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DF Brian Min

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About DF Brian Min

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  1. Again, Thanks you guys and I apologize for the slow response! You guys are so thoughtful! When the time comes, I will be sure to post all things regarding our music, the music system, and how it will help serve the core gameloop!
  2. Hey Max! Thanks so much for your post and your initiative! I will definitely take a listen. It is very very exciting to start talking about what will define the sonicscape for Massive Chalice!!! As I mentioned in my earlier post, I've always thought that great game audio packages consists of not just great musical content, but the WAY in which it was integrated. For example, games like Journey or Bioshock Infinite score's could easily stand on its own as a linear piece of music. But what's truly outstanding is how it works within the game, how it responds, how it stops playing, how it informs the player. And they way other sonic pieces work together. Music, Voice, Sound Design are all working together to bring a rich experience that informs and supports gameplay. This means making great musical integration decisions and making sure that the tech plumbing exists to support those decisions. So while it's very very exciting to talk about music "content" for Massive Chalice, it's equally important to talk about "how" the music will "fit" and "flow" in Massive Chalice. What we don't want is an expensive piece of music that induces ear fatigue and be repetitive for a game that's very mechanics driven. But again, it's really amazing to see your creative expression, skill level, and thoughtfulness of our backers!
  3. Hey you guys! I've been a little tied up with wrapping up another project in the studio but this is incredible! You guys are so thoughtful and this discussion tells me how awesome our backers are!!! I will definitely catch up on this more in detail and I plan to respond individually to some of you. Brad, John, and I recently had an amazing "high" level discussion about how Massive Chalice's game loop "could" be like. This informs me as an audio director about how audio can best serve gameplay. In film, or linear medium, everything serves the story. (or at least good ones do. In games, everything serves gameplay. While it's very exciting to talk about music, we need to remember that music is a quarter slice of the pie. There's sound design, there is voice (in all forms, either a narrator, grunts, crowd noises, etc.), of course music, and finally Integration. Integration is much like "mixing" in film. For example, it doesn't matter how amazing a piece of music is, if it's too loud, comes in at the wrong place, or repetitive (a very common problem in game audio) the whole thing can fall apart. I want to let you guys know that I am committed to bringing you guys the best audio integration experience possible with the resources that Massive Chalice has been given. Don't get me wrong, I'm right there with you guys and I want to talk ALL sorts of ideas for music, whether it's Celtic, Percussion, Brass, Metal, etc! That's the stuff that gets me up in the morning! Right now, I'm trying to really immerse myself with the team about the "pacing" of Massive Chalice. For me, that always helps me set the tone for how "big" and "fast" to go. Secondly, I'm reading and LISTENING to all your feedback. I just need a bit of time to catch up! Also, I'm talking to a lot of my colleagues, my team, and game composers I respect to get their thoughts on it. Thanks you guys! I'll post more often!
  4. Hello backers! You can accomplish a lot these days with tools and sampling technology. But when you hear real instruments being performed by real players, you’re reminded once again that music and emotion as has always been about collaboration and communication. It’s about those unexpected performances! When we set out to score the music for Double Fine Adventure, the goal was always to bring as much human element into the game as possible. Peter McConnell, our composer for Reds, has always championed using live players whenever possible. He has done an excellent job of balancing great live feel with being cost efficient as possible. You can tell by the way he’s chosen to write the music, using chamber-music as the basis for living recording and supplement the rest with sampled instruments. We recently got a little taste of that as I sat in our first recording session with Peter. Here are some photos of that memorable day. (Peter is on the left in the third and fourth photos.) They're a little blurry! Turns out I'm not a professional photographer.
  5. I would LOVE to flesh out the track and do a full version but we'll see! In the mean time, we've got a lot of ingame sound design assets and cutscene FX to generate! /sigh
  6. Hah that's funny because I worked on Gabriel Knight 2 with Jane Jensen back in the day... I didn't contribute much though to the soundtrack. I was mostly a foley editor back then. You guys are making me want to write more cues but boy I've got too many things to do besides music. The game can't be all music. It needs ambience, sound design, footstep/foley, and cutscenes with BIG stuff landing/falling.
  7. Hey guys, For those of you who was watching the LIVE stream yesterday, here is the link to the "final" version of the tune I was working on from yesterday. Let me know what you guys think! Andy approved, mostly. Just concerned about chopping this piece up and integrating it into the game at the right moments with the right bits. http://doublefine.tumblr.com/post/37223931620/
  8. Camden (our other sound designer/composer) probably has more knowledge that I do regarding Reaktor. Reaktor and tools similar to it definitely serves as an inspiration for pipeline and certain aspects of procedural audio. But to actually integrate that tool into the game dev cycle probably doesn't make sense. We have fMOD or wWise for that. These middleware tools were designed to be integrated into a game dev environment while Reaktor would require a whole set of new hook points. Livestream was fun and hilarious! Thanks for the support!
  9. That actually sounds great! I can hear the "somber" sound in there, but I can hear the slightest bit of a more uplifting side to it as well. Not UPBEAT uplifting in a happy/silly sort of way. I think with the kind of game you guys are aiming for, Mario/Kirby music doesn't really fit. I hope I'm right in interpreting your meaning as something like "emotionally uplifting" in a profound sort of way. In that sense, I think you're on the right track, and in certain places your sample reminds me of the piano piece "Everyday" by Carly Comando. You can definitely make it have a sort of profound feel to it, while still stressing a more dangerous/ominous side in certain parts, perhaps similar to how Carly emphasizes the bass notes at around 1:45. I'm sure you could put those strings to good use to that end! Keep up the good work. =] Carly's work is quite amazing. Boy her piano sounds SO good! Sorry I unfortunately don't have a steinway lying around at Double Fine. I'm also a bit out of shape in terms of piano chops. It's certainly a great inspiration!
  10. Thank you very much! We will see if we can improve the sound quality by piping in the audio directly to the feed. It was very impromptu! I'm actually done with the piece and it'd be a blast to share how it turn out with you guys. (After Andy takes a listen) It actually kinda evolved into something a bit more dramatic! Which is kinda hilarious because I meant to keep it kind of intimate, but it kinda became "huge" I'll post the somewhat final version and see what you guys think. I think it'll be a hoot for those of you who saw the live stream and then hear the final version. It definitely moves upward and has kind of an interesting twist. -Brian
  11. http://doublefine.tumblr.com/post/37142894939/early-music-from-the-white-birch-by-brian-min Here is a quick link to the first draft of the White Birch Suite. It's a bit too somber and not quite uplifting so I'm going to try to invert the emotional and notational "energy" upward and see what happens! Let me know your thoughts guys. -Brian
  12. Our content creation gear includes Protools and various software synths, off the shelf libraries, and recording our own material. On the integration side, we use fMOD as the sound engine/middleware for getting sounds playing in the game. We also have a custom music/sfx/voice integration tool as well. We dig into Maya often for location specific sounds. -Brian
  13. Hey guys! I'm about to upload the first draft The White Birch suite. It's got the right instrumentation but Andy felt it needed to be more "uplifting". You guys can discuss what you liked or disliked about the piece! I'm working on the second draft now! The one that I was working on the Live Stream. -Brian Protools kinda botched the notation but you get the idea... I'm trying to see why the forums won't let me upload mp3's
  14. Yes! They are whole notes.. haha! - Inverted.. apparently... boo iPhone!
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