Threat Music - Layers of Intensity

Further development of the threat music was carried out and split into chunks that could be better managed dynamically by UDK. A few synthesiser patches as well as drum samples were used alongside the core of the music track which is made up primarily of the Grain Bin samples. These extra additions, especially the drums, worked well to help put more pace into the music.

The main goal of the threat music is to dynamise gameplay by making certain points of the game more exciting. The use of threatening music also, arguably increases gameplay optimisation by informing the player that the tone of the game has changed and a new course of actin must be taken.

Three levels of threat were created which translated as:

• Hunt_Music_Low_Alert (8 Bars @ 120bpm)
• Hunt_Music_Main_Alert (8 Bars @ 120bpm)
• Hunt_Music_Tail_Off (16 Bars @ 120bpm)

The sections were arranged so that they could be played interchangeably, for example; Main_Alert>Low_Alert , Main_Alert>Tail_Off and so on.

It is intended to use trigger points within the level to determine which sections the player can hear.


[UPDATED] 24.04.2015
Here is the up to date versions of the music sections which are currently being used in game.

Music - Threat Music Development

I began to compose some threat based music for the level in order to convey the message to the player that they were in danger. The metallic recordings from the grain bin session proved to be very useful and have managed to provide all of the content for the rough tracks created so far. These sounds have been used throughout the level in various forms already and are beginning to give the game a sonic signature. The two examples below was composed entirely of sounds recorded from the farm grain bin with a double hum-bucker style guitar pick up. Use of pitch shift, delay and reverb were the main tools used in these sessions.

The next task will be to develop these further into sections for different levels of intensity in the game, these different levels will be triggered by the state of threat during the game.

Recording Session - Binaural Breathing

To enable a more intimate connection between the player and character, a breathing system is planned for the character which will change dynamically as the player navigates through the level.

Instead of traditionally recording breathing sounds directly into a microphone set up the decision has been made to use a set of in ear binaural microphones. this will capture the the sound of breathing from a perspective which is much more realistic and hopefully make the player tune into the mood of the character, leading to a greater sense of immersion.

The recordings were chopped up into inhale and exhale samples which will be imported into UDK and joined together randomly to create a varying breath sound.

[UPDATED] 25/04/15
I have eventually got round to uploading a sample of what was recorded.

Level Sound Categorisation (IZEA)

Following the investigation into the IZEA Framework I have complied a list of all sounds which will be used in game and mapped them within the IZEA.

This has helped to formulate exactly where and how the audio assets will be used and interacted with. This framework will be used a referencing guide as the implementation phase develops.

Location Recording Session 01

Today some recordings were carried out within a disused farm building containing large steel grain bins. The plan was to capture some metallic sounds to be used in the creation of assets for the dungeon level. A Zoom H2n along with a guitar pickup was used to capture the majority of the metallic recordings.

The guitar pickup was most successful when held a few millimetres away from the metal of the grain bin, whilst using a piece of  angle steel to to create impact sounds and scraping sounds. By using the guitar pick up I maximised the resonant sound emitted from the bin whilst eliminating all room space noise. Examples are below:


Some additional recordings were also captured from various mechanical devices throughout the building as well as some footstep sounds, some additional editing of these will be required however due to the nature of the location. Background noise levels were an issue along with the large reverberant space of the building but that aside I feel the sounds can be cleaned up for application to the project. 

Basic Recording Map

A map was created in reference to the Basic Sound Map and details which sounds are required to be recorded. Session plans will follow on from this map and detail suitable locations, props, recording techniques and so on.

Basic Sound Map for Dungeon Level

Here a basic map was created which identifies all sound within the level. This will be amended once a final level design has been established. The level design document will be presented as a walk through guide of the level, this will highlight any sound missed on this map.

A basic recording map will also be drawn up from this which will detail sounds that are to be recorded for the level. This will help guide recording sessions as well as maximise each session by ensuring that all sounds required are captured as needed.