So sound has to be recorded a certain way so it can be decomposed and reconstructed into a ‘sonic model’ and linked to the physics so the player has full control over every parameter. Our way of working is different from recording, editing and implementation. Game sounds are interactive - unlike passive sound like movies where the sound is baked onto an audio track. "For engine sounds most people think we just record a car and throw the sound into a folder and it magically just works in the game. (Seriously, the list goes on forever.) Here’s what Greg had to say about the process of making a sound ‘fit’ the action of the game: He has worked on loads of racing titles including Project CARS, iRacing, rFactor 2, The Crew, Colin McRae: DiRT, NFS: Shift, World of Speed and dozens more. He specialises in vehicle sounds for use in anything from mobile apps to high-end professional simulators used by F1 racing teams. Greg is a sound designer at Soundwave Concepts. If you’ve never heard Greg’s name, that’s okay. To find out more about the process behind sound design, and why it is so grossly underestimated, we caught up with car audio legend Greg Hill (who happened to be in the middle of working on a game).
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