00:03www.mesmerism.info
00:31www.mesmerism.info
01:00I don't know how he followed any of that direction.
01:02The only clear direction I gave him was the world serpent voice.
01:07It's this mysterious entity that comes out of the water, it's larger than life, and he wanted its voice to
01:14represent that.
01:15And he wanted it to be surreal and something you've never heard before and be very alien.
01:18I had these really cool Tuvan throat singing videos.
01:22And I was like, I really wanted to have this weird combination of monster and creature, but also like a
01:28Tuvan throat singing thing.
01:29So it's almost like cyclical, like the didgeridoo almost. There's like five layers to it.
01:34So I went online, I went on YouTube and did my research and I was like, I think I can,
01:39maybe I can do this.
01:41And so I gave it my best go and I put a mic up to my mouth and I was
01:45like...
01:48And it's not that great.
01:50I use different pitch plugins and one of them was kind of like auto-tune, right?
01:54And that's kind of what gives the world serpent its signature sound.
01:58It's trying to pitch correct when I do that Tuvan throat singing.
02:02So when you hear me restart like this...
02:04No, no, no, no.
02:07It's me fighting against the auto-tune to get it to stick to where I want it to kind of
02:12correct it.
02:13And then once I find the note that I like, I kind of try to hold it as still as
02:16possible.
02:17And then kind of, that's kind of what gave it like a unique characteristic.
02:20Once you like start to add some of the plugins...
02:33So that's kind of like the base, the base pitch that I started with.
02:37And I kept iterating on top of that pitched version.
02:39There's clicks you might hear in his voice.
02:42And some of those clicks are like kitten purrs.
02:44Some are like buffalo little chuffs.
02:47There's tigers.
02:49There's beluga whale clicks.
02:51And all those things are kind of layered together to kind of give it all those other creature-esque sounds
02:55that I couldn't necessarily make with my voice.
03:23We did a lot of Foley recordings down in San Diego.
03:26And what that offered us was unique sound recordings to kind of craft the sound of God of War.
03:33The sound of the axe, as it whisks through the air, it has that whoo.
03:37And then when it comes back to your hand and punk has that satisfying ca-thunk sound.
03:42The actual like really heavy, wet sort of thud sounds that it has when it hits.
03:47The sort of cleaving sounds that it has.
03:49They seem to just elevate a punch over everything else.
03:52So even when Kratos is screaming, it complements and sort of feels like it's on a different level from where
03:59he's at.
03:59One cool thing we did about the catch sounds that I think a lot of people, it's resonating with a
04:04lot of people is no matter where you throw the axe, we have an incoming embellishment.
04:09So on top of it we have the whooshes that play of the axe spinning, but we also have a
04:13whoosh when it comes back to you.
04:16And based on how far away you throw that, we actually will fast forward or rewind into the sound to
04:23do an offset to make sure that that embellishment plays at the right time when you catch it.
04:27So it'll always end whoosh in your hands. So if you throw it close to you, it'll be whoosh.
04:34I actually made homemade bull roars, which are, if you think of like Crocodile Dundee or something like that, when
04:40he's spinning this giant thing.
04:43It's basically like a string with a flat piece of wood on it that's kind of oblong like that and
04:49rounded.
04:49Those recordings ended up just basically being mastered and thrown in as the dark one's wings.
04:56That's always really rewarding as a sound designer when you can almost take like a singular source and just kind
05:02of EQ it and master it and put it into the game.
05:05There's a picture one of the sound designers sent me from San Diego where he has his feet on like
05:10a T-bone steak.
05:13So they were literally putting their walking on red meat to get some of the flesh footsteps that we used.
05:20I think we used some of those inside the hive in Alfheim and areas inside of the world serpent.
05:27I think the sound for fatherhood changes. In the first like three years of my son's life, the sounds for
05:35fatherhood was screaming.
05:36But then I would say the sound for fatherhood now has changed to Papa.
05:41That to me sort of sums it all up, makes it all feel good and worth it.
05:46It's him actually calling out to me and initiating a conversation, which is a big deal, I think, for me
05:53specifically.
05:54So that becomes a very personal, what is that sound of fatherhood?
05:57It's interesting because you look at the game and I think the sounds of fatherhood are boy and then at
06:04the end it's son.
06:06I think what I've enjoyed most about working on God of War is the collaboration.
06:12Each person on our sound design team has almost touched everything in the game.
06:15We had a very unique process where someone would take an iteration on one thing and someone would have some
06:21ideas.
06:22And we might have that other sound designer come in and offer their ideas.
06:25So it was very selfless. Like people were willing to let go of some things to have someone else try
06:30to put their icing on the cake, so to speak.
06:34Thank you to every single person out there who worked tirelessly to make this game, who suffered and struggled and
06:45doubted but ignored the doubt or overcame the doubt.
06:49Who put in way more than was ever asked.
06:53It is no mistake that people are talking positively about the audioscape of this game.
06:58This is not the kind of thing people do, you know, just to get it done.
07:05I think they do it because there's part of them that compels them to do something, that makes them desire
07:11to actually put a piece of themselves into something, become part of something greater.
07:16And I'm so, so blessed to actually be part of that, to actually stand next to smart people while they
07:23do really great things and then take total credit for it.
07:25So, I did it all. Me.
07:30I did not do anything. It's super clear, right?
07:33And Anna, I'm very sorry for whatever it is I'm going to do in the next 48 to six years.
07:44Boy.
Commenti