the game kind of allowed you |
| 449s | to do more interesting with Warframe |
| 451s | sounds or is there anything that you can |
| 453s | think of Beyond voices |
| 456s | sorry I didn't really hear the question |
| 457s | no it's okay uh you know in warframes |
| 460s | Lord we've learned so much about |
| 461s | warframes themselves they might not |
| 463s | speak but I mean the story behind them |
| 465s | is definitely something has that allowed |
| 467s | you to do more interesting things with |
| 469s | Warframe sounds allowed you to break |
| 470s | previous rules that you might have set |
| 472s | for yourself yeah I mean you know we |
| 474s | always try to like break the rules and |
| 476s | we always try to think of like you know |
| 478s | we try to get you know what what is the |
| 480s | the idea behind the frame you know and |
| 483s | what you know is there a strong through |
| 485s | line that we can incorporate into the |
| 487s | sound and so like what Jeff said is that |
| 489s | you know the idea is that you can close |
| 492s | your eyes and hear the sounds and know |
| 494s | what the frame is right and so that's |
| 496s | that's the main guiding principle and |
| 498s | then just yeah challenging ourselves |
| 500s | because how many frames do we have now |
| 501s | 53 right so 54 announced later so it's |
| 506s | it's getting tough right so but you're |
| 507s | always trying to think of like what's |
| 509s | the next thing we can do so it's you |
| 511s | know doing field recording together new |
| 512s | and Unique Sounds |
| 514s | um you know working with new plugins |
| 515s | working with new synthesizers and all of |
| 517s | that kind of stuff to try to to give |
| 520s | each frame its own unique personnel |
| 522s | quality so yeah some of them have |
| 524s | animals in there as well so oh amazing |
| 526s | and one of them has a saxophone in it |
| 528s | but I'm not gonna say which what you |
| 531s | can't drop that info did you play it is |
| 533s | it you no no well maybe next time okay |
| 536s | but speaking of Cuervo uh we actually |
| 539s | have a fantastic video from Jess on our |
| 541s | sound team about the sound design for |
| 543s | his ability so here we go Dean if you |
| 546s | want to hit it |
| 547s | I can't see you but I'm assuming you'll |
| 549s | do it |
| 552s | hey everyone it's Jess here from The |
| 554s | Sound team today I'm going to be taking |
| 556s | you through a little bit of the sound |
| 558s | design from the coolerville Warframe |
| 559s | let's take a look cooler foe is a bit of |
| 561s | an angry boy so we thought it would be |
| 563s | unique to incorporate some heavy metal |
| 565s | vocals into the sound design for this |
| 567s | Warframe here is our fellow sound |
| 569s | designer Jeff destroying his vocal cords |
| 571s | and laying down some screams for the |
| 573s | Warframe |
| 575s | sorry to put your ears um |
| 581s | thanks Jeff |
| 583s | with a bit of audio processing magic in |
| 585s | Reaper those screams sound like this |
| 591s | let's record a few more things |
| 600s | and let's layer them with a bit more |
| 601s | source and Reaper |
| 613s | all together it sounds like |
| 617s | let's take a listen in the game |
| 624s | and there you have it thank you for |
| 626s | watching thank you for playing and I'll |
| 629s | see you next time have a great time of |
| 630s | con everyone |
| 634s | thank you Jess I think she's here |
| 636s | fantastic video thank you so much you |
| 640s | know so warframes have their own kind of |
| 642s | lore embedded it if you know anything |
| 643s | about calervo those chains make a whole |
| 645s | lot of sense I gotta say and the angry |
| 647s | screaming and the death and everything |
| 649s | that goes into it but you know through |
| 652s | sound and storytelling I think one of |
| 654s | the biggest drivers of that is uh are |
| 657s | voice actors and we are so lovely to be |
| 659s | joined by one on stage today I am not a |
| 662s | voice actor what did you voice I don't |
| 664s | know are you sure |
| 669s | have you been the Lotus the Lotus has |
| 671s | been with us for many many years uh I |
| 674s | think like Beyond 10 years like you were |
| 676s | open yeah close beta all that March |
| 680s | 2012. we did our some of our early |
| 682s | recordings for things it's been a long |
| 684s | time very convenient for you to name |
| 686s | that date because I have some old and |
| 689s | some more recent uh Lotus vo that we can |
| 693s | kind of compare to her journey over here |
| 703s | you are |
| 705s | a mask |
| 708s | with nothing behind it |
| 714s | so good I love her so much |
| 718s | I know brother yes papa rev she's so |
| 722s | great we love her |
| 729s | but you know the Lotus there's some |
| 731s | spoilers here but if you're a tunnelcon |
| 733s | like I'm sorry but uh the Lotus has gone |
| 736s | on a very long and complicated Journey |
| 738s | she's had many names and many faces you |
| 741s | know margulis the Lotus natal how have |
| 744s | you approached the different facets of |
| 747s | her such you know complex character and |
| 749s | made them feel as their own you know |
| 751s | it's a method acting I just pretend I'm |
| 754s | Lotus and let people tell me what to do |
| 756s | so they program me for whatever it is |
| 759s | we're going for and uh George has I |
| 762s | think you were the first person to |
| 763s | direct me as Lotus it's not the first |
| 766s | yeah it's man it's been a crazy fun |
| 769s | journey and yeah yeah you but you were |
| 771s | natural from the start I think I've |
| 773s | unfortunately been in every single one |
| 775s | of your booths for a Lotus recording |
| 777s | session and this is reveals why I'm the |
| 779s | Lotus because whenever they need |
| 780s | something anyone can just grab me to |
| 783s | report a wine and convenience over |
| 785s | quality no not at all not at all you're |
| 788s | synonymous with the sound of Warframe |
| 790s | right like you're you're the most famous |
| 791s | voice actor in the game I think they're |
| 793s | all great but uh Steve is Umbra so |
| 796s | that's true that's true |
| 798s | feel my lines brother I can't believe |
| 800s | this yeah but |
| 801s | but 2012 when we did those early lines |
| 804s | we had no plot and now we have a lot of |
| 808s | plot and every single line for the new |
| 811s | war I recorded at home during covid so |
| 814s | every yeah I remember like the second |
| 816s | dream lines too and everything and how |
| 818s | emotional that was and and that was one |
| 820s | of the highlights for me was were those |
| 822s | lines and like that whole situation of |
| 826s | everything that happened there |
| 827s | um yeah and and but like now that I'm |
| 829s | thinking about it you've like you've |
| 831s | really you've really grown into the role |
| 832s | and you know again like this line |
| 834s | started off pretty straightforward |
| 835s | pretty you know just say the thing and |
| 838s | it is the thing and now it's it's a lot |
| 840s | more emotion and depth to the character |
| 842s | and and they sound great to me yeah it |
| 845s | is a dream come true and I'm just happy |
| 846s | but the weirdest thing now is I refuse |
| 848s | well you know I'm not gonna spoil it but |
| 850s | I have a very hard time reconciling |
| 852s | the Lotus any more lines because I'm |
| 854s | like I know her and maybe she should |
| 857s | shut up but |
| 860s | if anything |
| 864s | yeah another one she took for two years |
| 865s | but we won't speak of that she's on |
| 867s | vacation in game for a bit we'll see no |
| 870s | spoilers is there any you know voice |
| 872s | treatment that you've given between like |
| 874s | natom or gulis and Lotus to really kind |
| 876s | of make them feel |
| 878s | um distinct from each other yeah I think |
| 880s | I think a lot of the the margulis and |
| 882s | Lotus difference was uh in the |
| 885s | performance a lot of it you know |
| 886s | margulis is a little there's a there's |
| 889s | more |
| 890s | well I mean Lotus has a lot more emotion |
| 891s | now but definitely a number of years ago |
| 894s | Lotus was just you know trying to keep |
| 896s | her kind of straightforward and keep her |
| 898s | impartial and margulis was definitely |
| 900s | you know uh had a lot more emotion in |
| 903s | the lines and then read and that's what |
| 904s | helped to kind of bridge that Gap and |
| 906s | some of the processing and stuff we put |
| 908s | on and and that as well oh they love |
| 911s | that answer I love that thank you thank |
| 913s | you |
| 914s | um but yeah a lot you know and this and |
| 915s | this is the thing like I think |
| 917s | you know uh enough can't be said for a |
| 920s | great performance uh and that goes for |
| 922s | any sound design any music anything it |
| 925s | all starts with the performance and if |
| 926s | you don't have the performance you don't |
| 927s | have a great line so yeah I mean |
| 930s | speaking of performance a rep is just |
| 932s | one facet of the amazing cast of voice |
| 934s | actors who contribute to our game and |
| 936s | lend their talent to us and really |
| 938s | breathe life into the characters I'm not |
| 940s | going to name names because there are so |
| 942s | many of them and I'm gonna forget |
| 943s | someone but they actually are at the |
| 945s | convention quite a few of them so if you |
| 946s | see them around you hear uh till regor |
| 949s | randomly shouting probably someone and |
| 952s | someone who will sign your autograph if |
| 954s | you want it but it's not only you know |
| 956s | voice actors who contribute to the |
| 958s | game's sounds we have musicians and we |
| 961s | also have composers and Matt do you want |
| 964s | to tell us a little bit about your story |
| 965s | with Warframe yeah sure well I've been |
| 968s | working with uh Keith power for about |
| 970s | eight years now |
| 972s | um I was actually I was telling the guys |
| 974s | backstage that uh my dad taught him and |
| 978s | way back like years ago and Keith and |
| 982s | George were doing sound for uh what was |
| 985s | it a I think it was a a Canadian coffee |
| 989s | place that's a pretty that's two it's a |
| 992s | first and a last name yes yes thank you |
| 995s | um and they needed sound of like some |
| 998s | children playing Road hockey so I I was |
| 1001s | part of that and that was my first check |
| 1003s | for 25 so I've known Keith and George my |
| 1007s | whole life technically yeah and so every |
| 1008s | check there after has been 25 no I'm |
| 1010s | just kidding yeah not at all |
| 1012s | no |
| 1014s | good for inflation like that's crazy |
| 1019s | uh amazing so the next slide that I have |
| 1022s | actually has music from uh Matt on it so |
| 1025s | Dean if you want to adjust the volume I |
| 1027s | don't know |
| 1028s | how much time I need I'm just like in |
| 1030s | three two one |
| 1031s | you're the best thank you |
| 1034s | so Matt you have specifically worked on |
| 1037s | the angels of the serum and update and |
| 1039s | jiviri uh two of my most favorite |
| 1041s | updates I'm not biased at all |
| 1043s | um in the background you guys can hear |
| 1045s | actually some of the Angel soundtrack I |
| 1048s | hope you guys can hear from home uh but |
| 1050s | do you want to tell us a little bit how |
| 1051s | you approached like capturing the sound |
| 1054s | such like our Cosmic body horror enemy |
| 1056s | yeah sure |
| 1058s | um so |
| 1059s | the main I think the main request from |
| 1062s | Eric and George was to have some kind of |
| 1065s | vocal but it had to be sort of a |
| 1068s | terrifying horrific vocal so I was like |
| 1071s | What if I just pitch my voice up so it's |
| 1074s | funny seeing the YouTube comments |
| 1076s | because everybody's like these are such |
| 1077s | scary vocals and I'm like that's just me |
| 1080s | and my studio going la la la la la la la |
| 1084s | so I am the terrifying woman |
| 1089s | um but yeah it was a really fun track to |
| 1090s | work on |
| 1093s | I just found that out today |
| 1097s | yeah I didn't really want to tell Eric |
| 1099s | because I thought you might start |
| 1100s | because when I hear right I just hear my |
| 1102s | voice |
| 1104s | and I'm like that's not convincing but |
| 1107s | apparently it's scary so it definitely |
| 1109s | definitely you know gets on your skin |
| 1111s | and I think it almost adds to it knowing |
| 1113s | that it's Matt Chalmer just pitching his |
| 1116s | voice that is so incredibly good |
| 1122s | that is incredible but you |
| 1127s | get soundtracks and I'm sure watching |
| 1129s | you've heard that we finally have our |
| 1132s | second uh volume of our soundtrack our |
| 1134s | first one was released back in 2017 so |
| 1136s | we've been about like |
| 1140s | it's funny because I started working on |
| 1143s | it I guess in 2022 last year and I was |
| 1145s | like we need to we're overdue for |
| 1147s | another soundtrack and I was trying to |
| 1148s | think back so I looked at the old one |
| 1150s | and where we left off and we left yeah |
| 1152s | that came out in like 2018 so got about |
| 1155s | five and some tracks that are on the new |
| 1157s | soundtrack weren't on the original |
| 1158s | soundtrack as well so it really spans a |
| 1161s | lot of years but yeah it's like three |
| 1163s | discs and 34 tracks and there's a bonus |
| 1167s | uh seven inch as well uh with some of |
| 1170s | Matt's music on there uh from duviri and |
| 1173s | uh yeah it's like over two hours of |
| 1175s | music and it's kind of cool it you know |
| 1178s | we talk about sound design and where |
| 1179s | we've come we listen to the music as |
| 1181s | well you listen to tracks from back back |
| 1183s | in the day you know like smiles from |
| 1185s | Duran you know I don't know that's one |
| 1187s | of my personal favorite tracks and I was |
| 1189s | it brings you back right and you just |
| 1191s | kind of get all those emotions again and |
| 1193s | so yeah it was a really it's a labor of |
| 1196s | love to put something like that together |
| 1197s | so yeah really excited about it is |
| 1199s | incredible I don't know if it's sold out |
| 1201s | on store or here at the merchby so I'm |
| 1203s | very sorry but I do believe we are going |
| 1205s | to add it to streaming and all the other |
| 1207s | online places yeah yeah we wanted to we |
| 1209s | wanted to give everyone a first crack at |
| 1211s | buying the hard copy and then but |
| 1213s | streaming will come uh as well soon so |
| 1215s | you can cry I Just Smiles from Geron as |
| 1218s | much as much without any |
| 1224s | numbers |
| 1228s | I have to give a shout out to Keith |
| 1230s | power as well uh you know working on uh |
| 1233s | Warframe with him for a long long time |
| 1236s | and he wrote some of the most amazing |
| 1238s | pieces you know we all live together |
| 1240s | again it's amazing sleeping the cold |
| 1242s | below and so much great music for |
| 1244s | Warframe uh so he's on there as well |
| 1246s | obviously um so yeah shout out to shout |
| 1248s | out to Keith power so shout out to keep |
| 1258s | you know we can't you know speak to the |
| 1261s | incredible music that's on the |
| 1262s | soundtrack without also talking about |
| 1263s | the incredible music that just came out |
| 1264s | with duviri like four months ago how |
| 1268s | long ago was it it was four months ago |
| 1269s | and now we're at 10 o'clock hard to |
| 1272s | believe oh boy so uh if you've played |
| 1275s | any DVD on I hope that you have because |
| 1277s | it is beautiful and wonderful and |
| 1278s | magical uh there is the opera singer and |
| 1281s | the incredible Orchestra and I know |
| 1283s | George you and your team actually went |
| 1285s | to I believe it was Toronto |
| 1287s | yeah yeah we yeah all uh me Eric and |
| 1290s | Matt and uh Steve and Rebecca was there |
| 1292s | as well and we went and you know and |
| 1294s | again maybe Matt could speak to this but |
| 1296s | you know you know writing with samples |
| 1298s | is great uh but recording the real thing |
| 1300s | is that much better yeah like you you |
| 1303s | can't use a midi string quartet it's |
| 1306s | just you can't fake it so we had to do |
| 1309s | the real thing and yeah and and props to |
| 1312s | you guys for for doing it yeah that was |
| 1314s | awesome yeah it worked out really well |
| 1316s | and I remember you know the the initial |
| 1317s | drafts that you sent when we were |
| 1319s | working through the piece we only heard |
| 1321s | it in MIDI form for so long and when we |
| 1325s | finally got to the session and heard it |
| 1326s | come to life it was it was pure magic so |
| 1329s | yeah my video Matt now that we know that |
| 1331s | you're the angel of music are you did |
| 1333s | you also do like a pitched up version of |
| 1334s | lucinia's Opera for the demo or like |
| 1340s | I there there's probably some demos that |
| 1344s | I don't know did you guys hear me sing |
| 1346s | the I think you did do yeah there was |
| 1348s | one yeah |
| 1353s | well we actually have you know kind of a |
| 1356s | lengthy behind the scenes video of that |
| 1358s | entire process so Dean if you want to |
| 1361s | hit it we can listen to that now and |
| 1362s | watch it as well foreign |
| 1371s | here today is going to define the daviri |
| 1374s | landscape because we knew we wanted the |
| 1376s | players to jump in and feel part of a |
| 1379s | mood |
| 1383s | in daviri the landscape changes based on |
| 1387s | the daily emotion abdominus threats so |
| 1389s | we really wanted to reflect that in the |
| 1391s | music that you hear as you play the game |
| 1398s | maybe there is something about him that |
| 1401s | represents the emotional state of |
| 1404s | humankind and his current stake if you |
| 1407s | will is to sort of rule the land of |
| 1409s | daviri he is the Emperor the king the |
| 1412s | ruler of everything that is deviry in |
| 1413s | all its citizens including judge jury |
| 1416s | executioner to you The Drifter |
| 1420s | oh yeah |
| 1423s | carry on hey hey |
| 1428s | we felt that recording a live quartet |
| 1431s | would help ground all of the pieces more |
| 1434s | uh closely to reality and how you might |
| 1438s | feel on a daily basis |
| 1440s | foreign |
| 1444s | lead sound designer on Warframe and I'm |
| 1447s | working on the latest update of duviri |
| 1452s | the important part of the sound design |
| 1455s | that we really wanted to focus on for |
| 1457s | this update was really feeling a |
| 1460s | difference in the different emotions and |
| 1462s | we picked five moods which we are very |
| 1464s | simplistically calling you know Joy |
| 1466s | sadness anger envy and fear so the music |
| 1470s | needs to bring those emotions to the |
| 1472s | Forefront |
| 1478s | we really wanted the player you to kind |
| 1481s | of identify with the current mood of the |
| 1485s | landscape so as you play the moods and |
| 1488s | sounds all sort of change and live |
| 1491s | together as one single piece |
| 1498s | and I feel like she's kind of helping |
| 1501s | guide them yeah |
| 1503s | um that's what was my thoughts for |
| 1505s | recording hi I'm George Spanos and I'm |
| 1507s | the audio director at digital extremes |
| 1510s | samples are great but they don't convey |
| 1513s | all of the right emotions all of the |
| 1514s | time so you don't get that interplay |
| 1516s | between musicians and the music so |
| 1519s | having live musicians in the room really |
| 1521s | brings the piece to life especially the |
| 1523s | singer you just there's no comparison |
| 1524s | for it she's just really able to convey |
| 1527s | all of the moods into very |
| 1529s | hopefully that's conveyed to you the |
| 1531s | player as well |
| 1539s | the main characters represent an emotion |
| 1541s | or a mood and lucinia is sorrow or |
| 1544s | sadness and she is to represent the sort |
| 1547s | of darkest feelings of humanity but she |
| 1549s | also sort of conveys the feeling of the |
| 1552s | landscape throughout the story itself so |
| 1554s | it was important for her to explore all |
| 1558s | of the different emotions that you'll go |
| 1560s | through as a player in the landscape |
| 1568s | was very it was a very willing |
| 1570s | participant to go along with with us for |
| 1572s | the ride and try out different things |
| 1574s | and experiment with different sounds and |
| 1576s | experiment with different sections of |
| 1577s | the pieces to make sure that we conveyed |
| 1579s | all of the emotion that we need to into |
| 1582s | vary hi I'm I'm Matthew Chalmers I I'm |
| 1585s | doing the music for the duviri paradox |
| 1594s | I've been doing a little bit of writing |
| 1596s | along with Keith power for Warframe for |
| 1598s | a bit and now I'm switching over into |
| 1601s | larger role not the harmonic off the top |
| 1604s | just maybe the the same note that you |
| 1608s | yeah okay just not harmonic we're really |
| 1610s | trying to get the anger and the sad and |
| 1614s | the happy and it was very challenging to |
| 1618s | figure out how to write one piece that |
| 1620s | goes in between all those different |
| 1621s | feelings without it seeming like |
| 1623s | disjointed and three different pieces |
| 1626s | kind of pushed into one so the approach |
| 1628s | there is just working on themes Melodies |
| 1631s | that kind of thread everything together |
| 1636s | usually sit down at the piano a little |
| 1639s | bit and just kind of plunk out some |
| 1641s | ideas and my voice memo app is filled |
| 1644s | with stuff that got thrown away and |
| 1646s | probably earlier versions of of this and |
| 1648s | I just sing along pretend I'm the opera |
| 1651s | singer and singing my falsetto and but |
| 1654s | yeah no I just pick away at it and take |
| 1657s | a break from it come back the next day |
| 1659s | check it out and then I start kind of |
| 1662s | doing a mock-up on the computer hear |
| 1664s | what it sounds like with the cello |
| 1666s | playing that Melody oh okay maybe I'll |
| 1668s | change it to the viola |
| 1669s | just start experimenting and then yeah |
| 1672s | great overall I mean we can keep running |
| 1674s | and if you guys have any comments let me |
| 1677s | know recording in a beautiful studio |
| 1680s | with amazing musicians great music |
| 1682s | really exceeded our expectations you |
| 1685s | hear the kind of the mock-ups and the |
| 1687s | demos and they sound great but until you |
| 1690s | hear the the real thing you don't get |
| 1691s | the full extent of it and we're so happy |
| 1693s | and proud to uh to let the players hear |
| 1696s | that |
| 1700s | yeah no I appreciate that's good yeah I |
| 1703s | think that was good yeah |
| 1705s | yeah all right thank you |
| 1708s | I can confirm it was good great job |
| 1715s | it was good I |
| 1718s | I'm cut it out I was like please don't |
| 1719s | swap please don't stop we're golden |
| 1721s | incredible yeah I you know we've kind of |
| 1724s | talked at length about this but is there |
| 1725s | any other notes that you guys want to |
| 1727s | mention about the music of dubiri |
| 1728s | specifically otherwise I got some mood |
| 1731s | like landscape videos that can go |
| 1733s | through after so I I do want to shout |
| 1735s | out Keith power one more time just for |
| 1737s | the beautiful themes that he wrote for |
| 1739s | duviri |
| 1740s | um made my job a whole lot easier just |
| 1744s | based everything off of that so I think |
| 1746s | that's one of my favorite Warframe |
| 1748s | pieces probably that ambient piece that |
| 1750s | he wrote for duviri was it lucinia is |
| 1753s | that what it was or is it a different |
| 1754s | one yeah I think he he definitely wrote |
| 1757s | the theme some of the themes over the |
| 1759s | years we were kind of playing with |
| 1761s | different things and that kind of thing |
| 1763s | so yeah I mean I think the main kind of |
| 1765s | a lot of the motifs and stuff that you |
| 1766s | Incorporated evolved from some of his |
| 1769s | stuff as well so |
| 1777s | like me I roam around on my horse and |
| 1780s | then I catch fish and I kill out a muse |
| 1783s | and it's phenomenal but the the |
| 1784s | landscape sounds per between each spiral |
| 1787s | is just top tier so just a volume |
| 1790s | warning for that one but |
| 1792s | Eric my friend I know that you worked so |
| 1795s | hard you and the team work so hard and |
| 1796s | diligently to make each landscape feel |
| 1799s | unique and distinct |
| 1801s | um do you want to talk a little bit |
| 1802s | about that process yeah when we first |
| 1806s | heard about what we were going to be |
| 1807s | working on we knew that we really wanted |
| 1809s | to try and push the envelope as far as |
| 1811s | we could with ambient sounds and uh |
| 1813s | really have them feel different |
| 1814s | depending on the mood of Dominus thracks |
| 1817s | so uh the sound team you know shout out |
| 1820s | to the sound team they did a fantastic |
| 1821s | job putting it all together |
| 1823s | all the little details that you hear |
| 1826s | from birds and and you know wind |
| 1828s | whistling through the the Reeds that's |
| 1831s | all hand placed by the sound team |
| 1833s | meticulously and |
| 1836s | um each kind of element in the landscape |
| 1839s | has many different layers to it |
| 1842s | depending on the mood so you may have uh |
| 1845s | one type of bird chirping in all the |
| 1847s | trees during the angry mood and then |
| 1849s | when you go to a calm mood you have a |
| 1851s | different type of bird ripping and we |
| 1853s | did that same thing with field sounds |
| 1858s | Flags flapping in the wind get more |
| 1860s | aggressive when it's angry and windy all |
| 1864s | the background sounds crickets when it |
| 1866s | gets scary The Crickets come up and and |
| 1868s | when it's happy you change the different |
| 1870s | type of insects so we really spent a lot |
| 1873s | of time handcrafting it to to really fit |
| 1876s | uh the vibe of each mood for that day |
| 1879s | phenomenal the care and love that went |
| 1881s | into it is so obvious like right now |
| 1883s | we're listening to Joy some of my fellas |
| 1885s | and you can hear like the birds chirping |
| 1887s | but I have anger necks actually with my |
| 1890s | my boy Loden and like the I know that |
| 1894s | there's different weather effects that |
| 1896s | you have to capture too like he's got |
| 1897s | the the big meteors and there's like |
| 1899s | growling of random animals in Anger for |
| 1903s | example like absolutely yeah just trying |
| 1906s | to get the feel of his of his his |
| 1908s | emotion through different types of |
| 1910s | vocalizations grabbing you know animal |
| 1913s | sounds and sounds with our own voice uh |
| 1916s | really nothing was kind of left off the |
| 1919s | table and again the the sound team I I |
| 1921s | can't praise them enough they did a they |
| 1923s | did a great job with it so is it the |
| 1925s | same with like the ambient music too or |
| 1926s | was that that mostly matte like because |
| 1928s | you can hear kind of like the Deep |
| 1930s | yeah the Ambien is uh a similar approach |
| 1936s | um but uh yeah it's all it's there's |
| 1939s | it's a weird Crossover with the sound |
| 1941s | design right because sometimes you're |
| 1943s | creating pads that are very like organic |
| 1946s | sounding and not necessarily tonal |
| 1949s | um so we're just trying to find a way |
| 1950s | and I and often Eric will like tune |
| 1952s | something if my music is in a certain |
| 1955s | key just to make it all flow nicely |
| 1958s | yeah once once the music comes in and |
| 1960s | we've kind of established the piece |
| 1961s | there's often a stage that we go through |
| 1963s | where |
| 1964s | you know we're stripping out different |
| 1966s | layers and and figuring out how the |
| 1968s | music and the ambience can kind of live |
| 1970s | as one so as you're running around the |
| 1971s | ambience sometimes you might only hear |
| 1973s | sort of a small portion of the music and |
| 1975s | then sometimes the music will swell and |
| 1978s | you'll hear all of the stems together |
| 1979s | and that's all done at runtime |
| 1981s | dynamically so it really |
| 1983s | um allows allows you to go through a |
| 1985s | journey it's not just kind of a |
| 1986s | two-track piece of music that plays the |
| 1989s | whole time so it was really important to |
| 1990s | to establish that yeah so so when I'm |
| 1993s | writing I'm picturing like okay what |
| 1995s | would level one of this ambient track |
| 1997s | sound like and then it's getting a |
| 1999s | little bit more intense okay so we need |
| 2002s | so there's a lot of layers that are |
| 2003s | involved |
| 2005s | um and yeah then it gets all programmed |
| 2007s | into the game |
| 2008s | so I'm just wondering that sound design |
| 2010s | is like an ogre |
| 2011s | to our tools programmers yeah yeah |
| 2014s | definitely yeah |
| 2018s | I want to give a shout out to uh to one |
| 2021s | of our programmers Jim who helped a lot |
| 2023s | with the uh dynamic system uh he was |
| 2027s | able to help us develop a system where |
| 2028s | based on the current mood all of those |
| 2030s | sounds can change instantly uh which |
| 2033s | helped tremendously so yeah shout out to |
| 2036s | Jim thank you my next slide is sorrow |
| 2038s | but uh speaking of like Dynamic sounds |
| 2040s | like when you go into the caves |
| 2042s | especially like those are also a |
| 2044s | completely different experience so like |
| 2045s | how did you approach you know making the |
| 2048s | landscape and like the duviri caves with |
| 2051s | the darumin influence you'll feel so |
| 2053s | different yeah so same kind of thing |
| 2055s | with the caves is based on the system |
| 2057s | that gem helped with we're able to |
| 2059s | change the music up completely and the |
| 2061s | ambience up completely when you go into |
| 2062s | the caves so I really wanted to |
| 2064s | establish a completely different vibe |
| 2066s | when you go in there and use using some |
| 2069s | you know Vocal Stems from uh your tracks |
| 2072s | Matt arranging them in different ways to |
| 2075s | to really make it feel like you're in |
| 2077s | the belly of the Beast so that's such a |
| 2080s | great that's such a great vision for |
| 2082s | that I love it so much speaking of |
| 2084s | beasts thank you for that gift of her |
| 2086s | transition you know you're on juviri |
| 2088s | you're roaming around as your Drifter |
| 2089s | but you also have your trusty Steed the |
| 2092s | cake and uh Willem I know specifically |
| 2095s | you have worked you know you had your |
| 2098s | Monty Python moment I heard to make a |
| 2100s | sound design before you jump into it I |
| 2102s | do have a video for context so we'll |
| 2103s | listen to that at full volume |
| 2105s | and then we'll go from there |
| 2133s | it's all you all right yeah Monty Python |
| 2136s | I guess right |
| 2137s | oh yeah so Eric and I uh |
| 2140s | well they first of all they developed |
| 2142s | kind of the sounds of the daviri horse |
| 2144s | back when they did the trailer |
| 2146s | um and they came up with all the |
| 2147s | metallic processing on The Voice which |
| 2149s | was uh was absinthe I believe and you |
| 2151s | had metallic resonators and later on I |
| 2154s | decided to add in some wild boar in |
| 2156s | there for a bit of aggression but yeah |
| 2158s | the Monty Python thing |
| 2160s | um we're like we had a lot of horse |
| 2163s | Source but we needed to just to get some |
| 2165s | more uh footstep source and there's this |
| 2168s | Classic Hollywood trick of using coconut |
| 2170s | shells and we decided hey what the heck |
| 2172s | let's try it out oh man turns out yes |
| 2175s | they do sound like horse Hooves and |
| 2177s | that's what we ended up using did you |
| 2179s | already have the Coconuts or were you |
| 2181s | like it's pina colada time actually it |
| 2183s | was like a last minute thing Eric had to |
| 2185s | uh you know uh talk to his wife to see |
| 2188s | if they could get the last coconut in |
| 2190s | the kitchen yeah my wife had purchased |
| 2192s | some coconuts and I begged her to let me |
| 2194s | have them |
| 2195s | I need these for some horse hoof sounds |
| 2198s | and I I showed up at Eric's house and he |
| 2201s | was sawing the coconut in half I mean I |
| 2203s | mean more difficult outside too like at |
| 2206s | the concentration area yeah and so we |
| 2207s | went outside George Eric and I we went |
| 2209s | out on a field recording trip and uh I |
| 2212s | guess the other thing that made it |
| 2213s | interesting is uh we used a below ground |
| 2215s | microphone a geophone it's a seismic mic |
| 2218s | so it picks up uh low frequency rumbles |
| 2221s | from the earth and I decided let's plant |
| 2224s | this thing in in the earth and have the |
| 2226s | above ground mic as well and it ended up |
| 2228s | giving giving us the the big weight that |
| 2230s | you hear in case |
| 2231s | that is amazing I mean like part of the |
| 2233s | sound design as well is The Drifter call |
| 2235s | outs you know you really feel like |
| 2237s | connected to your Beast I guess you can |
| 2239s | say so what was the process of kind of |
| 2241s | Designing those |
| 2242s | yeah so we ended up with in a place |
| 2244s | where we had all the horse sounds that |
| 2246s | we needed and uh we did we just said you |
| 2249s | know what one thing that would make this |
| 2250s | really over the edge and unbelievable |
| 2252s | and also give you a sense of connection |
| 2255s | to to the animal or a connection between |
| 2257s | the Rider and the animal would be if the |
| 2259s | if the rider would start speaking and |
| 2261s | giving the horse commands whistling when |
| 2263s | when you start running uh you know doing |
| 2265s | some odd vocalizations when you're |
| 2268s | flying and and stuff like that so are |
| 2270s | any of you horse people or was this like |
| 2272s | you had to Google it or like how did you |
| 2274s | know how people talk to other horses |
| 2276s | just life experience |
| 2279s | I'm a horse girl but I I recused myself |
| 2282s | from that conversation I actually |
| 2284s | contacted I was like hey Rebecca uh you |
| 2287s | have a horse available that we can I |
| 2289s | actually have falling out with my horse |
| 2290s | person so it was a really dark time yeah |
| 2292s | so I asked you right after that happened |
| 2293s | and then you decided to add horses |
| 2296s | it's Revenge but who needs to record |
| 2299s | horses when you have coconuts exactly |
| 2301s | that's true there's a reason why they do |
| 2303s | it you know it's fantastic yeah |
| 2306s | um you know so we've talked to some of |
| 2308s | our amazing sound team um who are on the |
| 2310s | stage but there are so many other |
| 2311s | individuals who've contributed to the |
| 2313s | sansojaviri |
| 2314s | um and one of them is Giovanni and they |
| 2317s | worked on the beautiful renalta shotgun |
| 2320s | so I have another video for you Dean if |
| 2322s | you want us kill the house lights |
| 2326s | hey everyone this is Giovanni and I'm |
| 2330s | going to show you how I created sounds |
| 2332s | for the router the new shotgun let's |
| 2334s | take a look |
| 2336s | for this gun I was looking for a nice |
| 2339s | blend between a double barrel shotgun |
| 2341s | and something more futurist my idea was |
| 2344s | that the sound could match the Sci-Fi |
| 2346s | Vibe like the glittering elements on it |
| 2348s | but at the same time you don't have many |
| 2350s | bullets in the chamber so every shot |
| 2353s | needed to be huge |
| 2355s | to be able to create what I had in mind |
| 2357s | I used this BB gun this camera this |
| 2361s | aluminum straw and this guitar pedal |
| 2364s | with the BB gun I was able to extract |
| 2367s | several clicks or rattles |
| 2385s | after some editing processing here's |
| 2388s | what I use it to make the reload sound |
| 2390s | along with some other pre-recorded |
| 2392s | sounds |
| 2395s | the pedal was used for when the shotgun |
| 2397s | is reloaded too I had this idea of |
| 2400s | inserting a guitar cable into the pedal |
| 2402s | and then I pitched down the recording |
| 2407s | here's what it sounds |
| 2411s | with the camera I got the flash sound |
| 2413s | that is played just after the shot |
| 2421s | you may notice that there is a high |
| 2423s | sound playing along with the flash |
| 2424s | that's me hitting the straw on a |
| 2427s | doorknob you can hear the edited version |
| 2429s | in them my original recording |
| 2439s | after all these experiments this is how |
| 2442s | the gun sounds in the game context |
| 2451s | so this is how I created sounds for the |
| 2454s | router and that's all for me thanks for |
| 2456s | watching and enjoy the rest of the show |
| 2458s | see ya |
| 2464s | that's the cool thing right right you |
| 2466s | see all of those individual elements and |
| 2468s | you're like oh what's what's one little |
| 2470s | sound gonna gonna make and then you put |
| 2472s | it all together and it's like geez like |
| 2474s | it's this huge you know weapon sound |
| 2477s | it's it's it never sound design never |
| 2479s | ceases to amaze me personally so the |
| 2481s | camera thing and that's super cool say |
| 2483s | cheese the old school camera yeah |
| 2487s | yeah I mean we're running we're running |
| 2490s | on time here so I |
| 2492s | want to make sure that we get all the |
| 2494s | videos in but um in Giovanni's video |
| 2497s | specifically and kind of in our |
| 2498s | conversations you mentioned you do a lot |
| 2499s | of like field recording or like using |
| 2501s | pre-recording sounds so we have a video |
| 2503s | from Mark uh that will kind of close the |
| 2505s | show with but do you want to talk a |
| 2507s | little bit about why you do that process |
| 2509s | and all of that stuff yeah it's very |
| 2510s | important to us to you know record a lot |
| 2513s | of our own sounds it makes the game it |
| 2515s | makes Warframe sound really unique it's |
| 2517s | sort of like cooking you know if you go |
| 2518s | out and you you tend to your garden and |
| 2520s | you pick the fresh tomatoes and the |
| 2522s | fresh basil and you add all the spices |
| 2523s | it just tastes that much better and |
| 2525s | there's that labor of love that comes |
| 2527s | through so whenever we can we try to go |
| 2530s | out and record our own sounds and you |
| 2531s | know it might be something I mean like |
| 2533s | you saw in Giovanni's video maybe |
| 2534s | something simple as you know dropping a |
| 2536s | rock on the ground you're like what are |
| 2537s | you ever going to use that for but that |
| 2539s | can end up in a Warframe power or a bird |
| 2541s | chirp could be you know stretched out |
| 2544s | and turned into like a weird creature |
| 2546s | sound so having as much of that |
| 2548s | those sounds as possible to draw from uh |
| 2551s | lets us make truly unique sound design |
| 2553s | in the game so yeah we try to do it as |
| 2555s | much as possible so I mean you were we |
| 2557s | were talking earlier like you mentioned |
| 2559s | we have like a ginormous Sound Library |
| 2561s | as a result of like 10 plus years of |
| 2563s | working yeah like the sound actually |
| 2565s | sounds in the game this morning I was |
| 2567s | like how many sounds do we have in the |
| 2569s | game and so I just went to the sounds |
| 2570s | folder and I did the properties on it it |
| 2573s | was like 80 000 sound files Sound and |
| 2576s | Music files individual files |
| 2579s | um over like 70 gigabytes uncompressed |
| 2581s | of Sound and Music in Warframe it's I |
| 2584s | was I couldn't believe it and dialogue |
| 2586s | like into like chunks of dialogue about |
| 2589s | 30 000 separate chunks so some of those |
| 2592s | are like multiple lines in one some of |
| 2594s | those are just one line uh but yeah it's |
| 2597s | it was it's kind of crazy to look at all |
| 2599s | of all of the content that's in the game |
| 2601s | so 10 years man it builds up clearly a |
| 2604s | testament to all of your amazing work so |
| 2606s | yeah yeah and I wanted yeah just |
| 2608s | shouting out to the rest of the team as |
| 2609s | well you know uh it's uh it's always an |
| 2612s | honor and a pleasure to work with with |
| 2614s | everyone and they're also talented |
| 2616s | um so yeah it's definitely team effort |
| 2619s | all the way so |
| 2620s | amazing so we do have a video for Mark |
| 2623s | like I mentioned uh this is going to be |
| 2625s | some of our field recording in the |
| 2627s | beautiful Canadian wilderness uh this is |
| 2630s | going to be a bit of like a chill video |
| 2632s | lots of Earth and grass and stuff so if |
| 2635s | you're like me and you don't go outside |
| 2636s | enough this is like your pass for today |
| 2638s | uh so Dean if you want to spool that up |
| 2641s | for me that'd be great |
| 2662s | oh |
| 2693s | foreign |
| 2730s | team the most liable to throw a rock at |
| 2733s | you |
| 2734s | yeah I love my job but the fact that I |
| 2736s | don't get paid to throw rock stuff makes |
| 2739s | me question my secret I am never yeah |
| 2742s | it's a safe way to get the aggression |
| 2743s | out yeah |
| 2744s | I mean so we've spoken so much about how |
| 2748s | incredible our sound team is but we |
| 2750s | truly would not be here at GE without |
| 2752s | everyone here in the community whether |
| 2754s | you're at tunnelcon or you're watching |
| 2756s | from home thank you so much |
| 2758s | um and I've heard rumor that uh sound |
| 2761s | designers always have a microphone in |
| 2762s | their pocket so I figured what better |
| 2764s | way to like commemorate 10 years |
| 2769s | then maybe to record the crowd and see |
| 2772s | if we can use it in the future field |
| 2774s | recording we have a very specific |
| 2776s | recording we want from the biggest group |
| 2778s | possible and all of it will make sense |
| 2781s | in the Far Far Future |
| 2784s | so what is it Rebecca we we like |
| 2787s | um I'm gonna tell you what to say and |
| 2789s | then |
| 2793s | and then we're all gonna shout happy New |
| 2795s | Year so we're doing a New Year's |
| 2797s | countdown ten nine eight seven six five |
| 2800s | four three two one happy New Year I'll |
| 2802s | lead it without a microphone so it |
| 2804s | sounds ambient perfect and on your ready |
| 2806s | uh if you want to join up here just put |
| 2808s | your mics down and we're gonna we're |
| 2809s | gonna holler so if you're listening and |
| 2811s | you can join the countdown when I say |
| 2812s | when I start at 10 uh just follow along |
| 2815s | and we may or may not need this in the |
| 2817s | future even at home this is your Dora |
| 2819s | the Explorer moment yeah you get to |
| 2821s | participate even if we don't get to |
| 2823s | record it we are rolling |
| 2844s | foreign |
| 2862s | you know I don't I truly don't know how |
| 2864s | we're gonna follow that but I actually |
| 2866s | have an incredible asset from our |
| 2869s | community uh we did a call out for we |
| 2872s | all live together covers and |
| 2874s | we have compiled them together uh so |
| 2879s | we're gonna send you off with uh can we |
| 2881s | sing a walk |
| 2883s | no yes absolutely oh you can not mean |
| 2887s | but you can please do we have 50 |
| 2890s | performers from over 14 countries who |
| 2893s | contributed to this so This truly is our |
| 2895s | love letter to all of you uh we truly |
| 2898s | all live together Dean hit it thanks |
| 2901s | everyone thank you thank you thank you |
| 2903s | thank you everybody thank you for |
| 2905s | playing thank you |
| 2908s | thank you |
| 2921s | foreign |
| 2988s | foreign |
| 3020s | two two |
| 3040s | weeks |
| 3043s | till we fall |
| 3052s | the air and water flowy |
| 3062s | me on the way |
| 3071s | foreign |