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[bald man in a boat]

http://www.gameinfor...s-effect-3.aspx


The Sound Design of Mass Effect 3 - Features - www.GameInformer.com

Sounds great. Just pumped the video through my monitors.

What I want to know is: By advancement they mean modding? Will the audio engine recognize where Shep is and then the appropriate effects be triggered (more reverb, delay for large rooms or change in frequency content due to atmosphere or temperature etc)?

Modifié par bald man in a boat, 19 avril 2011 - 07:48 .

[Rob Blake]

We're working on the new powers right now, the biotics sound so much better it's shocking, very very cool. Things are getting so exciting right now, every day I get excited to go into work just to see what cool new stuff is in the build

[Rob Blake]

bald man in a boat wrote...
Rob, are you guys changing the sounds from the ground up or tweaking the existing audio using different modulation, EQ's and compressors to really make things pop out?

Depends on the content, but usually both. We have a lot of new cool features with our ME3 audio system so have way more options in regards to effects and mixing... but we're also improving the quality of the core assets too. Don't worry, we're not going to go changing the style drastically or anything... things are just sounding much cleaner, punchier, bassier, more focused and other nice words like that

[Joel Green]

Under the command of our handsome lead, Rob Blake, I'm handling the weapon audio for ME3, so I thought I'd come say hi and that I'm glad you all seem to like the new assault rifle

Let me know if you have any favorites from ME2 (though I can't take credit for them), I'm very interested in which ones struck a chord. I played infiltrator on my first ME2 playthrough, and I have to agree that the Widow is a beefy kind of wonderful. Oh, and Rob wasn't kidding about the biotics/powers sounding waaay better... Get a new subwoofer and prepare for a body massage!!

[Joel Green]

Thanks for the replies everyone. I'll take this feedback into account as I make my way through the ME3 weapons. I handled the Firepower Pack (mattock, phalanx and geth shotgun) on ME2, so I'm glad to hear that the mattock is popular. Seems to be a favorite around the office as well.

As Rob mentioned, we're doing some really cool stuff with environmental and distance layering. All guns are being built with swappable elements, so a battle in a "space canyon" will sound quite different from one in a "space warehouse", or even a tight "space corridor"

Keep the feedback coming! When working on weapon audio it's always a great motivator to know that the gun I'm handling that day is someone's favorite.

[Joel Green]

Fredvdp wrote...
Are you using EAX or are you designing a system that does something similar?

We use the Wwise audio engine to add real-time effects (as we did on ME2), but the big change in ME3 is we're actually swapping out the sounds depending on environments and distance.  When you fire your Widow in an outdoor setting, you'll hear a long canyon decay and some quick echoes, but if you move indoors, we change that out for a boomy room reflection that corresponds to the size of the space.  This happens with all guns, including enemy and henchmen weapons.

[Joel Green]

bald man in a boat wrote...

I was wondering if the weapon sounds start off as foley elements and then get morphed from there?

Not sure what you mean by this, but I'm guessing you're asking if we use real-world recorded sounds as the base for the weapons? 

Most guns have a few different layers in them: mechanical, tone, body, bass, and environmental response.  Often the "body" layer will be some part of a real weapon recording - this gives you a core to work from and helps ground the gun in reality.  From there we are free to play around with the other layers, adding colour and perspective.  You'd be surprised at some of the weird stuff we throw in there   Much consideration is given to the lore of the weapon as well; we usually try to make the different technologies feel like the races that created them.

Of course some of the weapons are purely energy based so all the rules go out the window.  I've had a few sleepless nights trying to figure out what a laser gun should sound like from far away...   pew pew pew?

[Joel Green]

Fredvdp wrote...

What about objects between the player character and the source of the sound effect?

Occlusion and obstruction are things that we're still sorting out for ME3.  They can be tricky and very resource intensive, but as with everything else we're hoping to improve on the systems from ME2.

[Joel Green]

bald man in a boat wrote...

What are you guys using for MIDI controllers in the studio? I've got an Axiom at home, love it. Oh and one last question: do y'all have a lot of outboard gear? Some places you walk into are just jammed with goodies (SSL compressors, Neve Pre's, LA Two-Ways *drool*) and are generally a gear porn overdose.

We keep things pretty simple on the MIDI controller front.  I think most of the guys find that we don't need much for sound design, just a few knobs and faders that are assignable on the fly.  Not much outboard gear either, it's something we'd like to have more of but hardware gets very expensive when you need to outfit a whole team with it

[Joel Green]

William Adama wrote...

Well you guys really improved the sound design between ME1 and ME2! I have faith that you guys will do the same fantastic job in 3!

Thanks!  We all love the ME universe and are always trying to give it the audio treatment that it deserves.

[Joel Green]

Mr.Kusy wrote...

Mr. Green, does modding the weapon also affects how it sounds?
(Not quite sure if this wasn't asked before.

We're definitely hoping to add some audible feedback to the modding system.  Having said that, we want the weapons to each have identifiable character, so we don't want to change things too drastically.  Right now the goal is to add detail, rather than swapping out sounds completely.