0:00 Disclaimer: SPOILERS! Turn back now 0:37 Introductions (Kevin Regamey & Power Up Audio) 2:56 Creative direction 5:18 Listener position 9:17 Tunic's bespoke spatialisation parameters 13:56 Dynamic music 16:33 Tuning SFX to key centres 17:59 Circumventing FMOD bug (please fix it already) where one-shots re-trigger during parameter changes 19:33 Sound design techniques (granular synthesis & randomisation of EQ curves) 22:40 "void\_strength" global parameter 27:40 Using game design to inform audio decisions 28:56 First sightings/reveals 31:24 Heavy discouragement 32:39 Chimes on SFX bus, not ambience 35:40 "Hidden in plain sight": spectrogram content 36:40 Musical cyphers 48:30 Conclusion 50:00 Q&A
I really wanted to like this talk, but I found his communication/delivery style and personality just... grating. I get a sense it might be a generational thing, though.
47:41 I really appreciate his answer here. So often, the best thing you can do for a creative pursuit is to just create something that makes you happy.
48:30 WAIT THATS DEVWORLD WTF Spoilers for anyone here who somehow doesnt know about it already: For those of you that don't know if you die in the dev save file while getting info on the golden path (typically by using the fire bomb cheatcode, spawning one in, and killing yourself with the DoT), you spawn on that bridge, leading you to a easter egg/secret area.
That was fantastically well done not just as a talk but also a lot of the ideas used in this game are novel and very effective to the creative vision. Nice!
I also feel this way, especially lately. Tunic’s OST is simply transcendent and I’ve been reminiscing about my play-through a lot in recent weeks. I’m gonna have to grab a physical copy and immerse myself even more in the game on a subsequent play-through.
Wow this is absolutely insane. I beat the game having zero idea of the secret language in the audio. Kudos to the team for making such efforts to make that game so great and mysterious.
Can someone explain the bit at 30:30 about the distant sound source? I don't understand why adding a slight delay to the event will make it feel more distant?
Sound travels slowly, it takes longer for sound to reach you then light. The further something is, the longer it takes for sound to reach you. A good example you can see/hear for yourself are airplanes. Your brain can also be subconsciously aware of this effect, so even in a digital environment it can further push the "distant" feel of an audio cue.
It's weird that all the in tune sound effect doesn't sound that special at all. It just feel very natural but now think of it, it probably would have been rather jarring if they were just regular sound effects giving that most of the effects were actually pitched rather than some kind of noice.
I've seen this (the audio hidden language/cypher) explained in an interview before, and it hit me that it's a little sad - having to explain it. Perhaps it could have been a little more obvious, or used in at least a couple hidden puzzles to encourage players to work on it.
iirc the community figured it out really quickly after the release of Tunic. Analyzing the music from the website, they purposefully placed the aperggios under the glyphs in the spectrograph. In the google doc "Tunic Sound Puzzle Mappings" : "On March 21st, 2022, 5 days after the release of Tunic, many members of the Finji discord were analyzing the website, which you find as the final secret in the game. We discovered in the spectrogram of the website audio that "we are the eyes of the far shore" is spelled out in the Tunic language, alongside some clear pitch shifts. We used this as a Rosetta Stone to figure out the rules of Tuneic, and began work translating musical secrets all throughout the game"
I guess synth isn’t for everyone. I would like to know what part of the music isn’t to your liking? I am designing music for my game using synthesis and bit crushing and would like to make it sound great to everyone. Do you have any tips?
0:00 Disclaimer: SPOILERS! Turn back now
0:37 Introductions (Kevin Regamey & Power Up Audio)
2:56 Creative direction
5:18 Listener position
9:17 Tunic's bespoke spatialisation parameters
13:56 Dynamic music
16:33 Tuning SFX to key centres
17:59 Circumventing FMOD bug (please fix it already) where one-shots re-trigger during parameter changes
19:33 Sound design techniques (granular synthesis & randomisation of EQ curves)
22:40 "void\_strength" global parameter
27:40 Using game design to inform audio decisions
28:56 First sightings/reveals
31:24 Heavy discouragement
32:39 Chimes on SFX bus, not ambience
35:40 "Hidden in plain sight": spectrogram content
36:40 Musical cyphers
48:30 Conclusion
50:00 Q&A
Easily one of the best GDC talks iv watched. This Dude is super entertaining.
I really wanted to like this talk, but I found his communication/delivery style and personality just... grating. I get a sense it might be a generational thing, though.
47:41 I really appreciate his answer here. So often, the best thing you can do for a creative pursuit is to just create something that makes you happy.
These personal touches add so much substance and life to a game.
48:30 WAIT THATS DEVWORLD WTF
Spoilers for anyone here who somehow doesnt know about it already:
For those of you that don't know if you die in the dev save file while getting info on the golden path (typically by using the fire bomb cheatcode, spawning one in, and killing yourself with the DoT), you spawn on that bridge, leading you to a easter egg/secret area.
It is incredibly amazing the brilliant work done in Tunic. It is blow-minding, Thanks for showing this content!
While I'm not an audio designer, this was a great talk that was still pretty easy to follow
Amazing work guys, it's amazing that so much thought and care was put into the audio for Tunic. Definetly learned a lot from this talk.
The second half of this talk was so awesome as just a player with no musical theory knowledge. Makes the game just so much more interesting!
That was fantastically well done not just as a talk but also a lot of the ideas used in this game are novel and very effective to the creative vision. Nice!
I can’t get enough of Tunic. I have all the merch, I can write in the language, I’m writing big band covers for the music… we need a dlc!
Can’t wait to hear them! Your name is familiar too!
I hope the music is discussed later in this talk
I really hope dlc is something that could happen somehow. Like…more of this game would be a dream come true
I also feel this way, especially lately. Tunic’s OST is simply transcendent and I’ve been reminiscing about my play-through a lot in recent weeks. I’m gonna have to grab a physical copy and immerse myself even more in the game on a subsequent play-through.
I'm happy you guys finally published this one
Wow this is absolutely insane. I beat the game having zero idea of the secret language in the audio. Kudos to the team for making such efforts to make that game so great and mysterious.
Tunic is top 10 all time for games.
I used my spectrogram on the empty dark room opposite the trophy room - absolute delight.
This talk (and game!) was awesome!
Can someone explain the bit at 30:30 about the distant sound source? I don't understand why adding a slight delay to the event will make it feel more distant?
Sound travels slowly, it takes longer for sound to reach you then light. The further something is, the longer it takes for sound to reach you. A good example you can see/hear for yourself are airplanes. Your brain can also be subconsciously aware of this effect, so even in a digital environment it can further push the "distant" feel of an audio cue.
@@NATSIRT_45 another good example is lightning / thunder. You always see the flash first before you hear the rumble.
Thank you GDC, thank you Kevin, that was awesome, such an amazing content.
This “simple little Zelda ripoff” is so freaking complex. What a game!
omg i cant believe i missed this being uploaded
this is such an awesome talk fcuk yeah audio
44:14 had me dying of laughter that is so cute
Amazing talk, amazing craft and amazing game
This was insane, I've never heard about any of these details before.
This is awesome!
Tunic is so good. It's way too hard for me tho lol
Tunic is the dark souls of "hidden in plain sight"
Use the accessibility option and you get infinite life with a toggle😂
Yikes. Scary good talk.
It's weird that all the in tune sound effect doesn't sound that special at all. It just feel very natural but now think of it, it probably would have been rather jarring if they were just regular sound effects giving that most of the effects were actually pitched rather than some kind of noice.
I've seen this (the audio hidden language/cypher) explained in an interview before, and it hit me that it's a little sad - having to explain it. Perhaps it could have been a little more obvious, or used in at least a couple hidden puzzles to encourage players to work on it.
That's the nature of "content for no one," I suppose
iirc the community figured it out really quickly after the release of Tunic. Analyzing the music from the website, they purposefully placed the aperggios under the glyphs in the spectrograph.
In the google doc "Tunic Sound Puzzle Mappings" :
"On March 21st, 2022, 5 days after the release of Tunic, many members of the Finji discord were analyzing the website, which you find as the final secret in the game. We discovered in the spectrogram of the website audio that "we are the eyes of the far shore" is spelled out in the Tunic language, alongside some clear pitch shifts. We used this as a Rosetta Stone to figure out the rules of Tuneic, and began work translating musical secrets all throughout the game"
Heaven Spur
Ariane Land
Great talk, just realized, this guy is like the Binging With Babish of game audio!
yeah?
Y E A H
This was a kiff talk.
A what
Kiss In Front of Family??
@@nintendude794 🤣Sorry it's a local colloquialism, means really cool!
audio of the game is great, the music however...ooof, had to mute it the whole game
Hope you’re joking
lol nope, turned the music vol to 0 and enjoyed the game immensely @@DanielRey_NGR
I guess synth isn’t for everyone. I would like to know what part of the music isn’t to your liking? I am designing music for my game using synthesis and bit crushing and would like to make it sound great to everyone. Do you have any tips?
@@_odawgthere is no pleasing everyone. This person is in the clear minority, and is quite possibly mentally ill.
Cut to me first thing I did after finishing the game was listen to the soundtrack