The ferry in FJORDS by Kyle Reimergartin
This is maybe my favourite sound effect ever in the history of games because it is just so expressively cheerful and optimistic and for me it sets the tone of FJORDS more than anything else about the game. The idea that the ferry bustles along making this little trumpeting sound perfectly communicates that the world is silly and strange, which it is.
In fact, the ferry sound has reached a kind of mythic status in our household of two, because I’m constantly trying to reproduce it apropos of nothing (or on request). My version is so far away from the original that every time we play FJORDS it’s almost jarring to re-hear what the ferry actually sounds like.
For pure soundness, this is the sound for you.
The gasp in Ute by Lea Schönfelder
When you’re having sex with some guy in Ute and another guy walks past and thus “catches” you at it, both guys make this little gasp of shock and hurt. The sound is so perfect in the way that it communicates their reactions – not of violent anger, say, or humiliation, but of this kind of sadness and heartbreak that they suffer. The gasp makes them sound pathetic and small, and I think that it allows you to feel sorry for them, even though you’re really feeling sorry for the way they see the little world they’re in. It’s a really well pitched piece of sound design that nails the message for me.
“I eat quarterbacks for breakfast!” in Super High Impact by Midway Games
I’d thought of the two previous sounds almost immediately for election to my “Game SFX Hall of Game” and then was thinking I needed another one, because threes. Then I heard quietly in the back of my mind, “I eat quarterbacks for breakfast!” Then louder, “I EAT QUARTERBACKS FOR BREAKFAST!!” And I had no idea what game it was from, only that it’s part of the sonic landscape of my psyche, so I had to look it up.
It’s from Super High Impact, a pretty old (1991) American Football game I used to play down at the arcade and that was really my earliest experience with football games in general. When you get a sack (or get sacked) the lineman dramatically delivers that line. I love it, it’s so over the top and hammy and makes getting sacks (or even being sacked) this kind of joyous, ridiculous experience.
Just finished up a deeply dispiriting session in which I tried to produce some music effects for GuruQuest in the continuing tradition of doing everything for the game myself. The basic idea was sound, I think, but the execution and everything else was oh so disappointing.
The plan was to record chords from the C major progression and then have the game play them at some kind of random interval during play to create a bit of a mood and, most importantly really, just a little bit of sound texture to an otherwise soundless world. Anyway, in my mind at least, this would create a series of sounds that would be compatible with each other, but also randomly selected, in keeping with the “generated” idea behind the game as a whole.
But instead I got a big taste of the experience of wading into into the unknown realms that stretch as far as the eye can see outside my limited expertise. See, I can do some programming, and on a good day I’ve got an alright eye for visual aesthetics, but on the sound front? Well, I can plink away at a ukulele and I know the bare minimum about sound programming, and that’s that.
Recording music is really hard. I guess that’s why there are highly paid professionals and, importantly, special rooms. My setup was a noise cancelling mic (tuned for human speech presumably), my laptop (with its fan noisily running because it’s an old fellah these days), and my ukulele. This did not turn out to be the best audio setup one could hope for. But I forged on and learned various things about the proximity of the instrument to the microphone and so on. Then I learned how the noise-cancellation algorithm in Audacity (the sound editing software) can make the ukulele sound bizarrely terrible. So that wasn’t great.
After many painful run-throughs, I ended up with sound files for each of the chords in the progression. They had a bit of background hiss, but not so much to be totally noticable, so I wasn’t completely unhappy. Then I tried installing some sounds in the game world so that a random chord would play every four seconds or so.
And then I was completely unhappy.
It sounded so very terrible. Not so much because of the sound quality, which was passable, but because the pairing of the (medium speed) chords and the still, clean aesthetic of the game was wretched. I don’t think I’ve felt such a jarring dislike of something I’ve made in a long time.
Of course, the flip side of “oh god, that’s awful!” is a heapin’ helpin’ of learning. Clearly if the ukulele thing is going to work the chords need to be much slower (more like individual notes) and much softer. It might stand a chance of working. So I’ll have to re-record it all and keep my chin up and so on. And, at the very least, beneath the sadness and despair, at least I did the thing I was thinking of and found out it sucked, rather than blithely assuming it would be fine later, later.
Anyway, much respect to all you proper music and audio people out there – I very literally don’t know how you do it.
I’ve been trying to get back into playing around with Processing again, after my quite productive jag making webcam-based platformers a little while back. This time I wanted to tackle some of the sound capabilities thanks to a few student in my class who’ve been talking about their ideas.
Turns out that, for me at least, dealing with sound is a lot harder than video. As I try to understand the library you use (called Minim), I come to realise just how little I know about sound processing jargon and metaphors and technicals. As such, I basically don’t understand how anything works except by tweaking example code. Further, my lack of understanding pretty much prevents me from tweaking the code in interesting and/or useful ways. I’m a bit stymied.
To this point the best I’ve managed is to get some live waveforms to appear, with the idea being that I could get them to behave as landscapes that you could then walk on in a game. I have a bunch of (I think) cool ideas that could go with that basic starting principle, but my lack of ability to comprehend how the sound stuff in Processing works is really holding me back. I just don’t think in audio.
Anyway, I’ll do some more battle with it if only because it’s weirdly fun testing the crappy prototypes by singing and clapping and beatboxing into my macbook’s microphone. In private, of course.