12/24/2023 0 Comments Christopher larkin composer![]() I cut up these sounds and generally apply basic editing techniques (reversal, pitchshift, reverb, EQ, compression, etc.). In terms of the process, I use a mixture of my own recorded sounds and existing libraries such as Sound Ideas and HISSandaROAR. Each sound sits somewhere on the spectrum, and to a large extent, injecting a bit of fantasy or hyper-realism into logical, expected sound is what makes for great sonic worlds, both in film and in games. The first is about making the sound match up to what we expect it to sound like in the real world the latter is about trying to go way beyond this and provide something we’ve never heard before. For the Foley - that is, the footsteps, object sounds and general movement sounds - I had the pleasure of working with artist Tim Whitt, while I tackled the more magical sound effects and mixed the project.įor me, sound design is about balancing two extremes: the literal/expected, and the fantasy or the unexpected. Non-vocal and non-musical sound is normally broken down into sound design and Foley. There are many aspects to the sound for film and video. What’s your approach in designing sound for a project? On some projects, such as short animated film ‘ Peppercorn Babycorn Unicorn ‘, you’re also doing sound design in addition to music. If you’re working on a boss track, or any involved orchestral piece, sequence and plan out the entire piece in a piano track first.If you can think of an idea for an additional sound or music sting, and it won’t take long to make, but will overall make the game more enjoyable, then just do it!. ![]() Game development is really hard to plan and schedule for, and constant communication with the rest of the team is key.Making the arrangement or mix of the music interactive or responsive to the players’ input is also really involved but rewarding.Setting levels - mixing - music and audio for games is a really involved process, and much slower than film or video.This one is a big one, so, to help, I’ve bullet-pointed a few things… Do you have some specific advice you can share on successful game composition and sound design? But with the kind of diversity that modern composition demands, and a constantly busy schedule, how do you keep your work sounding original? And how do youtailor your sounds to the differing needs of clients across various media? Native Instruments spoke to Larkin for some hands-on advice.
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