Here is an old Split Second track, that I originally created as
the main theme but never made it into the game:
Split / Second tribute theme by etalbot
Thursday, 27 January 2011
Wednesday, 12 January 2011
The sound of Split Second
This video showcases the sound of an entire race of Split Second.
Apart from our hyper-real sound design, you can witness the interactive music system
increasing the intensity of the music during the race:
Apart from our hyper-real sound design, you can witness the interactive music system
increasing the intensity of the music during the race:
Remake of Gladiator trailer music
I decided to take on Hans Zimmer, and redo the trailer music for Gladiator!
Here is my trailer:
and here the original:
Let me know which one you prefer! ...and I don't mind losing to Mr Zimmer!
Here is my trailer:
and here the original:
Let me know which one you prefer! ...and I don't mind losing to Mr Zimmer!
Wednesday, 5 January 2011
Split/Second: Hyper Real Sound Design for Powerplays
When creating the sound for Split Second's so called 'powerplays' (massive
environmental destruction)we soon established the concept of 'Hyper-Real' sound design. The idea, inspired by action blockbusters, is that rather than just representing the visual action literally with sound, we would employ sound also to provoke emotional responses. This would not happen all the time, but only when the player was close enough and fully focused on the powerplay.
In order to establish how this could work via a specific example, I was tasked to create sounds for the following video. The closer the camera gets to the exploding skyscraper, the more hyper-real the sound design becomes. When the visual goes into slow motion, the sound becomes even more abstract:
environmental destruction)we soon established the concept of 'Hyper-Real' sound design. The idea, inspired by action blockbusters, is that rather than just representing the visual action literally with sound, we would employ sound also to provoke emotional responses. This would not happen all the time, but only when the player was close enough and fully focused on the powerplay.
In order to establish how this could work via a specific example, I was tasked to create sounds for the following video. The closer the camera gets to the exploding skyscraper, the more hyper-real the sound design becomes. When the visual goes into slow motion, the sound becomes even more abstract:
Granular Synthesis with Alchemy: Swooshes
As part of a recent pre-production phase I spent a lot of time experimenting with CamelAudio's Alchemy.
The following swooshes were created by applying Alchemy's granular synthesis to various sources including fireworks, explosions, and waves. Various modulations were then applied to enhance the swoosh and rippling effect.
Ripple swooshes by etalbot
This sound texture was created using Alchemy with recordings from a Daytona race. The recordings were cut up, processed, put through Alchemy's granular synthesis and DSP modules and then triggered and layered via midi:
Daytona swooshes by etalbot
The following swooshes were created by applying Alchemy's granular synthesis to various sources including fireworks, explosions, and waves. Various modulations were then applied to enhance the swoosh and rippling effect.
Ripple swooshes by etalbot
This sound texture was created using Alchemy with recordings from a Daytona race. The recordings were cut up, processed, put through Alchemy's granular synthesis and DSP modules and then triggered and layered via midi:
Daytona swooshes by etalbot
BAFTA and Ivor Novello submission
Tuesday, 4 January 2011
Split/Second interactive music front end
This video highlights how the music adapts as the player progresses through the different layers of the Split Second front end. There is no clever beat matching, just carefully crafted transitions. The music was produced and implemented by myself and audio director Steve Emney.
Saturday, 1 January 2011
Split Second: Air Strike and Air Attack trailer
Here another Split Second trailer. This time director Nick Baynes describes
the air strike and air attack game modes. I did all the audio for this one
including sfx, music and mixing:
the air strike and air attack game modes. I did all the audio for this one
including sfx, music and mixing:
Split Second: Survival at the Rock trailer
Last summer, as part of my work on Split Second DLC, I did all the SFX, music and mixing for this Split Second trailer:
My favourite game sound of 2010...
...is that of Limbo! Rarely have I witnessed such effective and considered use of sound in games. Limbo demonstrates the creative possibilities when the right bold, artistic decisions
are taken and applied consistently:
are taken and applied consistently:
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