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About phide

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  1. I have a few, but I don't know how they'd be triggered. Ideally, they need to play after the door open sound when a door is opened and before the door closing sound when a door is closed.
  2. phide

    2d help

    Impressive portfolio. Your textures are particularly impressive (and quite interesting too). What was your role at Crytek? What would you like to do? Mostly textures/skins; concepts; promotional-type artwork?
  3. No, I don't think it will be an issue. We wouldn't have known unless you said something
  4. It may be an eventual problem for you, yes, though surely the odds are practically nill. Reason's only 400 bucks (or roughly 1.8 billion Euros), so I don't quite understand why you'd need to get it illegally, but whatever. I can't find Reason's licensing agreement or terms of use. Odds are you have a PDF or something that you'd be able to reference for this kind of information. 99% probability this isn't an issue. Propellerhead's a fine company that produces fine products worthy of the suggested retail prices. Consider going legit on this one.
  5. I think what he's looking for (he'll clarify if I'm wrong) is the latter. So, essentially, create a couple looping soundscapes (a bass line with some low-level howling or breathy noises, for instance -- nothing that has any kind of discernible tempo) and accompanying hits as separate files. These hits can be used for cues triggered by the engine on top of the soundscapes and for lead-ins for transitions between the soundscapes. Check out the intro to mrDischarged's "Cathedral", the intro to his "Grand Piano" and drewb's "Devigniti" from the OST for some ideas for hits. Just single notes, cho
  6. I think that, for me, growing up playing first-person games where there was never any kind of visible player shadow at all (Wolfenstein 3D, Doom, Quake, Half-Life and so on), seeing my character's shadow tends to be a little unnerving. The same goes for body awareness. It actually feels less immersive to me. A little unnecessarily testy are we? I don't think any belittling is required today.
  7. I don't really know if it's been considered by any of the other composers or not. I can't say I'm too familiar with Celtic music in general, so I can't say I really have much of an opinion on that
  8. I don't believe any of the full time music guys are still around, and I'm not a music guy myself (though I've surely dabbled). I think the last time I used Reason was at the last school I went to, where an instructor brought in his MacBook so we could play around with it during a course that covered the Yamaha O2R. I remember that version (I'd guess is was 3.0) having a pretty competent bit cruncher that served as a good effect on pads and ReDrum sequences, so you might look into that if your version comes with it.
  9. Sure, that would be helpful.
  10. Besides, there's always Mirror-On-A-Stick Simulator 2008. The DX10 mode is awesome.
  11. If it wouldn't be too much of an effort, jdude, would be it be possible to make a small test map that contains all the moveables you're currently using? Something to the effect of the footstep test map with the floor split up with various surface types so we could have an easier, consolidated way to tweak sound levels and the physics parameters. I could manage it myself, but it'd likely take me eleven hours just to construct the room
  12. It isn't specifically, though I prefer to master with a 24-bit/88.2 kHz source file when possible if you'd wish for me to master your contributions. If you can do that, great! If not, no big thing. Very few could claim to be experts in music production (though some producers I've met have a tendency to be arrogant, so I may well be wrong). An apparent "high production value", while always nice, is not more important than the actual content. If it helps to establish the mood, it's a successful ambient track.
  13. Overall, I liked it. The mood is definitely right. A couple notes: Abrupt and clipped intro and outro. Easily fixed, naturally. The bass bed is a little overwhelming as mixed but it'd be easily looped, which is a definite plus. A bit of tweaking resolves the "overwhelmingness" of it, but it really saturates the buss as it is which means dither would be increased during mastering once levels are brought back up to snuff. Applying a high pass filter before bouncing would do the trick. The synth elements don't feel appropriate and might be best replaced by some filtered and stretched orchestral s
  14. I still enjoy the Zelda games, personally, but probably only because of the reminiscence aspect. The most "childish" game I've played recently was Paper Mario for the Gamecube, which was actually a pretty fun game in a lot of respects. I wouldn't go so far as to saying that any of the Zelda games have "adult themes". They're fundamentally simple games targeted toward younger gamers, and the themes are no more mature than any 1990's animated Disney flick.
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