Audio Update: Voice Recording

Last week, I visited Alba and Noah at their home studio in Queens to record some vocals for Where Shadows Slumber. (If you have no idea who I’m talking about, read the intro blog they wrote last year right here) They’ve been working hard on the game’s audio since we brought them onto the project in September. There’s just one hangup, though – Obe’s voice, as well as the voices for the game’s other characters, are not in the game yet.

Voices are tough to fake using synthesized instruments. You need to capture the performance of an actor who understands the emotions of the scene before them, especially when you’re scoring animated cutscenes. Fortunately, since I’m the one who made the game’s cutscenes, I know exactly what weird noises Obe is supposed to be making! I also love acting and have been involved in theatre since grammar school. I can’t say I’ve done a lot of voice work though, so this was a new experience.

 

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The Setup

How do you record voices, anyway? Well, I made the trek out to Queens to visit Alba and Noah at their apartment to see their setup. They set me up with a microphone stand and a pop filter, with a few sound shields to block out unnecessary noise from the refrigerator. From where I was standing, I could see the cutscene video as we recorded. My goal was to match the visuals on the screen with the noises from my mouth.

On the software side of things, we recorded in ProTools for a bit until it kept crashing during sessions. Noah and Alba eventually decided to just record everything in Logic since they were going to edit the final sound in Logic anyway. It worked out great!

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Here’s a better shot of the microphone stand, pop filter, and sound dampener:

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The microphone used is a Miktek CV4.

I recorded voices for Obe, the forest guardians, and a few bit characters that are only in one cutscene. Noah showed us a crazy sound synthesizer that takes your voice in and spits out animal sounds, like a growling dog or a roaring lion. That was good, because my impression of a lion sounds nothing like a lion!

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Alba and Noah helped to coach me as we repeated sections of the audio.

We even received aid from the innocent creatures of the forest, as we danced in harmony together:

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Their adorable bunny McFlurry mostly hid under the couch. This was a rare sighting.

The funniest part of the day was when Noah and I teamed up to record chatter sounds for the prison guards, who are chasing Obe from a distance. The game has no recognizable English words – or words in any language, for that matter – to make sure it’s easy to localize in China. (Their government is very strict about the influence of “outside” languages.) So we invented our own nonsense language and shouted like idiots for a few seconds before cracking up!

I’m sure that will sound better in post. LOL!

Here’s a transcript, for those interested in the deep lore of Where Shadows Slumber:

GUARD 1: era adbabalao at babt!!!

GUARD 2: ebbebe ebebebe ebe ebe beyhehehe!!!

GUARD 1: arbababaldlalao ehehr ehe!!!

GUARD 1 and GUARD 2: aanndna hehee!!!!

GUARD 1: wod! wod! wod! ow dow dowmee ndenebedo!!

Shakespeare must weep from the great beyond, mystified that he could never attain such beautiful prose.

 

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Thoughts About Voice-Over Work

Voice acting took a lot out of me. It’s really hard! We were focusing on the cutscenes during this session, and I was determined to do them all in one take. Essentially, for each character in the scene, I recorded their voices from the beginning of the cutscene to the end. That means doing about 90 seconds of voiceover per person per cutscene, and we did multiple takes. Additionally, we would skip around and redo certain segments (a gasp, a scream, a laugh) to make sure they came out right. Between trying to keep up with the video and trying to change my voice to match the character, I don’t know what the most difficult part of this was. All I know is that I have a newfound respect for voice actors!

Now that I think about it, screaming was probably the most challenging thing to get right, because it’s so easy for screams to sound campy. For that reason, it’s a little embarrassing to shout at the top of your lungs in front of other people. It also just really hurts your vocal cords! We should have saved that for the end, so I’ll remember that next time.

Actually wait – the hardest thing was when we recorded breathing because I almost passed out! We wanted to get some audio of Obe breathing as he’s running quickly. This would go in the game’s Levels, not in a cutscene. For some reason when you record yourself breathing it becomes really difficult to actually breathe… I got a little lightheaded as we recorded his idle breathing, running breathing, and struggling breathing. Something about keeping a steady rhythm messed up my actual breathing and I had to take a few breaks. Maybe I’m just terribly out of shape?

As you might have guessed, it’s all very challenging! I encourage you to find your favorite voice actor on Twitter or something and send them an encouraging message for all their hard work.

 

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Support PHÖZ Online!

I really appreciated the opportunity to go out to Queens and hang out with these guys for a day. It was a much-needed distraction from my usual routine (wake up, stare at a computer for 12 hours, sleep). Voice acting is an exhausting endeavor, but it was exhausting in a different way than what I am used to, so I had fun!

You should support their work online by going to www.phozland.com and signing up for all of their various social media accounts (Facebook, Twitter). Also, please listen to the selected songs on their website that come straight from the game! They sound so beautiful in isolation, and you’ll gain a new appreciation for all of the hard work they’ve done so far.

 

 

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We hope you enjoyed this update about the game’s audio. Have a question about sound that wasn’t mentioned here? We’ll forward it along to Alba and Noah! You can find out more about our game at WhereShadowsSlumber.com, ask us on Twitter (@GameRevenant), Facebookitch.io, or Twitch, and feel free to email us directly at contact@GameRevenant.com.

Frank DiCola is the founder of Game Revenant and the artist for Where Shadows Slumber.

MAGFest 2018 – The Bomb Cyclone

If you are reading this, you are one of the few survivors of the worst winter storm to hit the east coast since the formation of Earth as a planet. Welcome to the Winter Storm Grayson resistance. We were able to get the Internet uplink working, but only for a few minutes. Just enough time to tell you how MAGFest 2018 was!

 

Setting Up The Bomb

To be honest, I did not encounter anything more than snow flurries and severe cold over the weekend. I drove down on Wednesday afternoon, which was before the storm hit. Also, the beautiful Gaylord Hotel located along the scenic National Harbor was more inland than I realized. We weren’t even close to the the Maryland coastline! Sure, the river froze, but we didn’t get any snow at all.

When I got to the hotel, I was greeted by a bubbly Magfest banner welcoming “Adventurers and Dreamers.” (I’m not sure which one Jack and I count as…) The MIVS banner shown above was proudly displayed in Hall C where all the indies were, and gives you a good idea of what that section is like. I love that they have this. I can’t tell you how much it means to us that we got a free booth at a show like MAGFest!

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By Wednesday evening, the Where Shadows Slumber booth was set up and ready to go. It was pretty painless, and everyone loved the sweet GreatMats foam flooring we had from last year. This post is sponsored by GreatMats. Have you gotten your GreatMats GreatMat today? I stole the idea to include table lamps from the Mushroom 11 team, who used it to great effect a few years back at a Sheep’s Meow event at the NYU Game Center. It wasn’t anything special, but the booth got the job done. Other people had crazy stuff like tents and massive posters. Maybe next year, when the game is for sale, we’ll go to town on the booth. I never really plan this out, I always wing it. But I bet if Jack and I sat down and asked ourselves “what experience do we want people to have with our game at our booth?” we could come up with something really cool.

 

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The Madness Begins!

Wednesday was the calm before the storm. Not Winter Storm Grayson – Winter Storm “Tons of People Dancing In The Gaylord.” By Thursday, the party had officially begun. They put us in the official hotel this year, which meant I had plenty of time to capture the insanity. If there were any normal, well-adjusted people staying in the hotel these past four days, they must have been terribly confused.

The show ran from Thursday to Sunday, with a pretty stable crowd of people all four days. Sunday surprised me actually – I don’t remember the short time-frame of Sunday being quite so busy last year. I had people at the table until after 2 pm on Sunday, which is when everything shuts down.

The build Jack prepared included the game’s first World (The Forest), then World 3 (The Aqueduct) and finally World 5 (The Hills). We wanted to jump around to get some feedback on parts of the game we haven’t shown off as much. I’ve seen tons of people play World 1 (The Jail) and World 2 (The River) at this point. And since I haven’t gone back to polish those yet, it would have been more of the same feedback.

The response to this build was overwhelmingly positive. People loved the new audio, although it was hard to hear in the crowded MAGFest hall. They commented on how beautiful the art style was, and how the game was more challenging than last year’s Demo. The critiques they had were generally about the game chugging along on the Amazon HD 8 devices (one Level has a ton of lights) and other things that were hard to quantify, like the way that draggable objects “feel.” It’s hard to know exactly what players want when they say stuff like that, but that’s what the final months of a project are all about – tweaking the small stuff.

 

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There Was Plenty of Indie Time

I’ve made a conscious effort during these shows to try to spend as much time with other developers as I do with customers. After seeing the same faces show after show, it’s a little embarrassing to not get to know them. I’m pretty shy… and there’s always a ton of stuff to do at these shows. But it’s important to make an effort to join the game industry and treat it like a community.

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SWEET RAVE PARTIES!

The MIVS crew threw a party for all of the game developers and staff on Friday night. We got to see the crazy penthouse nightclub that the Gaylord Hotel has up on the 18th floor. I don’t go to a lot of nightclubs, so I was easily amused at the pretty rainbow lights and stellar view of National Harbor. It was coooool, man!

After meeting up with some NYC-based indie devs, we went to a crazy Power Glove concert. Note to self: keep earplugs on hand for this sort of thing. Power Glove plays heavy death metal renditions of classic video game themes. It was the most MAGFest thing I’ve seen at MAGFest.

 

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Swing and a Miss!

Sadly, although they handed out MIVSy awards to the developers on Saturday evening, Where Shadows Slumber did not receive any accolades. In our defense, we only brought a few in-development Levels from the final game. Other teams brought their final “ready-to-purchase” games and put their best foot forward. Just like last year when we brought our Demo, you can’t expect to win an award for something you haven’t finished yet. It wouldn’t be fair!

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But it still stings a little bit – that’s the downside of the development route I took us on. There’s a ton of time we spend at festivals showing off our flaws and weaknesses, because we want feedback. It’s going to make the final game better, but it can be exhausting listening to the same comments for four days straight. I just hope that once the game “goes gold,” it will receive the recognition it deserves. Do I hear #2018GameOfTheYear?

I’m home now. Sadly, I had to run the table alone this past weekend – Jack was planning on coming, but had to stay home unexpectedly for personal reasons. He’ll explain everything next week in a really important blog post. Sorry to be a tease, but this is something we’ve known about for a while but have not made public. It’s his story to tell, so I won’t go into it. Please stay tuned for next week’s blog for more details.

Thanks again to the wonderful MIVS staff for inviting us to return and providing such a great opportunity! We hope to return for many more years to come, whether it’s to sell Where Shadows Slumber or get some feedback on a future project. Rock on, everybody!

 

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That’s all for MAGFest! Please leave a comment to let us know you’re not a Russian Twitter bot scanning this page for mercenary purposes. You can find out more about our game at WhereShadowsSlumber.com, ask us on Twitter @GameRevenant or Facebook, and feel free to email us directly at contact@GameRevenant.com.

Frank DiCola is the founder of Game Revenant and the artist for Where Shadows Slumber.

Hey, Listen!

Bubbling pools of lava. Rushing water echoing throughout a cavernous aqueduct. An eerie graveyard. A lonely mountaintop buffeted by unrelenting snow.

For the longest time, Jack and I imagined these sounds in our heads as we played the development build of Where Shadows Slumber. Neither of us have any formal audio training, so our game was a silent vacuum waiting to be filled with lively sound. We imagined footsteps clattering on tile, creepy birds in the distance, and the distant growl of mysterious beasts as we dreamed of a day when our game felt complete. Finally, that dream has come true!

To be sure, this game is still very much in development. But we’re finally ready to show off some of the sections of our game that have complete sound. It’s taken many months of recording and composing by Alba S. Torremocha and Noah Kellman, our powerhouse audio team, to get here. All the while, Jack has been diligently programming a complex system of triggers to ensure that their sound plays correctly during the game.

I underestimated the amount of work it would take to set all of this up! But I was right about one thing – our game feels so much more alive now that you can hear things like the crunch of grass under Obe’s feet. Every visual element in the game has taken on a weighty-ness that gives it a sense of place, whereas before everything just seemed to float. If you normally don’t play mobile games with your phone’s sound on, you’re going to want to reconsider when you download Where Shadows Slumber next year.

Without further ado, let’s watch some videos of the game in action accompanied by a brief interview with Alba and Noah.

TURN YOUR SOUND ON! ([ ^_^]);

 

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At a planning meeting, we discuss scene audio transitions.

 

Interview With Alba and Noah

FRANK. What was the name of that event you guys went to?

ALBA & NOAH. The event was a GANG (Game Audio Network Guild) monthly panel and feedback meeting, one of the only venues where us audio nerds can safely enter the outside world and socialize.

F. How secret was it? Can you tell us anything?

A&N. We can tell you that Tom Salta (Composer for Killer Instinct, Prince of Persia, Halo), Jason Kanter (Audio Lead at Avalanche) and Gina Zdanowicz (Owner of SerialLab Studios, Sound Designer for Best Luck) were all there to give us feedback, and they all had great things to say about the game! They also offered us some really fantastic feedback with good ideas to help us continue to improve the soundscape.

F. What parts of the game did you show off?

A&N. We chose one Level from each of three Worlds (World 0, World 2, and World 6) and demonstrated how the audio interactivity works, as well as our aesthetic sound choices so far.

F. How much audio is done – what have you done so far?

A&N. It’s crazy to say, but we’re almost finished with our first pass of sound for every World except World 7! Whoa. Once that’s done, we’ll head over to the UI sound design and the cutscenes, while continuing to make improvements on the rest.

F. What part of the game are you working on now?

A&N. We’re finishing up music and sound for World 4 and we have some crazy ideas that might hold back the schedule a bit… (oh crap, I hope Frank and Jack aren’t reading this…)

F. What audio features are you most looking forward to creating?”

A&N. We’re really excited to freak out our neighbors with a bunch of strange, deep grunting sounds while we work on Obe’s voice and character sound design. And also, wait, did someone say… string quartet?

 

 

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What Do You Think?

We’re very proud of the work that’s been done on the game so far. That doesn’t mean the game is finished, though! We’re also not above taking criticism or honest feedback. Now is the time to tell us what you really think – don’t wait until the game is on the store, and you’re agonizing over whether to give it four stars or five stars…

Leave a post in the Comments section below and let us know what you think!

 

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Thanks for checking out the game’s audio in this blog post update. Please leave a comment to let us know you’re not a Russian Twitter bot scanning this page for mercenary purposes. You can find out more about our game at WhereShadowsSlumber.com, ask us on Twitter (@GameRevenant), Facebookitch.io, or Twitch, and feel free to email us directly at contact@GameRevenant.com.

Frank DiCola is the founder of Game Revenant and the artist for Where Shadows Slumber.

Introducing Our Audio Team!

We’ve been waiting a few weeks to announce this, but now it’s official: Where Shadows Slumber will have professional audio designed by Alba S. Torremocha and Noah Kellman. Please extend them a warm welcome to the team!

It would be a shame if I spent this entire announcement post blathering on instead of handing the spotlight over to them, so instead I’ll let them write their own introductions. Take it away, you two!

 

Hey all!

“Here we are! Finally! The last pieces of the Dream Team, reaaaaady to rock! And roll. Mostly roll, since we’re recording A LOT.

Everybody knows that sound guys are always the coolest, but let us introduce ourselves
real quick so there’s no doubt left about it.

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Alba was expelled from Hogwarts for using her wand as a baton.

Alba S. Torremocha (Music & Sound Design) Alba comes from a highly-refined background in classical composition and orchestration. She walks around with an eyebrow raised because well, that’s what snobby classical musicians do. She studied violin for 10 years and then Classical Composition and Conducting in Europe for 4 years, with a strong focus on French orchestration techniques (hence the raised eyebrow). In the US, she won the residency of the NYU Symphony in 2016, and recently received the Elmer Bernstein Award. Her pieces have been premiered and awarded around the world, and she always makes sure everyone is aware of this at all times. Her alter ego appears under the full moon and is a kick-ass film and video game music composer. She recently collaborated with the renowned video game composer Tom Salta (Prince of Persia, Halo, Killer Instinct…) on one of his latest projects. More: www.albastorremocha.com

 

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Noah spits fairy dust when he’s excited. No one knows exactly why.

Noah Kellman (Sound Design & Music) Noah comes from an intensive jazz piano background. He toured the country at the Brubeck Institute while working with many jazz greats along the way. He spent year after year striving to be the best until someone finally said to him, “Your music sounds terrible and I don’t understand any of it, so it must be the best jazz I’ve ever heard!” At that point, Noah knew he was a true jazz master and he decided to pursue becoming a master of other things, including filling his medicine pouch in Horizon Zero Dawn and driving with cruise control set to 11 mph collecting rare Pokémon in NYC. But, in his glorious return to professional sound creation, Noah began creating electronic cinematic soundscapes using acoustic instruments to create strangely familiar yet unrecognizable timbres. Although he works intensively as a composer and sound designer throughout the film and game world, his pride, joy, and utter financial downfall is his independent Cinematic Post-Rock project “Nozart”, which has also garnered him attention as a songwriter, producer and performer in the Indie world. More: www.noahkellman.com

 


 

We often work as a team because, as you can see, we come from very different backgrounds and, when we combine them, really cool stuff happens. Also, it’s more fun to have someone else to blame and panic with when the deadline hits your face. We first heard about Where Shadows Slumber at Play NYC. We played it and were instantly amazed, but we quickly noticed there was no music or sound design.

When we asked them about it, they said: *slo-mo, camera closeup on their lips*

‘We’re looking for a Sound Team.’

(Actual footage of the moment)

Then, a choir of angels appeared and bonded us to this sacred quest. Next thing we know, we’re recording lantern sounds in our living room.

We knew right away that Where Shadows Slumber called for an exceptionally unique sonic landscape. After discussing this in great detail with Frank and Jack, we understood that Obe’s story takes place in a world that bears some nostalgic resemblance to ours, but is actually full of creatures, inhabitants and landscapes of mysterious origin. We wanted our sounds to be surprising, alien, and yet somehow recognizable. We tried to accomplice that goal by using unconventional methods to reflect familiar creatures and landscapes. For example, in the following video of World 0, we used a combination of synthesis and acoustic flutes to create the birds throughout the atmosphere. The two types of birds function differently within the game, bringing the soundscape to life.

We also wanted to break the barrier between music and sound design. Instead of an
inanimate loop that plays over and over, we created a soundscape in which both music
and sound design breath together, affecting and changing with each other as the player makes decisions in the game. For example, different layers of music are activated (or deactivated) with the player’s progress (or backtracking) in solving the puzzle throughout the level.

Overall, Where Shadow Slumber is an exciting challenge, and we love nothing more
than helping transport the player into a completely new, beautiful and immersive world.”

-Alba & Noah

 

Look Forward To More Audio Updates

Jack and I are thrilled that we’re able to bring Alba and Noah aboard! Our game has been a silent vacuum for quite some time, and it gets a bit soul-crushing. Hearing the birds chirping in the Forest for the first time suddenly made the game feel alive in a way that it hasn’t since the Demo days. It really is incredible how one missing crucial piece, like the sense of sound, can cripple the experience.

Well, no longer! Look forward to more audio updates as time goes on. We’re all working on different sections of the game right now; Alba and Noah are making their way chronologically though the Worlds starting from the Forest, as Jack finishes up the game’s ending Levels and I’m somewhere in the middle doing artwork. In time, we’ll converge and show our fan(s) the combined effort of everyone’s talents working together. Until then, you’ll have to be patient!

 

EDIT (Sept. 26, 3:00 p.m.): A previous version of this article mistakenly contained the wrong video file showcasing the game’s audio. The video has been updated.

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More audio updates are coming in the next few months. Until then, you can find out more about our game at WhereShadowsSlumber.com, ask us on Twitter (@GameRevenant), Facebookitch.io, or Twitch, and feel free to email us directly at contact@GameRevenant.com.