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  • Hey everyone, Unyshek here and

  • welcome to another #Ask343 episode.

  • Today we're joined by the Audio Team and

  • they're answering your community questions

  • that you asked on Twitter using hashtag

  • Ask343 before we dive into the questions,

  • I'll let them introduce themselves and tell

  • you about what they do here at the studio.

  • Hey John, yeah, thanks.

  • It's an honor to be here.

  • I'm excited to answer some questions

  • from the community and Chase Thompson.

  • I'm the Lead Audio Technical Designer

  • on the team here and what that means

  • is that I do a lot of our audio

  • systems design and tools design.

  • And so you know,

  • similar to the sound designers,

  • where they are responsible

  • for making things sound cool.

  • I'm responsible for making everything

  • work in the game and play back

  • the way that it should.

  • Hey, I'm Joel Yarger and I'm the Music Supervisor

  • for Halo infinite.

  • I've been with the team little over two

  • years and previously I worked at

  • PlayStation on the God of War franchise,

  • Uncharted franchise, Last of Us,

  • that type of first party.

  • First party work.

  • Hi! My name is Kyle Fraser and I'm the Lead Sound Designer

  • here at 343 Industries.

  • My day-to-day responsibilities

  • are kind of just overseeing the

  • overall sound design for the game.

  • Also just kind of involves just a lot of

  • content creation for many different areas.

  • And you know doing my best to try to make

  • the game sound is best possible for you guys.

  • Great to have you here today,

  • excited to dive into some

  • community questions.

  • This question from the community

  • is with the new acoustic system.

  • Does it allow players immediately on

  • either side of the same wall with

  • no portals to hear each other's

  • location similar to other games?

  • Or does the room and portal

  • pathfinding completely take precedent?

  • Yeah, that's a great question.

  • Sounds on either side of a wall are

  • never going to be completely muted

  • because of the acoustic system.

  • It should sound natural,

  • so that's the whole goal of this.

  • Of this system is to make the audio

  • feel as natural as possible so

  • you know if a gunshot was on the

  • other side of the wall,

  • even if that wall was

  • completely closed off from you,

  • you would still hear it,

  • and so that's the goal of this

  • system is to make sure that you can.

  • It feels natural,

  • and when those sounds are in other rooms,

  • they'll be appropriately muffled

  • or turn down based on.

  • On how occluded or obstructed the sound is.

  • So if there is a portal there,

  • it'll be clearer an if there's not,

  • it'll be muffled,

  • but you'll still be able to hear it.

  • Awesome, that's super cool to hear,

  • and I'm glad we're taking that more

  • realistic approach with that audio design.

  • This question from Twitter is

  • I'm all for the direction of

  • the soundtrack in infinite,

  • but my question is,

  • will there be some somber emotional tracks?

  • Example heavy price paid,

  • made me feel the emotions of

  • betrayal or arbiter.

  • Thanks for that question.

  • The short answer is yes.

  • We have a lot that we haven't

  • been able to share yet,

  • but we have emotional and character

  • arcs that involve spoilers.

  • That can't wait for you to play the game,

  • and here the highs and

  • lows of the entire score,

  • not just what we've shared so far.

  • I think 2 characters that we do know

  • about, the Pilot and Escharum, are part of that,

  • so you can hear hints of of where those

  • characters will be going on their journey.

  • And musically, it's pretty wide.

  • And when you say highs and lows,

  • you mean emotional highs,

  • emotional emotional highs and emotional lows.

  • Dynamics of that.

  • It's not all bright,

  • it's just we wanted to recapture

  • what made early Halos feel special.

  • In that regard.

  • Gotcha, thank you for diving into that one.

  • I love the music so very excited to let

  • fans here more as they play the game.

  • This question is about some weapon sounds.

  • Will we see the classic overcharge hum?

  • With the plasma pistol back

  • for Halo Infinite,

  • it's really cool seeing the studio

  • embracing the two decades of Halo

  • Audio and trying to weave legacy

  • into the soundscape of the game.

  • Yeah, we kind of like initially sat down

  • or trying to kind of brainstorm

  • different sounds that we could bring

  • back from the original trilogy.

  • This was definitely kind of high on the list,

  • but the sound is just, you know,

  • it has a lot of character,

  • has a really strong sense Anastasia.

  • And so yeah,

  • we definitely decided to kind of

  • weave it into our aesthetic into our

  • designs now worked out really well.

  • It didn't feel kind of jarring.

  • It didn't feel forced in any manner,

  • and So what you kind of have is when you

  • charge up the fire of the plasma pistol.

  • Get kind of a nice satisfying like high

  • tech line up then before it's fully charged,

  • you'll get the kind of swell at

  • the home that goes into this home

  • loop and you kind of get some nice

  • like ********* plasma and whatnot.

  • But yeah, I think you guys will dig it.

  • It's a nice iteration on the plasma

  • pistol that's that is awesome to hear.

  • And I love how you were able to

  • describe it in such depth, right?

  • The different phases of charging

  • up that plasma pistol.

  • This next question from Twitter is will

  • enemies shooting at your friendlies

  • still be loud for you or is it just the

  • thing when you are personally targeted?

  • I worry for the situational

  • awareness up close.

  • How quiet are we talking here?

  • That's a great question.

  • So the the threat priority

  • system uses a bucketing system

  • where the highest threat to the

  • player is going to be turned up,

  • and the next level of enemies is going

  • to be turned down just a little bit,

  • and then any friendly characters

  • and weapons in the game are going

  • to be turned down the most,

  • and the great thing about that

  • is that a lot of the time,

  • especially in multiplayer,

  • you're going to be playing really

  • close with your teammates.

  • You're going to be running around the

  • map together and trying to stay close,

  • so in past games, your teammates weapon

  • fire would be the loudest thing in the mix.

  • And what this system does is it?

  • It brings those down so that you can

  • really hear the most threatening enemy,

  • and then right under that will be

  • the other enemies that are nearby.

  • So it's not going to make those

  • completely inaudible. In fact,

  • it will help bring those up in the mix,

  • because your teammates won't be

  • quite so loud anymore.

  • Touch it, that's super cool.

  • I actually didn't know that we had such

  • like an incredibly detailed stack ranked

  • list of Brett prioritization there.

  • That's super cool.

  • This next question is will the music be

  • adaptive like it was in earlier Halo titles?

  • Well, the tracks play out differently

  • depending on the gameplay state.

  • Absolutely yes, you know,

  • it's hard to even put music in a

  • game nowadays that isn't adaptive.

  • In some ways we're utilizing some

  • technology like Wis for engine along

  • with some custom developed tools

  • and music systems to help track.

  • What the player is doing,

  • what the enemy AI is doing at

  • anyone given time and also we take

  • into account a lot of what we

  • consider to be a player intention,

  • what a player might be doing next,

  • or how we could react to what

  • a player might be doing next.

  • Whereas you know are they going

  • full on into battle or they.

  • Keeping back and sniping?

  • Or are they just passing through

  • and walking to the next experience?

  • Well, sort of, just, you know, not really.

  • Even fully engaging in the experience

  • that there is unfolding in front of them.

  • So all of that is taken into account

  • and it's constantly improving that too.

  • You might be walking through the

  • world and get a piece of music

  • while you're just exploring that.

  • Carries over into combat engagement,

  • whereas if you just walked into

  • the combat engagement without

  • that piece of music playing,

  • you get something else.

  • So it is very adaptive,

  • based on what you're doing

  • very where you're at.

  • Yes,

  • very adapted based on where you're at,

  • what you're doing,

  • where you're at in the story,

  • even what music is chosen is kind

  • of indicative of what you've

  • already accomplished in this story,

  • so we can kind of keep things

  • fresh and keep things moving.

  • So what I look really look forward

  • to is we have a pretty tech techie

  • music team here on site that we

  • put a lot of thought and care into

  • how the music plays out and think

  • once the game comes out and you can

  • experience it will be able to start

  • talking and releasing more details

  • about the underlying technical stuff

  • again without giving away spoilers now.

  • So not just say yes,

  • but a strong emphatic.

  • Yes, we will have this definitely.

  • Yes, awesome yeah,

  • thank you for diving into that one.

  • Alright, so our next question from the

  • community is what's the toughest sound

  • effect to design or implement that

  • you're allowed to talk about and why?

  • Yeah, I think kind of every area

  • of sound design kind of has its

  • own unique set of challenges,

  • and it's definitely from

  • a content perspective.

  • You know, it can be kind of difficult

  • to conceptualize something that

  • doesn't exist in the real world.

  • But I'd probably have to say

  • that creating vocalizations for

  • creatures and characters that

  • don't have any like actual verbal

  • language is always really extensive,

  • and it's mostly just because you have

  • to create a huge amount of content,

  • usually have to cover anywhere

  • from like 15 to 30 behavioral

  • sets an you have to have,

  • you know,

  • a good set of variations for all those,

  • and then you have to kind of make sure that.

  • It all sounds coherent in it

  • sounds like 1 character across

  • all those behaviors and so you

  • ended up in a pattern bringing

  • like tons of content from lots of

  • different like animal recordings.

  • You end up recording yourself.

  • You find yourself recording like your

  • household pets and stuff like that,

  • finding various objects

  • that you could kind of get.

  • Just interesting textures that you could,

  • like.

  • You know meld in there,

  • but it gets really complicated

  • because since you're taking all these

  • different sources from all these

  • different things have been recorded at

  • different times in different places.

  • It can be really challenging to kind

  • of get it to be like one coherent

  • single source and not sound like it's

  • multiple things playing at the same time,

  • so it just takes a lot of finesse and

  • just a lot of time and patience an.

  • Yeah, it's definitely.

  • I call it kind of like the

  • gauntlet of sound design overall.

  • Probably from like an

  • implementation standpoint.

  • Probably have to say vehicles are

  • probably the most challenging,

  • especially like in the realm of

  • Halo because we don't have like

  • a combustion engine simulator.

  • This isn't like Forza,

  • so everything has to be fake.

  • And So what we have to do is we have

  • to take in all this like raw data and

  • then basically interpolate it into

  • something meaningful and something useful.

  • And it was definitely

  • challenging in previous games.

  • But now,

  • with like the improvements of our

  • tools and the slipspace engine

  • were able to have basically object

  • oriented programming and we could

  • like feed any parameters that we need

  • and we can be able to control that,

  • and we can control the speed or

  • control the limit of those parameters

  • and feed that into our game.

  • Middleware and that controls

  • like how the audio behaves,

  • and so it's definitely kind

  • of come along way,

  • and I think you guys will see like

  • a really nice improvement in the

  • vehicles and how they behave and

  • just kind of gives a more dynamic,

  • realistic experience.

  • So wildlife and vehicles.

  • Yeah, yeah, essentially

  • two very unique challenges.

  • That's very cool.

  • Thank you for diving into that one.

  • Yeah my pleasure,

  • our next question from the community

  • is differences in teammates audio

  • when shooting compared to enemies.

  • Awesome and we expect the same for footsteps.

  • And does this apply to yourself as well?

  • Yeah, actually in Halo Infinite

  • will have three different types

  • of footsteps in multiplayer where

  • you'll have your own personal player,

  • footsteps as well as footsteps for

  • your enemies and for your teammates.

  • And so we're with this game.

  • We're super excited to really enhance the

  • situational awareness in the multiplayer.

  • So alongside of those footsteps,

  • we've also got 3D mode audio that

  • we've added to the multiplayer

  • modes for things like.

  • Capture the flag where the

  • sounds of returning the flag are

  • actually going to come in 3D from

  • the position of the flag object,

  • so you'll have a lot more situational

  • awareness of where your enemies where the

  • mode objects and the objectives in that mode.

  • So we're super excited to see how people

  • react to that and how the fans like it.

  • Yeah, and I know from my own personal

  • experience in gameplay,

  • having the different enemy audio

  • is always extremely helpful.

  • Our next question from the community is,

  • are the tracks from the E 320 eighteen

  • announcement trailer and the Discover

  • Hope trailer from the following year

  • going to be part of the three to

  • four hours of Infinite Soundtrack?

  • Love those tracks, yeah,

  • when we set out on both of those trailers,

  • they had a specific goal in mind,

  • so for 2018.

  • Music,

  • a lot of what you saw and heard

  • was part of more of a tech demo

  • or the new engine and sort of

  • also embracing our initial toe in

  • the water of music direction.

  • So 2018 assets are not necessarily

  • part of infinite.

  • However RE 320 nineteen Discover Hope

  • trailer is literally the cinematic

  • opening to the game like you will

  • experience experience that in real time.

  • And even be able to,

  • you know, play portions of it.

  • Nice so 2019 yes 2018 probably not at.

  • Yeah, that's correct cool,

  • thank you our next question from

  • Twitter is what's the weirdest

  • sound you've recorded for Halo

  • that transformed itself into

  • something completely different?

  • It's a good question.

  • It's kind of really hard to

  • pinpoint one particular thing,

  • because I feel like that's kind of

  • what we do day in and day out is,

  • you know,

  • we're always just taking in the

  • mundane and kind of transforming it

  • into something completely different.

  • And it's also kind of challenging

  • question because I.

  • Feel like a lot of times we go into

  • recording of a very particular thing in mine,

  • but of course, while we're doing that,

  • we'll hear something and be like,

  • oh, snap.

  • That would be like really perfect

  • or this thing, or or XY or Z.

  • But yeah,

  • it is always fun.

  • It's always interesting to

  • find the record sounds that.

  • You would probably not typically drawn to

  • like one of my favorite things is moving.

  • Essentially, I love moving in new places like

  • I don't buy essentially for that reason,

  • because every place I end up renting

  • is always these like unique quirks or

  • different sounds that I can find and record.

  • I'm always able to like incorporate those

  • in interesting ways into my sound design,

  • so and that's why I've kind of

  • always keep a recorder like on my

  • side and always got it in my bag.

  • So that way, like you know,

  • if I hear something that's just kind of like.

  • Pics piques my interest, you know,

  • I'll just bust it out and start

  • recording and you never know what you'll

  • end up using that for in the future.

  • So you really live that that audio life,

  • yeah agree.

  • I mean, it's definitely assumes

  • quite a bit of our thinking space.

  • And so I write.

  • First thing, you know,

  • we're kind of think about when we wake

  • up and the last thing we think about

  • when we go to bed is usually sound.

  • That's very cool.

  • Alright, our next question here is,

  • does bigger mean louder in terms of

  • the awesome threat priority system when

  • it comes to vehicles out as objects?

  • Source size play into both design

  • and threat priority.

  • Yeah, we actually went back and forth a lot.

  • We iterated like crazy on this

  • system and we built the system in

  • such a way that we could iterate

  • like that really rapidly.

  • So we actually built a lot of

  • different types of threats that.

  • Tribute to the threat system.

  • So the way that it works is each buy pet.

  • In the game, each character in the game.

  • Has various different types of

  • threats that we're tracking,

  • so some of them are who they're

  • targeting where they're aiming,

  • how far away they are,

  • and one of those types of threats

  • that we that we tried out was just

  • the inherent scariness of that object.

  • So things like what type of character is it?

  • What type of weapon? Do they have?

  • What type of vehicle are they in?

  • And we tried that out and it actually

  • didn't quite achieve the goals

  • that we were looking for.

  • So what we determined was in play

  • testing and iterating back and forth

  • a lot over a long time was that

  • the most important factor was just

  • who's about to deal damage to you?

  • Who's got the most?

  • Capacity for damage at that exact moment,

  • and that's what we're highlighting.

  • So we we tried it and determined that it

  • didn't actually quite achieve the goals,

  • and it wasn't quite prioritizing

  • the right threats.

  • And so we took that out and went

  • with the system that we have today.

  • Very cool.

  • Thank you for diving into a little

  • bit of trial and error.

  • That is game development there.

  • I'm sure whoever asked that question.

  • Will appreciate the extra insight there.

  • This next question from Twitter is

  • in the last sandbox inside Infinite,

  • the team mentioned a new interactive

  • image tracking feature for vehicles.

  • How did the audio team integrate

  • sound design into the system to

  • enhance the player experience?

  • Yeah, this will be really cool system that

  • we're introducing an infinite for audio.

  • What we do is kind of an additive

  • approach and we kind of piggyback off

  • with design and effects are doing

  • so as you're kind of taking damage

  • will start introducing like the

  • audio of like Sparks and Steam and.

  • Flames and whatnot.

  • One like the tires get blown out,

  • will switch out the surface sounds.

  • That kind of give you a more like

  • uneven wobblie kind of texture

  • and then like before the actual

  • vehicle is going to explode.

  • We bring in this like doom state

  • alarm and it's really efficient and

  • like letting you know how much time

  • you have until you need to bail out.

  • So that's kind of the gist of

  • the overall damage system,

  • but it's definitely really effective and

  • giving you the appropriate feedback you need.

  • It's awesome.

  • And yeah, I love the doom state.

  • It's like I need to get out

  • of this vehicle now.

  • Before it blows up,

  • definitely it's really apparent

  • this time around.

  • Alright,

  • thank you for answering that

  • one our next question here is

  • actually about multiplayer.

  • It was mentioned that you were keeping music

  • minimal in the multiplayer match itself.

  • Does this mean music plays

  • during the whole match or only

  • in the beginning near the end?

  • It's a great question to add to that.

  • So what we mean by minimal is mostly

  • emphasizing bigger moments and areas where

  • we feel like you've achieved something.

  • So, for instance, yeah,

  • the intro before the match,

  • trying to hype things up.

  • Also,

  • the end of match.

  • End of round and even moments

  • that lead up to the end of round

  • where you could be in a scoring

  • situation that could potentially

  • end a match and we want to sort of.

  • I pipe that up,

  • but typically we're trying to stay

  • out of the way and leave a very

  • clean and clear audio experience,

  • especially when it comes to

  • competitive multiplayer,

  • so you're not going to hear

  • constant music by any means.

  • In fact,

  • it's going to be going to be

  • far less than you might expect,

  • but it's going to.

  • Have impact where it lands.

  • Patches so very specific,

  • impactful moments and that's it very much.

  • And and this is something where

  • we're excited to share more when

  • we get to actually just share

  • more multiplayer in general,

  • 'cause I think we've.

  • We've kind of taken things in

  • a new direction.

  • Stylistically, that you feel really

  • still fits in the Halo universe,

  • and that's exciting, awesome.

  • Thank you for answering that one.

  • So our next question here is,

  • well,

  • any of the existing sound

  • design we've heard in the 2020

  • gameplay demo be adjusted?

  • Or will that be left intact?

  • Yes, that demo is cut.

  • You know, almost like a year ago,

  • so we definitely you know.

  • I've been polishing and tightening things up.

  • You know, at that time it

  • was a work in progress.

  • We've definitely.

  • We've just kind of improved and kind of

  • flushed out the overall mix a bit better.

  • We've even done some, like you know,

  • more in depth redesigns.

  • For example, we did another pass,

  • unlike the Mangler and the Rabinger.

  • There's quite a bit of other pieces,

  • you know.

  • We kind of readdressed then yeah,

  • I definitely think it's you know it's

  • going to be a lot more refined experience

  • when you when you lay it in the fall,

  • but I want to expect anything

  • like drastically different,

  • but I would definitely expect

  • the overall improvement.

  • Awesome, that's great to hear.

  • Yeah, this next question from the community

  • is I really enjoyed the different

  • firefight voices in Halo three ODST

  • and reach and I also really like the

  • different multiplayer announcers from

  • the voices of war announcer Pack in Halo 5.

  • Well,

  • anything like this be available

  • in Halo Infinite.

  • I was actually really involved

  • in the voices of war,

  • so it's awesome that you like

  • that and that you brought it up.

  • I actually came out of a hackathon

  • that I helped lead so this is a really.

  • A topic that I'm really passionate about,

  • and while we won't have custom announcer

  • voices like we did in the voices of war pack.

  • Very really excited and passionate

  • about being able to customize the player

  • experience and so I can't say much today,

  • but what I can say is we have some

  • stuff that we're working on that

  • I think the fans will be excited

  • about and that you'll really enjoy.

  • Also hint at it,

  • but the no confirmations of anything yet.

  • I appreciate that.

  • So thank you for that one, chase.

  • Our next question here is about

  • music and content creation.

  • Well,

  • all the music in the game be dmci free,

  • so it's able to be played on

  • stream or what we need to mute

  • the music in order to be safe.

  • While I personally can't

  • make any promises here,

  • it is our intention or streamers and

  • content creators to be able to use the

  • music of Halo Infinite in their content.

  • That's awesome to hear.

  • I'm very excited for players to

  • get the experience it fully while

  • they're making that content. Same.

  • Alright, here's our next question.

  • I really,

  • really love the fact that wildlife in

  • this game already sound like really cool.

  • Site ambience.

  • I'm interested to know how you went

  • about making the sounds or the wild.

  • Cool, yeah,

  • I'm glad you guys are kind of

  • picking that out and enjoying it.

  • The first thing we usually do is we

  • try to pinpoint what exactly are

  • the state behaviors for them so

  • that we cover things like threatened

  • or attack or idle or death.

  • And then we'll we'll just start

  • acquiring all

  • the different source material we need.

  • Since there's quite a bit of

  • diverse wildlife, you know,

  • we need a bunch of different

  • stuff from different different

  • areas of like the animal Kingdom.

  • And so we were always kind of,

  • you know, recording different animal

  • sounds and different nature sounds,

  • but will also record people's personal pets.

  • You know, we ended up utilizing

  • some of the Pug recordings that

  • we did and those kind of got used

  • for the digger creatures and.

  • Yeah, it's definitely a lot of material

  • that we're just kind of pulling from,

  • just like the whole animal Kingdom.

  • We've also, you know,

  • we had some really create content

  • partners that are also able to provide

  • some really exotic content from,

  • you know, really unique places from

  • the globe and stuff like that.

  • And so yeah,

  • I think you guys will kind of really

  • enjoy this kind of little extra.

  • Ambient side detail that you'll

  • kind of get in the game.

  • Nice so hold on sounds from all sorts

  • of animals all over the world right

  • to make the wildlife totally yeah.

  • Awesome, thanks for diving into that one too.

  • Our next question is actually a

  • pretty popular one in the Community,

  • so let's dive into it.

  • The forerunner, interior, sound epic.

  • I can't wait to explore the

  • insides of Zeta Halo,

  • but is Jeff Steitzer making a

  • return to the multiplayer announcer?

  • This voice is the true sounds of Halo.

  • I couldn't agree more.

  • There's nothing better than hearing

  • a classic double kill from the

  • announcer and I can confirm that.

  • Yes,

  • Jeff Steitzer will be back and we're

  • super excited to see how fans enjoy the

  • new video for the multiplayer experience,

  • but thank you for confirming that.

  • I love hearing deaths.

  • Voice in any Halo game and

  • especially in infinite.

  • Our next question here from the community

  • is when can we expect to hear another

  • song from the Halo Infinite soundtrack?

  • Just like you,

  • we have been very excited and

  • would love to share more.

  • But we're also aware of the story

  • arc and a lot of other details

  • that are part of the game itself,

  • and so we really would love for you to

  • hear the rest of the music in context.

  • That said,

  • we have our previous three tracks

  • from last summer or now on Spotify,

  • Apple Music, Amazon,

  • and several other streaming websites

  • for you to check out Gotcha.

  • So nothing yet.

  • We want you to experience it in game.

  • Get that full experience, right?

  • Yes, yeah.

  • And you know,

  • obviously we're avoiding spoilers.

  • There's a lot of the music is in

  • context of some, frankly, really,

  • really awesome story storyline that I

  • think a lot of people won't be expecting.

  • Yeah, so, save those powerful moment,

  • powerful pieces for the powerful

  • moments in campaign.

  • Yes,

  • cool.

  • Even trying to come up with a name for

  • tracks becomes an effort not to spoil.

  • This is something that's very true.

  • I've seen a few soundtracks

  • that have rise of this

  • person fall of this person and you're like,

  • dude, why would you put that in the.

  • I love the soundtrack,

  • who even was that person?

  • But you never talked about

  • that person before, so yeah.

  • Yeah, you gotta have some surprise.

  • Cool, well thank you for

  • diving into that one there.

  • Alright, our next question here

  • is about the battle rifle.

  • Is there a certain VR?

  • The Halo Infinite version is based

  • off of and what weapon was used to

  • record the newbie are, let's say,

  • inspiration behind the bar was.

  • The Halo 2B are like kind of used that

  • as reference when designing the sound.

  • The actual content was probably

  • derived from multiple gun

  • recordings that we did in the past,

  • probably the main one was the FN

  • Scar battle rifle and also the FN.

  • And two forty P machine gun.

  • I was able to kind of take different

  • microphone recordings textures from

  • there and kind of combine them and

  • then the actual like kind of punch

  • and base that was from a recording.

  • I think we just did in here

  • in a Foley studio.

  • We have this device that will pressurize

  • air into like a two liter bottle

  • essentially and then if you puncture

  • it with a projectile of like a certain

  • velocity will create Sonic boom.

  • Very low energy because the bottle.

  • Rips at supersonic speed and so you

  • kind of just get this really tight like.

  • You know,

  • very dynamic impulse that comes out of it,

  • and so if you kind of put that around

  • different like resonant spaces,

  • you just get some like really nice,

  • punchy impacts that you can

  • incorporate into your designs,

  • and then for the actual tales

  • and stuff like that,

  • those are usually constructed from

  • like many different recordings that

  • we do will record in like different

  • fields and just different locations.

  • That kind of just get really interesting

  • reflections and then we just kind

  • of combine those all just make

  • something really convincing and satisfying.

  • That is awesome to hear that it's the Halo

  • 2B are kind of served as your inspiration.

  • No idea that you had so much depth

  • go into just like that bar sound,

  • right?

  • You mentioned at least two different

  • weapons and another thing you

  • recorded in the Foley Studio,

  • so a lot of work just going into one

  • weapon sound. Oh yeah, for sure.

  • I mean,

  • I know how much people love the

  • battle rifle and so you know it's

  • not more important to me than just

  • try to do that justice for everyone.

  • Well, I'm sure people appreciate it.

  • We saw nothing but praise for

  • it online after we put it in the

  • latest Inside Infinite Blog.

  • So it's good to see people love it.

  • Yeah, I'm glad to hear that.

  • Alright, thank you so much for all of

  • your answers today gentlemen.

  • Appreciate you taking time out of

  • your day to answer these community

  • questions that we got from Twitter.

  • Before we go.

  • Do you have any closing words that

  • you'd like to tell our community

  • before they go hands on this fall?

  • Yeah, thanks John.

  • It's such an honor to be able

  • to answer these questions and.

  • Part of what makes my job so great is

  • knowing that there's an awesome community

  • out there who is just as passionate

  • as I am about the audio in this game,

  • and so I can't wait to play the game

  • later this year with everybody and hear

  • what people think about the audio.

  • I just want to say thank you for giving

  • me the opportunity to speak with you guys.

  • It's always a pleasure and you know,

  • I'm just really excited for you guys

  • to get your hands on this in the fall

  • and experience all the hard work that

  • we've been putting into this over the years.

  • And I just also just really

  • want to thank my team.

  • I mean, this has been such a

  • huge collaborative process.

  • You know,

  • I'd probably say you know we have

  • people from all areas of the globe

  • working on this and it's just

  • been such a pleasure to work with

  • such a passionate group.

  • People that literally all we want

  • to do is just make the best Halo

  • experience possible for you guys.

  • Yeah, just thank you so much.

  • We're here doing this for you.

  • And honestly,

  • I've been waiting for you to get

  • this game in your hands and play it.

  • We're going to have a pretty big

  • soundtrack release along with the game.

  • And I just want it to be out there

  • as much as you,

  • and I'm just looking forward to that

  • day so that wraps up today's S 343

  • with the audio team here at the studio.

  • Thank you so much for watching and

  • submitting your questions on Twitter

  • using hashtag S 343 you want to see

  • the latest and greatest Halo news.

  • Be sure to follow us at Halo on Twitter

  • as well as check out halowaypoint.com

  • until next time we'll see you all later.

  • You guys went supersonic in the Foley room.

  • Yeah, it's really interesting.

  • I mean,

  • it's like it's supersonic,

  • but it's like it's such a low energy.

  • I mean,

  • you could literally set it off right

  • next to you and you feel nothing really,

  • yeah.

Hey everyone, Unyshek here and

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