AudioGaming have unveiled their innovative plugin ‘AudioWeather‘ for FMOD and other audio engines, and will be demonstrating the plug-in in action live at FMOD’s Game Developers Conference booth (1532) in San Francisco, March 7th -9th.
AudioGaming introduces the first procedural and dynamic audio weather system. Based on specific acoustic modeling we produce realistic as well as unrealistic sound effects computed in real time. Game designers get high level control and Sound designers / Programmers get expert control on the generated audio.
For the sound designer, the natural interaction between a scene and its parameters will dramatically enhance the speed of sound conception, its dynamic integration as well as the number
of sound design possibilities. The interactive audio synthesizers developed by AudioGaming represent an innovative complement to audio samples that can usually impose tedious processes (edition/tagging/integration) for interactive media creators.
A downloadable demo of AudioWeather running in Unity3D is available from their website for both Windows and OSX here. The demo allows you to experiment with variable wind and rain parameters and hear their effects in real time
Rabbit Ears Audio has released Antique Engines, a new library of 192k recordings of 11 different engines, including 9.63GB of sound data.
REA_009 is a collection of stationary antique engines (both steam and gas) that were used for DC power generation. At the turn of the century before electricity was widely available, these engines were used to provide energy to water plants, factories, farms, and just about anything that needed power. These contraptions are a gold mine of mechanical sounds: steam chuffs, exhaust puffs, whirrs, whines, and bangs.
Antique Engines features over 11 machines from the turn of the century that will fill all of your gas and steam powered needs. Many of the larger engines were recorded with at least 4 channels so different parts of the engines can be emphasized to taste.
The Engines were recorded with the following pieces of gear: Sennheiser MKH30/40, Sennheiser MKH 60, Schoeps MK4/MK8, Sanken CUB-01, Cooper CS-104, Sound Devices 744T.
You can get it for a special price of $75 at Rabbit Ears Audio. Includes 192k and 96k versions. And below, Michael Raphael shares some details of the process behind this new release:
How was the preparation for this library? what were your expectations or goals before starting it?
I had met a steam and engine expert, Conrad Milster, on the campus of Pratt University while teaching a class there. Conrad Milster maintains the steam power plant that used to provide the power for the entire university. Conrad ran a few of the engines for me and recommended a long list of places that have either gas or steam powered engines in working order. My aim was to capture as many unique mechanical, combustion, and steam sounds I could. I knew that many folks would not be using these sounds literally, so I started studying different engines and learning how they function, and where the sounds emanate from. Youtube can be an amazing research tool.
Garry Taylor, the Audio Director of Sony Computer Entertainment Europe (SCEE) has started a new blog called Blessed Are The Noisemakers where he is posting his various conference talks and presentations. ‘All In The Mix – The Importance of Real-Time Mixing In Video Games‘ is the first fruit of the new blog, alongside an interesting post on loudness standards. An excerpt of the former is below;
Today I’m going to be talking about audio mixing; what’s the purpose of mixing over and above getting the levels right, and why a good mix is so important. I’m also going to talk about the stages a mix engineer will go through when working in linear media, and what lessons we can learn, and what techniques we can use from the linear world when working with interactive material.
So, here’s what I’m going to talk about today. Firstly, a short introduction. Secondly, I’ll ask “what is mixing?” What’s the purpose of it, and what’s to be gained by good mixing practices.
An interview with sound designer Randy Thom at VIEW Conference 2011.
Thanks to Matteo for the link!
Spectrasonics has uploaded the full sound design panel that Eric Persing, Diego Stocco, Richard Devine and Scott Gershin gave at the 2011 Moogfest in Asheville, North Carolina. Maybe you remember that we shared several video recordings from the panel a couple of weeks ago, but this one has much better quality and contains more stuff, almost an hour. Inspiring!
Ric Viers has announced a special offer of the SFX Bible Hard Drive, exclusive for DS readers:
The Sound Effects Bible Hard Drive is a collection of 5,000 sound effects recorded by Ric Viers and his team at the Detroit Chop Shop including close to 2,000 new and previously unreleased sound effects. All of the sounds were recorded at 24/96KHz, along with a small selection of unique 16/44.1KHz sounds that were pulled from the Detroit Chop Shop archives.
The sounds are delivered as 24/48 KHz broadcast .WAV files complete with metadata that is compatible with your favorite search engine and are neatly sorted into 25 category folders: Ambience, Animals, Cartoon, Emergency, Explosions, Fire, Foley, Food, Footsteps, Horror, Horror Production Elements, Household, Humans, Impacts, Industry, Multimedia, Office, Production Elements, Science Fiction, Sports, Technology, Vehicles, Warfare, Water and Weather.
With loopable effects, enriched metadata and clean sound effects free from background noise, this is a great entry-level sound effects collection to get you started!
You can buy it here for $599.
The Recordist has released a new gun library, including 550 sounds for $35.
Presenting The Thompson Machine Gun HD Professional Sound Effects Library, a multi-channel collection of 100 Broadcast WAV tracks recorded at 24-Bit 96kHz. The gun was recorded on two separate occasions. There was a session of shooting and foley and one extra interior foley session. The gun was recorded close up, medium and distant. The multiple channels gives you a broad selection of perspectives to choose from. Sound Designers like to create their own combinations so the individual microphone takes are included. All the multi-channel wav files are time aligned and in mono and stereo. Also included are customized mixes created here in the studio with a generous amount of combinations.
The interior mechanical sounds were recorded with two microphones (Sennheiser MHK-416 & MKH-8040) to give you different perspectives and tonal variations. Again the multi-channel foley wav files are time aligned. Both the original Auto-Ordinance Drum Magazine and Stick Magazine were recorded along with various handling and selector switches.
UK based Audio Designer Samuel Justice has posted an interesting blog post discussing the importance of early reflections in recreating authentic sounding 3D environments. An excerpt of his article is below, and you can read the full article, with audio examples here
Game audio is at an exciting turning point these days, not only do game makers realise the full potential of engaging immersive audio (and the negative effect of a product lacking in this) but us sound designers are now given the responsibility and freedom to create an entire audible world with as much creativity as we can muster (within the given time frame).
The recent generation (and history) of games is a testament to how the industry is home to some of the most creative sound designers around, you only have to listen to their work and you are instantly transported to another world, created entirely by their vision and expertise. Game audio engines are as well more powerful then ever, talented audio programmers have been able to model occlusion, diffusion, diffraction and a whole other slew of wonderful processing effects that help players immerse themselves into the worlds we create.
But this article is not about praising sound design, or sound designers. Instead, what I hope to achieve is to bring about the importance of a major feature that is missing from a lot of game audio engines, or is not being used. It is one of the pinnacle processing effects (in my opinion) that glues audio into the environment and allows it to blend in naturally, thus, not breaking the all important immersion.
I’m talking about early reflections.
Jesse James Allen, Audio Director at EA Sports Tiburon, delivered an hour-long presentation to the Advaced Interactive Audio students at Full Sail University on ‘Top Ten Game Audio Mistakes’, addressing misconception such as ‘audio being a one person job’, ‘Audio is easy to integrate ‘ and ‘Video game audio cliches’
The Irrational Games Insider Blog has posted parts two and three of their Audio team’s experience of recording firearms for BioShock Infinite. In part two, the team discuss the sensations of firing live weaponry that they were aiming to capture, and in part three, briefly touch upon the designing/editing process.
Part one of the blog can be viewed here