12/2/2023 0 Comments Gordon ramsay cooking dashFor instance, there's a level that requires Artie Shaw-like jazz, so we needed to have clarinet and trumpet in the music, and sometimes those instruments would be playing in the same part of the EQ spectrum that the UI sounds were using… so I had set up a lot of sidechaining within the audio middleware so that VO always ducks all sound groups, and sound design will always duck music. But sometimes I couldn't always follow those rules. In addition to creating UI sounds that work (musically) with the background music, I tried to think about the EQ spectrum of the music and the UI and VO so that everything had its own space. This started with a big picture view of how the sound design (especially the User Interface sounds) would work with the music. So there's a LOT going on! I knew that I needed a strategy to keep the game sounding interesting without sounding like white noise. There are the sounds of the kitchen, cooking, delivering the food, the drinks, then the UI sounds, (communicating game actions/achievements), the music (which has to change intensities), and the voice-over (including the customer voices). One of the tricky things to achieve with these games is to create a feeling of chaos without the game's audio becoming really annoying and repetitive. How did the game's premise and player interaction tailor your approach to music and sound design?įortunately, I've been through the development cycles of Diner Dash 2015 and Cooking Dash 2016, which have a lot in common with Gordon Ramsay DASH, so I had some ideas on how to improve on what we'd done with those titles. There was going to be a lot more audio content for Gordon Ramsay DASH than our last title together ( Cooking Dash 2016), and we had less time to launch this game than the previous one, so using middleware helped us speed up our process and allowed us to change/iterate our sound events quickly. So I had a bit more responsibility on this title than on previous titles, but I actually pushed for that. I was responsible for all of the audio (music, music production, sound design, voice-over, and implementation), and this time that included an entirely new audio pipeline because we introduced the use of audio middleware into the development cycle. He was also one of the founders of Id Software, responsible for helping create Doom, Wolfenstein 3D, Quake, and Commander Keen. Tom is a great designer, super creative, and really fun to work with. The VP of creative and lead game designer, Tom Hall, is someone I've worked with since we were both at Loot Drop ( Pettington Park). We worked on previous titles such as Cloudy with a Chance of Meatballs 2: Foodimal Frenzy, Diner Dash 2015, and Cooking Dash 2016. They were acquired by Glu two years ago, but I've been working with them as their audio resource for several years. I've been working with this team at Glu for a long time - since they were Playfirst. How did you get involved with this project? What were you responsible for during production? You learn a bit about starting a restaurant, managing resources, time management, and you get to listen to Gordon coach you through the whole experience! It's the latest mobile game from Glu Mobile (here in SF) featuring world-famous celebrity chef Gordon Ramsay. View the game trailer here.) In this Q&A, McDonald fills us in on the sound design and compositional process… and divulges details about what it was like working with Gordon Ramsay.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |