In the game, the music is constructed by combining 1 second loops, each of which are attached to a specific move type of the character. Later I made a special arrangement and published under my electronica project Analog Sheep .here but because of a certain bug only two levels of core gameplay is finished.
I made a better excel sheet for GDC next month. It contains what I think are the best Sound Design lectures, you can always customize it if you're interested in the music lectures. I'll be updating it with the lacations ASAP.
Here's the link to my blog where you can download it: http://www.urielsalazar.com/apps/blog/the-sound-designers-guide-to-gdc-2013
Tonebenders.net interviewed me, Charles Maynes, Frank Bry, and Axel Rohrbach. Check it out! :-)
I'm pleased to share that I've been interviewed by music critic Mark Morton of the National Soundtracks column of The Examiner. The interview discusses my music for Assassin's Creed III Liberation:
Congrats to Black Forest Games and all involved for this great achievement!
I have some great news that I wanted to share with my fellow G.A.N.G. members. I was interviewed by senior editor Kevin VanOrd of GameSpot for a profile article which is now featured on the home page of GameSpot.com.
The article discusses my career in the game industry, from my first job as a game composer to my latest project, Assassin's Creed III Liberation. You can read the article here:
You can hear some samples from the Assassin's Creed III Liberation soundtrack here:
I just wanted to do a quick update for GDC 2013 in regards to the DEMO DERBY sessions, in case you are planning to attend GDC and would like to submit a piece for the derbies.
We had a good suggestion last year that we post some past entries so that in case you have not been to one of these sessions, you can get a sense of what level of work we are seeing at the sessions. I am NOT saying that you have to be doing work at the level of these examples, because it is, after all, meant to be a learning experience! But these are examples of entries that most folks on the panels considered to be very succesful and the comments were largely positive.
Sound Design example here (from Jeff Schmidt)
Music Composition example here (from Pontus Rufelt)
Yes, most people do bring in orchestral music...it's true (as in this example) but I have seen many succesful pieces that were not orchestral, including ethnic music, funk, solo instrumentals, or casual game tracks. In fact, I've seen many pieces stand out a bit more if they were of the non-orchestral variety. We hear a great variation of musical genres in game music, so please bring something that represents what YOU DO BEST!
LENGTH: Music: 60 seconds Sound Design: 120 seconds
You can submit either video or audio only. Most sound design entries are videos. Most music entries are audio, BUT we are happy to accept video for music if it helps tell your story.
ONE PIECE OR A MEDLEY?
Good question. It's up to you. But in the past I've seen the panels respond more positively to hearing what kind of story you can tell in the short amount of time given, rather than trying to show off your versatility in a few even shorter amounts of time segments.
HOW DO I GET IN?
Simple - at some point in January we will start accepting submissions through the GANG site. This is on a FIRST COME FIRST SERVE basis! We do not reject submissions (unless the file doesn't work, and you don't respond to our inquiries, or unless you don't show up at the derby). There is no judgement of your work before the session - if you submit the file early enough you will get in.
HOW MANY SUBMISSIONS WILL YOU ACCEPT?
For music we accept 22 submissions plus 2 extras (in case there are no shows). The session is 2 hours, and while we try to get to all of the submissions, sometimes we cannot. So there is no guarantee that we'll get to your piece, but every effort is made. Sometimes we have the panelists respond offline, after GDC, to those who didn't get to have their work heard during the panel.
However, this year, our SOUND DESIGN panel is only 1 HOUR, so we are only accepting 12 submissions. There have been significantly fewer sound design submissions for that panel, so we were forced to make the session shorter this year.
DO I HAVE TO BE THERE?
YES! Or else, what's the point? An audio pass at the minimum gets you into the session.
YOUR SUBMISSION IS NOT A PLACEHOLDER
Once you submit your file, THAT'S IT! No changes! Content freeze! Don't write to ask if you can swap your file cuz you had more time to work on it. That doesn't happen in real game development, so it won't happen here.
BUT WHEN WILL YOU ANNOUNCE?
Sometime in mid January, so get working on your submissions NOW!!! We will send out a warning call, "Submissions open in 3 days" or something like that. This year I think we'll be setting up a dropbox to accept the submissions as we had some trouble with youtube posts and the audio compression last year.
Your files will be loaded into a deck (power point) and displayed on an ipad at the session, so that the panel can quickly scroll through your entries, display your name, website etc. (So if you are prepping a video submission, maybe it's helpful to know we're using an iPad...optimize accordingly)
There will be more details when the time comes for submission, but for now, GET WORKING ON YER SUBMISSIONS!
*** 1/10/2013 This Masterclass has been cancelled. ***
I've been commissioned to conduct a Sound Design Master Class in Hamburg Germany.