Sonnox - Audio Media

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Production Report > and functional), a B&K 4128 dummy head, and a Neumann KU100 dummy head kindly lent by Sennheiser UK. “The Neumann’s microphone capsules are amazing. Also, the head is average-sized, which means that the binaural effect should work for most people. On the downside, it’s heavy, fragile, and very expensive.” Time For More? Ryan made other sounds by re-recording and layering commercially-available effects. He started out playing them though a single Genelec 1029a speaker, which he moved round the Neumann head. This was effective, but finicky and time-consuming. “So I switched to plug-ins: Wave Arts’ Panorama 5 – which creates believable three dimensional position information and has Prism_TONGSOSjuniorad:Layout 1 27/04/2011 14:55 Page 1 “Phat and totally essential” Pete Tong & Paul Rogers The only interface for the job ORPHEUS Professional FireWire audio interface reverb and binaural early reflection modelling – is brilliant. Often if you add reverb to binaural sounds, it can lessen the effects, because it’s unrelated to the positional information. Also, all the parameters are automatable and you can record the automation.” That was the biggest advantage of using plugins. “I could copy the automation for moving one layer to the others, ensuring they all coincided. Or replace one sound with a better one without losing the panning information.” Mixing was challenging. “I wanted the game to have big dynamic and spectral ranges. I had to assume people would listen to it in noisy places and they needed to be able to hear everything. So it had to be loud. Matching levels for different assets was hard. We ended up outputting everything into one folder, then batch-processing all the files at different levels of gain. When looking for a high quality I/O solution there is only one choice. Orpheus provides Prism Sound's world renowned performance, sound quality and state-of-the-art clock technology in a dedicated FireWire unit compatible with both Windows and MAC OS X. Orpheus features line, microphone and instrument inputs, selectable RIAA Equalization for turntables, a built-in premium-quality monitoring mixer and concurrent ADAT and switchable S/PDIF or AES3 digital I/O plus support for outboard MIDI devices. The Microphone inputs include MS matrix processing and dual headphone outputs are provided each with their own volume control. Nick Ryan. When we imported the sounds into the game, we went through a balancing process and if one element was too loud, we just grabbed a quieter version.” Ryan mastered with Waves L2 Ultramaximizer and Izotope Ozone on the output with the Waves LoAir plugin and a bit of Maxxbase. “I used widening plug-ins too: Waves Imager and Waves Shuffler to make things sound more 3D.” The cut scenes – the audio between levels – were mastered to -1dBfs to give the engine headroom. Because footsteps always play over an atmosphere, in-game scenes are quieter to compensate for combined gain. Ryan used impulse response reverbs: Apple’s Logicpro Space Designer, “which was brilliant. And I couldn’t have lived without <strong>Audio</strong>ease’s Altiverb. There’s something about impulse response reverbs that is more immersive and works much better with real binaural assets than normal reverbs.” During play, the sound in Papa Sangre is generated by a bespoke engine built using the C++ software framework CSL (Create Signal Library) and Objective C. “It allows us to spatialise up to three sounds around the listener and have other sounds playing at the same time”. Every game level was constructed from 1x1 floor tiles: each of which was used to trigger the relevant sound(s). An Unlimited World “Making Papa Sangre audio only,” says Ryan, “gives each player a completely unique experience. The only limits to how horrifying or beautiful the game’s world is, are those of an individual player’s imagination. So it’s got the best graphics of any game, ever. The downside is that I’ve made effects that sounded, to me, like particular things, but to other people sounded like something else. And when you’re dealing with a game in which people need to understand where they are, it gets very interesting if everyone thinks they’re somewhere different… “ ∫ Contact us now to arrange your Orpheus demo. sales@prismsound.com www.prismsound.com UK +44 (0)1353 648888 USA +1 973 983 9577 Papa Sangre www.papasangre.com 42 AUDIO MEDIA MAY 2011
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Page 1 and 2: AUDIO-FOR-VIDEO • BROADCAST • I
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Page 7 and 8: Show Report > LB-202 dual channel l
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Page 50 and 51: PRODUCT SAMPLER Recorders They're a
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Page 54 and 55: video guide A Sound Pro’s Guide T
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