ProAudio Review - April 2008 - (Page 50)

POST | Feature PLAYSTATION Continued From Page 48 sound group. “We record everything live. If our sound designers need something, they can go out and get it either in the field or create it on our Foley stage. We then add it to our library, so our library is huge. Basically we’ve created a God of War library that is constantly updated, especially now that our field recording is in high-def.” MIXING AND MANAGEMENT All of the God of War: Chains of Olympus audio—including score—eventually made its way to SCEA’s Foster City, Calif. headquarters for mixing and mastering. The complex’s Chuck Doud newly revamped studio, designed by Chris Pelonis, includes 11 “Pods” (edit bays) equipped with Pro Tools|HD, Digi’s D Control surface and Yamaha DM1000 digital produc- tion consoles. The 5.1-equipped Pods integrate with the facility’s THX-certified master control room, which features 7.1-surround monitoring courtesy of Pelonis Signature Series monitors and a Digidesign ICON control surface, along with another DM1000 and HD rig to ensure smooth integration with the Pods. A full gamut of plug-ins handled audio processing, including Waves bundles, Pitch Shifter, Time Blender, and various VST plug-ins. God of War: Chains of Olympus was mixed in Pro Tools with assistance from Sonnox Oxford, McDSP, and the Lexicon 960, among other plugs. To manage the enormous volume of files shared throughout the SCEA facility, the company utilizes Studio Network Solutions’ SANmp SAN sharing software. “We’ve been using the SANmp with much success,” says Semel. “It allows for one constant state of backup, which is very important to ensure that the data is always retrievable if a crash happens. And we can pull hundreds of tracks off the SANmp with no problem.” Of course, storage within the game is also important. The PSP titles hold about 2MB of audio RAM, used mainly for dialog, while Sony’s proprietary AC3 audio files, are streamed direct to Blu-ray disc. A 24-bit/96 kHz sample rate gives the PSP titles a dynamic range comparable with the early PlayStation2 titles, but the medium still comes with challenges. “The PSP in particular presented its limitations on this project, so we had to work a little harder to make it work,” says music engineer Joel Yarger. “But overall, there isn’t much difference sonically between what we accomplished on the PSP versus what we were dong previously in PlayStation 2.” Aside from shaping the sounds in the mix, it’s also important to properly balance the multiple layers of Stills from God of War: Chains of Olympus sounds. “Part of the art is figuring out what we want the player to hear,” says Semel. “Because if the player hears everything that’s going on at the same level, it’s going to be a cacophony.” Audio programmers handle the bulk of this task, writing lines and lines of code to integrate the music with the graphics. “Half of having a successfully scored video game is how that music is integrated,” says Doud. “When it’s done right, I don’t think there’s anything like it, because video games are so immersive. The goal of the music is to enhance the gameplay. The score needs to adapt to that, and deliver that emotional connection.” Heather Johnson is a San Francisco-based journalist and author whose books include “If These Halls Could Talk: A Historical Tour Through San Francisco Recording Studios.” 50 | ProAudio Review | April 2008 Subscribe to the Digital Edition of Pro Audio Review http://www.myparmag.com www.proaudioreview.com http://www.sae.edu http://www.sae.edu http://www.sae.edu http://www.proaudioreview.com http://www.myparmag.com

Table of Contents Feed for the Digital Edition of ProAudio Review - April 2008

ProAudio Review - April 2008 Contents A Little More Recognition Please Studio News and New Products API 1608 16-Channel Analog Console TASCAM X-48 Digital Audio Workstation SSL Matrix Super Analogue Console Toft Audio Design Series ATB Analog Console KRK Systems Exposé E8B Powered Monitor Broadcast News and New Products ZOOM H2 Portable Digital Recorder Producing Surround Sound at 50th Grammy Awards JBL LSR4312SP Linear Spatial Reference Powered Subwoofer Audio Production For Gaming Euphonix S5 Fusion Digital Post Production Console NAB Hot Gear Soundcraft Vi6 Digital Live Production Console Go To A Show! Contracting News and New Products Studio Consoles Studio Wireless Microphones Alicia Keys “Superwoman”

ProAudio Review - April 2008

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