Then I sample as few or as many cycles of a particular section of that wave form I like which then lets me play that totally unique sound back as an instrument. So doing that process in reverse, I record something, anything, it could be a bird chirp or a spoon falling on the floor. That sound is just a cycle of those similarly shaped repeated many times a second. Everyone is probably familiar with what a Sine Wave looks like, nice smooth falls/crests and has a very pure, soft tone, similar to that of a flute. Tim: Sound is just cycles of waves, of different shapes and sizes. well not quite instruments, but using the samples in the soundtrack, to the point they're unrecognisable from their source, and doing something entirely unique as a result. ![]() You don't only use the sounds as sounds, but also you've started using them as. ![]() Those limitations and a slightly "off" mindset have helped shape the soundscape into something that feels both natural and unnatural at times. Having said that, you're always much better off finding a source that's already close to what you want, no need to over complicate things unless you really just like slapping bags of flour, then slap away.Īt first I really struggled to think of what sounds would be in a Post-apoc world, but then I thought why not write the soundtrack and SFX from the perspective of an unhinged musician, living alone in a shack with minimal equipment in the middle of nowhere. But the key is to take the time to experiment, with enough effort you can get any sound to sound like most anything.įor example in the trailer to achieve the physical impact of striking a character with a cricket bat i used a combination of 3 sounds, biting into an apple, scrunching a Styrofoam noodle cup and slapping a 1kg bag of flour, then pitch shifting and a little processing to make it gel together. After doing that for a number of years you start to tune your ear to hear what "could be" in a sound, rather than what actually is. Tim: A lot of it is trial and error, recording something random, experimenting, getting a completely different result to what you wanted but learning from it so you can remember how to replicate something similar in the future. How do you go from hearing something to coming up with an entirely novel use for it? They're also designed to capture a stereo field well, which we don't often think about but really becomes apparent once you have headphones on and sensitivity up. You might want to record doors opening and closing in your house, but not necessarily the dog barking across the road, having that little extra bit of control goes a long way. The microphones and pre-amps in field recorders are far superior in sound quality, not to mention mic. Tim: Phones are good in a pinch, but you have to do a lot more post production to get a clean sound. ![]() What is a field recorder? Why can't you just use your phone to record some sounds? Here Tim talks us through the process of recording sounds through to getting them in-game. He’s been playing games since the early nineties, with his first gaming memories being on the Commodore 64 with the likes of Frogger, Bards Tale and R-Type. Queensland-based composer Tim Sunderland, Audio Lead on Broken Roads, has been a muso for 23 years, having started on the drums at 10 and expanding from there.
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