question What is the process for creating sound/music like?

[Lampookie]

For developers of Vintage Story or mods, how have you found the workflow of implementing your own tracks into the gameplay and making foley sounds that fit the bill?

I am interested in hearing what hardships and small snippets of detail might go unmissed that you would want to share!

[LadyWYT]

5 hours ago, Lampookie said:

how have you found the workflow of implementing your own tracks into the gameplay and making foley sounds that fit the bill?

Not exactly a developer or sound designer, but I do toy with stuff like this from time to time, though it tends to be more for visual designs. But I would say that sound design employs the same general principles as visual design--you need things to sound like they belong in the setting that's been crafted, just as they need to look like they belong there. Sounds also need to be appealing enough for the audience to tolerate for extended periods(if not enjoy); intolerable sound effects or music can turn players off a game entirely. Warning sounds need to be sharp enough to grab the player's attention so they can react quickly; monster sounds generally need to be unsettling, loud, or sometimes a little obnoxious depending on what reaction the player is intended to have towards the monster.

Sound effects and music play a pretty big part in environmental storytelling as well. Soft footsteps on grass or a soft crunch of gravel underfoot can make just walking around doing nothing a very relaxing, pleasant experience. Adding some sharper sounds into the mix for player footsteps could indicate that the character isn't very skilled in stealth, or is wearing heavy equipment that makes movements more noticeable. Softening the sounds from the default can suggest that the character is skilled in stealth or wearing equipment that allows them to move quietly. Environmental noise like birds chirping or wind rustling grass can make the surroundings feel alive, even if there's not actually a simulated ecosystem to be found. Music can greatly enhance the environment, if done well, and provide a sense of the area's history and culture. Compare Oblivion's music to Skyrim's--both have the same composer, but one feels like a jolly adventure through a civilized medieval countryside, while the other feels more fitting for a land filled with snow, ice, ancient ruins and wild magic. 

[Lampookie]

I agree wholeheartedly, they've captured so much with the current ambience in the game, I especially like the notes you mentioned on walkable surfaces. That tends to be one of the most focal points of audio for me, and so often is done horrendously basic in too many games/experiences.

I'm extremely excited to see how blacksmithing will sound in VS as I've only just started firing up some red clay into pottery. All of the little diegetic sounds for chipping away bits of clay and setting the pits alight are done so well! Lurker sounds are certainly pretty creepy also...  

1 hour ago, LadyWYT said:

I do toy with stuff like this from time to time

I'm interested to know what kind of projects you've had experience with if you don't mind me asking? Everyone handles the creative part of sound design differently and it's always been amazing to hear about even if it's inherently bland sounds.

[LadyWYT]

1 hour ago, Lampookie said:

I'm interested to know what kind of projects you've had experience with if you don't mind me asking?

It's mostly just casual observation of various media as well as real life, my own personal worldbuilding, and various bits of sound design that I have seen explained over the years. No actual experience in the industry. I like to pick things apart and figure out what makes them work, as that helps me write my own stories or critique other works more constructively. 

One bit I recall in particular that I recall listening to, that perhaps served to stimulate that kind of curiosity, was a brief explanation of what went into creating Aslan's roar for some Narnia audiobooks, and it's not what you'd first expect. A lion's roar was part of the sound, for obvious reasons, but a lion's roar alone lacks the power that a supernatural lion's roar should have, so they mixed in a tiger's roar for raw power and some whale noises to give the roar more rumbling depth. An example of "bad" audio design is the Wilhelm scream--it's not exactly a bad effect itself, but it's very...unique...and it's been overused to the point that it can immediately break the audience's immersion as soon as it appears.

[Lampookie]

Yeah, it's about setting the mood with even the smallest things, such as adding extra oomph to the lion's roar, It doesn't have to be realistic, sound design is about conveying the ideas from one mind to another, most people consider lions to be very powerful and scary... So, they designed it to be heavier sounding to better fit that.

Thanks for the insight, you're cool! ^^

[LadyWYT]

Forgot to link this earlier, but you'll probably find this clip interesting: 

 

[Lampookie]

I'll give that a look LadyWYT, thanks for sharing.