Will Roget

two work gloves with wolf nails stitched into the top of each finger with pink thread

Cleaning up old files and found this one of the gloves I made for the nail layer of the wolf footsteps for Ghost of Yotei. I found a place in Nebraska that sold the nails (gulp) and stitched them into a couple gloves. Pretty sure @chrissoundsrad.com recorded some stuff with them too. #GameAudio

plugins/pitchflattener at main · samueljustice/plugins General experimentation with Plugins. Contribute to samueljustice/plugins development by creating an account on GitHub.

I made a pitch flattener VST3/AU, great for turning dopplered sirens, screams, or animal cries into pitch-locked, high-energy sci-fi source. Weird, glitchy, artefacty fun. Free AU/VST3 (Mac/Win). Uses Rubber Band + FFT.
👉 github.com/samueljustic...

Here's a link to my aforementioned "Render Track" tracktemplate: www.dropbox.com/scl/fi/twdby...

Drop this in your TrackTemplates folder, which you can find by rightclicking the track view, Insert Track from Template, Open Template. Add it & select, send from whatever you wanna record, and record!

PRODUCTION TIP: This video explains how I like to "de-noise" random phone recordings using an envelope follower!

The nice thing about beating Silent Hill 2 is, you've just beaten one of the greatest and most thought-provoking videogames of all time.

The 𝓽𝓮𝓻𝓻𝓲𝓫𝓵𝓮 thing about beating Silent Hill 2 is,
....you somehow have to figure out how the heck to convince other people to play Silent Hill 2 🤦‍♂️

Yknow the joke I often say is, I've spent my entire career trying to write the next Vagrant Story and failed consistently 😅

(...I'm only half-joking, it really was that influential on me. Easily one of the best 90s scores, relentlessly creative from start to finish!)

The reference was intentional, as I love paying homage to the 90s classics.

In particular, "Apoplexy" and "Desert Land" from FFT were the influence, in terms of bright orchestration and 7ths & 9ths harmonies - which it turns out, was a result of Sakimoto originally taking influence from #StarWars !

On the subject of #IvaliceChronicles announcement, I'll again give credit where credit's due - Sakimoto's brilliant #FinalFantasyTactics score was a HUGE influence on my work on many games, including #Helldivers2 - This clip from "The Right Side of History" being a prime example!

#gamemusic

Thursday 12th June 6pm-7pm BST

Nice! I'd also recommend trying a doublebass bow on this, it could potentially give a much richer tone and allow more control! I use mine with bass guitar, and use both DI/amp + mic

I desperately wish I was smart/persistent enough to actually beat #FFTactics , I've tried 3x since the original PS1 release and can never get far. But the music was such a huge influence... maybe 4th time's the charm? 😃

Read Matsuno's real life influence for writing FFT's legendary storyline below!

JOBS! We're looking for a Senior Audio Designer and Audio Designer here at Epic Games. Positions are open to remote work.

Please reach out if you're interested and/or know of anyone that is. Would appreciate the signal boost!

epicgames.com/site/en-US/c...

epicgames.com/site/en-US/c...

It's a shoto

Yaya! Similarly on Outlaws I used decimals for revisions internal to my team, integers once it went off to Ubi

(Eg. "___ V2.1" meant after revising per Ubi's requests, I had another request before resubmitting)

GAMEDEV TIP: We should just remove the word “final” from our vocabulary when naming files 😅

Instead, try just using version numbers or, preferably, dates! YYYYMMDD_HHMM works great and sorts perfectly in your file systems.

(year-month-day-hour-minute)

#gamemusic

Lmao this is EXACTLY the game I was thinking of!

I used to cheese with three hit combos on one of the shorter swords so some of these characters' "Ei! Ya! HAA!! Ei! Ya! HAA!!" just live rent-free in my memory 😆

I'll never not-miss those weird PS1-era fighting game soundbytes 😆

Most certainly did! Soundtrack album releasing tomorrow!

www.soundtrack.net/album/star-w...

📆 Curious about what you'll be learning at Game Sound Summit 2025? Here's our full schedule!

Are you ready to learn all about the craft of game audio? Then make sure you get your tickets now!

🎫 shorturl.at/YmEgF

#GameSoundSummit2025 #GameAudio #GameDev

That's also a great technique!! Especially for swelling articulations, or stuff with unpredictable timing.

I record MIDI to audio all the time actually - and all my cymbals, tamtams, etc are just dragged in via WAVs I've exported already, I don't even bother with MIDI with them anymore 😆

Kontakt Screenshot, but here's a more detailed tutorial: (you will need the FULL version of Kontakt for this, not the free ones) 1) Go to Group Editor, hold down a note, and figure out what groups are actually triggering when you PLAY a note; often there's Release-triggered groups for when you let go of a note... you don't wanna touch those 2) In the Expert tab at the left of the Kontakt UI, you can select the groups you want. There'll be a speaker icon next to whatever's making sound 3) Now set these groups to Sampler in the Source section. This allows Kontakt to seek later within the sample when triggering notes 4) Add a Constant modulator within that Source section, and set it to Sample Start. You'll probably want a fairly low % value in the slider for orchestral libraries, like 3% or lower 5) You might have to adjust the Attack time to be *higher* now, down in the Modulation section in the Volume envelope, in order to compensate (in case this causes sound to just pop in). Try setting the Curve to a positive number for a legato attack 6) Lastly, you can get a bit fancy with this via extra modulations! For instance, in addition to the Constant modulator on SampleStart, you can try adding a Velocity modulator instead, so that the harder you press a note, the further in the sample starts (ie. bypassing more attack time). You can even add a Velocity modulator to the Volume envelope down in the Modulation section, and invert it so that there's less attack time the harder you press! 7) MAJOR CAVEAT: Several sample libraries these days have complex scripts that defeat Kontakt's internal velocity, controller, and note mapping, making it impossible to edit certain things. Unfortunately you'll just have to experiment to see which libraries let you do what. Always save backups / never overwrite the default patches - you never know what slight adjustments might royally screw up a patch unexpectedly. :-(

KONTAKT TIP: Some orchestral/acoustic sample libraries have inconvenient slow attack times in the recordings, so adjusting the Volume Envelope won’t help.

Try adding SampleStart modulation instead! Set the Source to Sampler, add a Constant mod set to SampleStart.

Details in ALT Text!

#gamemusic

Designed graphic with oil slick rainbow effect and fluting background. There is an image of the cover art for Helldivers 2 and the BAFTA Games Awards logo sits in the top left hand corner. The text reads ‘Music Winner: Helldivers 2'

Helldivers 2 takes home the BAFTA for Music 🎶 #BAFTAGamesAwards

Screenshot of the free Sonic Anomaly "Transpire" Transient Processor VST, turning down the attack (transient) and increasing sustain

MUSIC PRODUCTION TIP: Another reminder to try transient shaping!

Generally, percussive hits/impacts sound bigger and more distant when they have less transient and more sustain. I’ll use this subtly on solos / hand perc, more extreme on big hits, giant metals, or for big "stadium rock kit" snares!

Submissions | GameSoundCon Speaker Submissions Accepting submissions on topics in game music and sound design, virtual and augmented reality audio and game audio research & education

Speaker/Panel Submissions are open for GameSoundCon 2025!
www.gamesoundcon.com/submissions

(2/2) Target audience could be both composers AND instrumental soloists, especially ones playing unusual/historical/world instruments

Could really be a hit presentation, with an angle we rarely hear from!

Many things!

- Managing/scheduling multiple clients at once

- Blending world instruments with European classical ones

- Mitigating composer expectations with the above, finding the balance between "traditional technique/tuning" vs "will it fit with the orchestra?" (1/2)

"At the end of the world, all that remains? Bass."

^-- my performance direction for the acouBass soloist on Pacific Drive 😆

Happy Birthday, Chim!!!

Hahah thanks man! And, interesting question - I've never used them but generally it's the sequencing, dynamics, orchestration and mix that matters most.

But you can totally edit old or stock patches by adding in dynamics modeling, legato or repetition scripts, vibrato simulation scripts even...!