![]() ![]() ![]() The main goal is to pay homage to this amazing era of late ‘90s, early ‘00s retro shooters that we grew up on. There is just so much music in this game, and we keep getting positive feedback from our players, which is of course a fantastic compliment for any composer.Įach new level has a new set of music – you will never hear two of the same track on level, or even between episodes 1 and 2. Having so much creative freedom to experiment with different sounds is so much fun, and composing this soundtrack is still such a learning experience. I am sure I can speak on behalf of the entire music team by saying this – working on Turbo Overkill’s music is a dream experience. Was it fun trying to strike that balance? The music has such a great balance between sci-fi and retro – single-sample riffs pitched up and down that are reminiscent of the older generations of games, combined with polished drum sounds and synths that are so carefully arranged. There are 5 of us in the audio team – Me, Chipper and Tim, whilst game developer and creator Sam works with me on sound design and our audio producer Jeron oversees everything. ![]() ![]() There are many areas in the game where you get surrounded by swarms of enemies, so we had to pay close attention to having a clean mix of all the elements. We agreed that the sound effects are the major thing we wanted to be present in the mix, with music adding a bit of that “drive” element to it all and keeping things interesting, without interfering with SFX. Sam has a great ear, and it was mostly his own vision regarding the balance between SFX and music.Īs you said, the game really is “Turbo”, but we didn’t want to go “Overkill” …pun intended! When everything is screaming at you, it quickly causes ear fatigue for players. Most of the audio mixing was done by our developer Sam Preble inside the Unity game engine itself. What considerations were there to balance such a dense soundscape of music and SFX? ![]()
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