Great talk! I appreciate the details gone into this. However, in the shockwave scene, I'm a bit confused about the decision of clamping down the reverb when he's not in the open? Surely, he's in an open space and so the reverb shouldn't be that much different depending on whether there's an object beside him or not? I figured it'd be a good idea simply just to clamp down the reverb on one channel? (Say, left ear, because that's where the boxes / panels / obstacles are)? Definitely have to play this game again! :)
Cinematic genius brought to video gaming. The game is a masterpiece and this is really insightful. I look forward to Game 3.
Real good game played it while on acid its one of the best i have ever played good job
Loved every single moment of it
Unreal in every way, Martin is pushing sound design in games to exciting places. The moment the music comes in is incredibly emotive
Martin is a Pioneer and a Genius. He really pushed the boundaries
Great tips from Jakob in the end, when working with Unity. I have succesfully used this to avoid audio stutter and free up muscles.
Great talk! I appreciate the details gone into this. However, in the shockwave scene, I'm a bit confused about the decision of clamping down the reverb when he's not in the open? Surely, he's in an open space and so the reverb shouldn't be that much different depending on whether there's an object beside him or not? I figured it'd be a good idea simply just to clamp down the reverb on one channel? (Say, left ear, because that's where the boxes / panels / obstacles are)?
Definitely have to play this game again! :)
aha! That little touch on the light sound being in harmonic with the background pads is so cute.