山岛声队击垮了这场游戏的复杂和真正的声音设计
Ghost Of Tsushima Sound Team Breaks Down The Game's Complex And Authentic Sound Design

Ghost Of Tsushima Sound Team Breaks Down The Game's Complex And Authentic Sound Design

山岛声队击垮了这场游戏的复杂和真正的声音设计

日前(Hoster of Tsushima ,简称日前)发行的PS4独家产品,在很大程度上依赖声音来引导玩家,充实其13世纪的日本背景。正如你可能预期的那样,正确的声音需要大量的工作和工具,声音比你在玩耍时可能意识到的更重要。

《声音效应》(A Sound Effect),游戏的音频导演Rev .布拉德利· D ·迈耶(Bradley D . Meyer)博士及其高级音响设计师乔希·洛德(Josh Lord)深入研究了这款游戏的声音设计,以及它们是如何捕捉那个时代的声音的。他们还解释了如何利用声音引导球员渡过开放的世界。

迈耶透露,引导玩家的风的声音比看上去更加复杂。他说: “我们建立了一个系统,在这个系统里,声音沿着三根尖塔传递,指向球员目前的目标,一根以球员为中心,另一只在距离球员5米远的地方。 ”"这些风吹都是对参与者目前所处的环境的反应。所以,如果你绕过一边的草地和另一边的竹林,风听上去就像是高大的草在你一边摇晃,另一边是围着竹子。这种方向有助于关键的行为者在穿越岛屿时进入他们应该走的方向" 。

迈耶还透露,使用黑纳佩猎户座(Black Naped Oriole)作为猎物的“导盲鸟” ,在很大程度上是由于运气好,他可以记录鸟儿的声音。“选择它有三个原因:在日本可以找到它,它在视觉上是独一无二的, 2018年我在斯里兰卡度假时,我有幸记录了一个。 ”

迈耶透露,剑的声音是用以前用于战争上帝的剑毛毯录制的,他和乔希·上帝"花了很多时间记录这些声音,以各种方式相互拆散、敲响、摇晃、悬吊在天花板上,然后旋转,以引起有趣的共鸣,等等" 。这支队伍有定制的katana和wakizashi ,上面刻有游戏的标识,用来记录sheathing和unsheashing的声音,以及更多剑的声音。记录会议还包括用刀片切碎水果、蔬菜和衣服-- --这些都是你穿过敌人时会听到的噪音。

录音中使用了各种稻草和竹垫、日式尤卡塔、津北和武士鞋。视察队还制作了真实的沸腾皮装甲和纸张装甲,用于录音。Bamboo是批发购买的,以便在许多情况下测试其健全的特性。

还有一个有趣的地方:当你听到蒙古人在游戏中睡觉时,你会听到游戏总监纳特· 福克斯(Nate HNA)打猎。“我们在游戏开发人员大会(Game Development ’ s Conference)上共用了一个房间,一天晚上我过来的时候,他就被送了出去,寻觅LOUD ,所以你知道我必须做现场录音, ”迈耶回忆道。

采访全文深入得多,包括关于记录动物的轶事、 UI声音的细节,以及关于英语和日语语音轨道的挑战的讨论。如果你想更多地了解大型工作室的声音设计,或者了解大岛主人是如何聚集在一起的,那就值得一读了。

如果你现在深入大岛的霍斯特,你需要什么才能获得PlayStation Platinum奖杯。

Ghost of Tsushima, the recently released PS4 exclusive, relies heavily on sound to guide players and flesh out its 13th century Japanese setting. As you might expect, getting the sound just right took a lot of work and tools--and the sound is even more important than you might realize while playing.

Over at A Sound Effect, the game's audio director Rev. Dr. Bradley D. Meyer and its senior sound designer Josh Lord have delved into the game's sound design, and how they captured the sounds of the era. They also explained how sound is used to guide the player through the open world.

Meyer reveals that the sound of the wind, which guides players, is even more intricate than it might seem. "We built a system where the sound travels on three splines pointing towards the player's current objective, one centered over the player and one on either side spaced about 5 meters away," he says. "These wind gusts are all reactive to the current environment the player is in. So if you're skirting a grassland on one side and a bamboo forest on the other, the wind will sound like tall grass rustling on your one side and clacking bamboo on the other. This directionality helps players key into where they should be headed as they traverse the island."

Meyer also reveals that the use of a Black Naped Oriole as the game's "guide bird" is largely due to a spot of luck that allowed him to record the bird's sounds. "It was chosen for three reasons: it could be found in Japan, it was visually unique, and I was fortunate enough to record one when I was on vacation in Sri Lanka in 2018."

Meyer reveals that the sword noises were recorded using the same sword blanks that were previously used for God of War, and that he and Josh Lord "spent a lot of time recording them in all manner of ways from scraping them against each other, clanging them together, swinging them, suspending them from the ceiling and spinning them around to get interesting resonant tones, etc." The team had custom-made katana and wakizashi, engraved with the game's logo, to record sheathing and unsheating noises, plus additional sword noises. Recording sessions also involved using blades to slice through fruit, vegetables, and cloth--those are the noises you'll hear when you cut through an enemy.

Various straw and bamboo mats, Japanese yukata, jinbei, and waraji footwear were all used in recordings. The team made period-authentic boiled leather armor and paper armor, too, which was used for recordings. Bamboo was purchased wholesale so that they could test out its sound properties in numerous situations.

One extra fun note: when you hear a Mongol sleeping in the game, you're hearing game director Nate Fox snoring. "We shared a room at the Game Developer's Conference once and when I came in one night, he was passed out and snoring LOUD, so, you know I had to do my field recording duty," Meyer recalls.

The full interview digs much deeper, including anecdotes about recording animals, details about UI sounds, and discussion on the challenges of featuring both English and Japanese voice tracks. It's worth a read if you want to know more about sound design at a major studio, or the specifics of how Ghost of Tsushima came together.

If you're digging deep into Ghost of Tsushima right now, here's everything you need to get the PlayStation Platinum trophy.




Ghost of Tsushima, the recently released PS4 exclusive, relies heavily on sound to guide players and flesh out its 13th century Japanese setting. As you might expect, getting the sound just right took a lot of work and tools--and the sound is even more important than you might realize while playing.

日前(Hoster of Tsushima ,简称日前)发行的PS4独家产品,在很大程度上依赖声音来引导玩家,充实其13世纪的日本背景。正如你可能预期的那样,正确的声音需要大量的工作和工具,声音比你在玩耍时可能意识到的更重要。

Over at A Sound Effect, the game's audio director Rev. Dr. Bradley D. Meyer and its senior sound designer Josh Lord have delved into the game's sound design, and how they captured the sounds of the era. They also explained how sound is used to guide the player through the open world.

《声音效应》(A Sound Effect),游戏的音频导演Rev .布拉德利· D ·迈耶(Bradley D . Meyer)博士及其高级音响设计师乔希·洛德(Josh Lord)深入研究了这款游戏的声音设计,以及它们是如何捕捉那个时代的声音的。他们还解释了如何利用声音引导球员渡过开放的世界。

Meyer reveals that the sound of the wind, which guides players, is even more intricate than it might seem. "We built a system where the sound travels on three splines pointing towards the player's current objective, one centered over the player and one on either side spaced about 5 meters away," he says. "These wind gusts are all reactive to the current environment the player is in. So if you're skirting a grassland on one side and a bamboo forest on the other, the wind will sound like tall grass rustling on your one side and clacking bamboo on the other. This directionality helps players key into where they should be headed as they traverse the island."

迈耶透露,引导玩家的风的声音比看上去更加复杂。他说: “我们建立了一个系统,在这个系统里,声音沿着三根尖塔传递,指向球员目前的目标,一根以球员为中心,另一只在距离球员5米远的地方。 ”"这些风吹都是对参与者目前所处的环境的反应。所以,如果你绕过一边的草地和另一边的竹林,风听上去就像是高大的草在你一边摇晃,另一边是围着竹子。这种方向有助于关键的行为者在穿越岛屿时进入他们应该走的方向" 。

Meyer also reveals that the use of a Black Naped Oriole as the game's "guide bird" is largely due to a spot of luck that allowed him to record the bird's sounds. "It was chosen for three reasons: it could be found in Japan, it was visually unique, and I was fortunate enough to record one when I was on vacation in Sri Lanka in 2018."

迈耶还透露,使用黑纳佩猎户座(Black Naped Oriole)作为猎物的“导盲鸟” ,在很大程度上是由于运气好,他可以记录鸟儿的声音。“选择它有三个原因:在日本可以找到它,它在视觉上是独一无二的, 2018年我在斯里兰卡度假时,我有幸记录了一个。 ”

Meyer reveals that the sword noises were recorded using the same sword blanks that were previously used for God of War, and that he and Josh Lord "spent a lot of time recording them in all manner of ways from scraping them against each other, clanging them together, swinging them, suspending them from the ceiling and spinning them around to get interesting resonant tones, etc." The team had custom-made katana and wakizashi, engraved with the game's logo, to record sheathing and unsheating noises, plus additional sword noises. Recording sessions also involved using blades to slice through fruit, vegetables, and cloth--those are the noises you'll hear when you cut through an enemy.

迈耶透露,剑的声音是用以前用于战争上帝的剑毛毯录制的,他和乔希·上帝"花了很多时间记录这些声音,以各种方式相互拆散、敲响、摇晃、悬吊在天花板上,然后旋转,以引起有趣的共鸣,等等" 。这支队伍有定制的katana和wakizashi ,上面刻有游戏的标识,用来记录sheathing和unsheashing的声音,以及更多剑的声音。记录会议还包括用刀片切碎水果、蔬菜和衣服-- --这些都是你穿过敌人时会听到的噪音。

Various straw and bamboo mats, Japanese yukata, jinbei, and waraji footwear were all used in recordings. The team made period-authentic boiled leather armor and paper armor, too, which was used for recordings. Bamboo was purchased wholesale so that they could test out its sound properties in numerous situations.

录音中使用了各种稻草和竹垫、日式尤卡塔、津北和武士鞋。视察队还制作了真实的沸腾皮装甲和纸张装甲,用于录音。Bamboo是批发购买的,以便在许多情况下测试其健全的特性。

One extra fun note: when you hear a Mongol sleeping in the game, you're hearing game director Nate Fox snoring. "We shared a room at the Game Developer's Conference once and when I came in one night, he was passed out and snoring LOUD, so, you know I had to do my field recording duty," Meyer recalls.

还有一个有趣的地方:当你听到蒙古人在游戏中睡觉时,你会听到游戏总监纳特· 福克斯(Nate HNA)打猎。“我们在游戏开发人员大会(Game Development ’ s Conference)上共用了一个房间,一天晚上我过来的时候,他就被送了出去,寻觅LOUD ,所以你知道我必须做现场录音, ”迈耶回忆道。

The full interview digs much deeper, including anecdotes about recording animals, details about UI sounds, and discussion on the challenges of featuring both English and Japanese voice tracks. It's worth a read if you want to know more about sound design at a major studio, or the specifics of how Ghost of Tsushima came together.

采访全文深入得多,包括关于记录动物的轶事、 UI声音的细节,以及关于英语和日语语音轨道的挑战的讨论。如果你想更多地了解大型工作室的声音设计,或者了解大岛主人是如何聚集在一起的,那就值得一读了。

If you're digging deep into Ghost of Tsushima right now, here's everything you need to get the PlayStation Platinum trophy.

如果你现在深入大岛的霍斯特,你需要什么才能获得PlayStation Platinum奖杯。