Intro to Game Audio
Definitely the longest assignment of the term – each student was given a pair of objects (not literally, just assigned in name) to design 20 impact sounds for at different forces. Five lights (10″), five mediums (10′), five heavys (100′), five supers (100’+, hurled). Impact surface was concrete, with some flexibility here. We had a few weeks for this one and were encouraged to record as much original source material from our Foley/props room as possible.
Much of the below taken from my project post-mortem. Enjoy!
The first thing I did when you assigned this to us was to start conceptualizing all the different layers that’d be involved in each of my objects’ impacts, so I had a checklist to work from when it came time to record.
Approach here was to really imagine what was going to happen to the surface itself at the higher impacts, since the ball itself is a pretty one-dimensional sound source. Other than that, I just knew I’d want to record the ball dropping on multiple surfaces so that I could stack and vary the balance of those impacts to fatten up or thin the ball drop sound.
The biggest challenge was trying to get the really impactful, transient crack I wanted for the higher impacts (as the ball would literally split the concrete), while still keeping the hollow thud of the ball sound there as well. I mixed the three different surface drops with some short LFE accents gave me the roundness of the ball, and then tried to use some snappy sweeteners like walnut cracks to give the impression of the concrete breaking. I couldn’t find anything nicer than this in our library to fit the task; with a little more time I might’ve gotten luckier.
I focused on making sure that the listener was able to tell that this was, in fact, a bowling ball – and not just some solid heavy object – at all velocities. Structuring each fall as a series of bounces helped this a bunch, as did the tail-end rolls I had recorded.
I started work on this guy before the train car to try to get my chops up before moving onto the more complicated sounds. Unfortunately, this meant that I was designing these without the aid of a ton of the tricks we’d later learn in Intro to Post Audio Editing, so making variations was slow.
With some extra time, I would’ve put more effort into varying up the supers – I left off after the first one to get onto to other projects, and by the time I returned I was totally sapped for inspiration, so they’re not *quite* at the imaginative level of my train car supers.
My other object was a train car – I’ll have those recordings and a little retrospective up in a few days.