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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.

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?

Hope this helps.

No, I don't think it will be an issue. We wouldn't have known unless you said something

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.

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, chords or short percussive elements. These could be stereo or mono. One small note: Don't go too crazy with panning for the bass line. In fact, anything below about 100 Hz should be kept pretty much dead center. For those with 2.1 or 5.1 systems, most of the bass content will be crossed over to the subwoofer anyway. For users with headphones, too much panning of the sub-bass can be annoying. Just something I want to emphasize given some of the work I've been doing today

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.

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

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.

Sure, that would be helpful.

Besides, there's always Mirror-On-A-Stick Simulator 2008. The DX10 mode is awesome.

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

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.

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 samples (Reason likely comes with a few) -- it felt a bit Blade Runner-ish during those passages. You might also try tweaking out the synth with a square wave or sawtooth LF oscillator, which is something Brosius did a good deal of in The Dark Project (see Bafford's Manor, a favorite of mine). The filtered bell/chime sounds work great, I thought. A little discordance goes a long way to making the player uncomfortable (which is a good thing). Bells are handy that way. Levels are good. 3 to 4 dB of headroom for me to play with is certainly adequate. I'm not entirely clear about the policy regarding music guys and what kind of status they're granted once they submit a sample, so I don't know whether contributor/team member status would be "in order" or not. I think contributor status is probably appropriate, but the opinions of other team members would probably be valuable before any decision is made (and as for who makes that decision I don't know). Quick closing question: what's the highest bit depth and sample rate you can work at and deliver?

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.

Yeah, it seems sparhawk's getting shafted a bit by the host. This may not be resolved until early next week.

Sorry, SE. Ken Levine is dead.

Rewarding and/or aggravating.

You're suggesting changing tdm_ai_rat.def to tdm_ai_animal_rat.def, yes? Let me know what you do here so I can determine what to name the sound shader and where to place its sound files. Currently his sound(s) are located under the voices/monster/rat directory (I figured he could be a worthy adversary being a 10 kilo rat and all). Perhaps an animal subdirectory under the voices directory is in order?

There's no particular limit that I'm aware of. The absolute limit is probably whatever the engine can load and address, and I'd guess that Doom 3, being an id engine and all, can handle pretty much anything you can throw at it.

A number of the ambients have orchestral elements, and the only 'rock' has been done for promotional purposes. There's really very little room to use evocative cues given the constraints of the sound engine and how sound events can be triggered (not even considering synchronization with other elements), so the most you can hope for is to create a little backing, looping ambience.

Rather strange that nobody (including myself) saw this thread before...hmm. In any case, if you want to get a sample for what others have contributed to TDM musically, have a listen to the Dark Mod OST release (about 26 megs). If you feel you can produce something in the nature of any of the OST tracks, or in fact anything radically different but still fitting (if that makes any sense), have a stab at it. There's no particular need for you to rush through it, as it's ideal that TDM have an ever-growing library of good ambient tracks available for mission authors, so take your time. The format for TDM ambients is 16-bit/44.1kHz stereo, so make sure your sample conforms to at least these requirements. If you have the capacity to do a 5.1 mix, for instance, have at it.

That should be fine. jdude may be adding more moveables as the map progresses, but that's all we're looking for at the moment. We also have the issue of material-specific impacts, but my feeling is that "generic" sets will do the justice for soft surfaces.

The things that are of primary concern to the upcoming release are moveables. So far, that includes: Pickaxe (not currently moveable) Shovel (not currently moveable) Metallic vase Broom Washboard Wooden bucket (not currently moveable) Wood plank Pick a few that you have handy and that you can record easily and we'll meet up in the middle. I myself have a shovel, wood boards, a metallic vase/urn-type thing (should work) and a broom. It might be wise to record impacts of varying intensities so that they can be added if/when support is added for that. There's no need to concern yourself with anything in the big nasty list above for now. I'll go through the it again and make sure it's current so you can take a stab at anything you'd like to take a stab at anyway though (and add the rest of the moveables for later reference).

Wow, he's pretty cute! I added a rather basic squeak for his chatter. I assume this is okay for now, but I don't know how "fleshed out" the little guy is going to be AI-wise and whether or not he needs variations or distinctive noises for certain events.