Middleware packages such as WWise or FMOD offer real-time effects processing, which is a step forward, but they don't offer you the possibility to model your own synthesis model and generate sound on-the-fly. Some of these developments are slowly starting to transfer to game audio, but not nearly enough! Games across the entire spectrum, from AAA to Indie, still resort to using ancient sample-based approaches for audio. With today's and tomorrow's hardware you can literally trace a ray of light as it bounces from surface to surface (and even through them!) towards the camera, creating crystal clear pictures. We have shaders, massively parallel calculations running on dedicated hardware, and much more. Over the course of the last two decades, game graphics have evolved from bitmap sprites to near photo-realistic imagery running at a solid 60 frames per second. The traditional sample-based approach to game audio is old and dated. I'm very curious what you guys think about it. Here's an idea I've been playing with for a while now. If you have some votes left, please consider spending one or two* on this request. With PD or SC then refactored and compiled as a plugin, the resulting game would be easily distributable. That way you can generate sound material with a super-sophisticated toolkit, and then run it through FMOD so you can hear it. We could even take buffers generated in external audio applications (Max, SuperCollider) and stream them into audio clips. With the ability to write audio buffers to Unity's sound sources we could build a library of audio synthesis tools and start exploring some ideas. A cover of Thin Lizzy’s “Cold Sweat,” it suggests that Mustaine was aiming for a “timeless classic” feel for Megadeth’s 14th studio release.There's a feature request up that some of you guys might be interested in:įeature: Write access to AudioClip buffers It is, however, the track that brings Super Collider to a close that indicates its creator’s mindset for the album. “Forget To Remember” and “Don’t Turn Your Back…” deliver more of the melodic metal Mustaine intended, with the latter punching for a tempo more familiar to Megadeth fans. Before going full-on hillbilly-folk, however, Mustaine brings it back to a haunting, militaristic arrangement punctuated with staccato riffs. “The Blackest Crow” opens with a banjo sequence the surprises continue with the addition of violins. “Dance In The Rain” – featuring a guest appearance from Disturbed’s David Draiman – and “Beginning Of Sorrow” both offer a change of pace akin to Megadeth’s classic “In My Darkest Hour,” before things take a turn for the unexpected. Meanwhile, “Burn!” and “Off The Edge” are midtempo tracks reminiscent of Megadeth’s NWOBHM roots, while the likes of “Built For War” is a groove-metal track on which the band get creative with off-kilter time signatures. True to his word, Mustaine took the opportunity to write a heavy song with a more archetypal structure, rather than blasting listeners with breakneck riffs. “Super Collider,” however, offers an immediate change of pace. Anyone expecting Mustaine to follow the made-for-radio of those bands, however, would have been surprised by the galloping thrash attack of the album’s opening track, “Kingmaker.” The song was the first to feature a writing credit from bassist David Ellefson after his return to the band (he had departed following 2001’s The World Needs A Hero), so it’s perhaps fitting that its febrile pace harkens back to Megadeth’s earlier sound. Like Th1rt3en before it, Super Collider was produced by Johnny K, a man who knows a thing or two about commercial metal, with albums by the likes of Disturbed, Sevendust, and Staind to his credit. But then a polished sheen didn’t do any harm to Countdown To Extinction, which remains Megadeth’s most commercially successful album. The risk, then, was in potentially alienating purist fans. “They are going to listen to that and think, I like that one song, and they are going to get the record and listen to the rest of the album and go, ‘Man, I love this style of music. “I think it also opens up a door,” he said. In fact, Mustaine saw his band as capable of drawing in fans who didn’t necessarily like metal, but would want to explore it on the strength of the songs he crafted for Super Collider.
0 Comments
Leave a Reply. |