About the project
- Creative productions (music production and composition, sound design, sonic branding, voiceover, video production, video post-production, audio production, audio post-production, sonic branding)
SOUND PITCH: Agency (services as above)
Sound Designer / Composer: Adam Scott-McGuinness
Games Studio: Myriad Games Studio
What we did:
Have we got your attention? Awesome!
Sound Pitch worked with Myriad Games Studio over the course of 2018 to support player immersion by enhancing the environment and mood of the narrative experience. This was achieved through subtle but extensive 3D environmental sound design, adaptive music composition, and original audio for the user interface.
The demo for this narrative experience was selected to be exhibited as part of PAX Rising 2018 at PAX Australia. We got some pretty good reviews, too:
“There was no spoken dialogue in the demo, just soft atmospheric music and the sound of boots crunching on snowmaking an almost meditative soundscape to accompany the game.”
- Anna Rouke (Player2.net.au).
“ The art direction is gorgeous and the soundtrack already sounds like it’s going to be a key element to the game.”
- Zach Jackson (Well-Played.com.au)
UX: the important stuff
How did we do it? Easy. The first approach was to use a series of special spatialisation plugins to position realistic sound effects throughout the environment. By creating an auditory environment where each object had its own sound in 3D space, players literally hear the world being created around them.
The village - folk music of the fictional region
The forest - cold, desolate and beautiful
The spirit world - unsettling, ethereal
Before embarking on composition for this fictional world, we talked at length with the awesome team at Myriad Games Studio in order to understand the history, cultural beliefs and traditions inherent in the game they’d created. What’d we do then? We got academic, baby! Ethnomusicological research was the name of the game and off we went to understand more about musical instruments in the bronze age.
We chose to focus on this sense of ambiguity and sparseness (while retaining a sense of comfort and pleasantry), constraining the instrumentation to two cellos, two acoustic guitars with e-bows, and a bowed glockenspiel. We kept the chord progressions fairly unpredictable but always pleasant to the ear, and made sure there was lots of space between notes in the key melodies to make sure that sparseness was reflected everywhere.