1 |
@GoogleFrog - Thank you so much for writing the code to pull the music in as an option. I really appreciate that. This is awesome and I'm learning a ton about writing music and definitely with integrating it into a game engine. I was slightly discouraged at first by the amount of work ahead still to make it good, but I'm ready to tackle more now. Thank you, really!
|
1 |
@GoogleFrog - Thank you so much for writing the code to pull the music in as an option. I really appreciate that. This is awesome and I'm learning a ton about writing music and definitely with integrating it into a game engine. I was slightly discouraged at first by the amount of work ahead still to make it good, but I'm ready to tackle more now. Thank you, really!
|
2 |
\n
|
2 |
\n
|
3 |
<b>Hard observations:</b>
|
3 |
<b>Hard observations:</b>
|
4 |
\n
|
4 |
\n
|
5 |
1. Most peace songs are cut off after ~1:30 on average in multiplayer, and combat songs are essentially perpetually triggered after (making 3-4 minute peace tracks pointless)
|
5 |
1. Most peace songs are cut off after ~1:30 on average in multiplayer, and combat songs are essentially perpetually triggered after (making 3-4 minute peace tracks pointless)
|
6 |
\n
|
6 |
\n
|
7 |
2. There aren't enough combat tracks (3 only) so the existing ones are recycled too quickly
|
7 |
2. There aren't enough combat tracks (3 only) so the existing ones are recycled too quickly
|
8 |
\n
|
8 |
\n
|
9 |
3. Track volumes are not normalized or optimized to be audible when combined with the combat sound effects.
|
9 |
3. Track volumes are not normalized or optimized to be audible when combined with the combat sound effects.
|
10 |
\n
|
10 |
\n
|
11 |
4. There is no way to play the new menu track atm.
|
11 |
4. There is no way to play the new menu track atm.
|
12 |
\n
|
12 |
\n
|
13 |
<b>Potential solutions:</b>
|
13 |
<b>Potential solutions:</b>
|
14 |
\n
|
14 |
\n
|
15 |
1. Write all new peace tracks to be ~2min. Stylize latter half of existing peace tracks to be combat tracks.
|
15 |
1. Write all new peace tracks to be ~2min. Stylize latter half of existing peace tracks to be combat tracks.
|
16 |
\n
|
16 |
\n
|
17 |
1. Up the requirement to trigger the combat playlist so glaive on glaive fight doesn't have ultra intense "Braaaahms".
|
17 |
1. Up the requirement to trigger the combat playlist so glaive on glaive fight doesn't have ultra intense "Braaaahms".
|
18 |
@Sprung
or
@GoogleFrog,
is
it
possible
to
differentiate
different
levels
of
combat?
ie,
skirmish
vs
all-out
war?
If
you
point
me
down
the
general
direction,
I
could
possible
code
this
and
submit
it
as
PR.
(
and
if
you
have
guidance
on
how
to
test
these
changes
locally
first,
I'd
appreciate
that
as
well)
|
18 |
|
|
|
19 |
@Sprung or @GoogleFrog, is it possible to differentiate different levels of combat? ie, skirmish vs all-out war?
|
|
|
20 |
\n
|
|
|
21 |
If you point me down the general direction, I could possible code this and submit it as PR.
|
19 |
\n
|
22 |
\n
|
20 |
2. I will focus on writing strictly combat tunes now, even though I love writing peace tracks more as it's quite a bit more relaxing as a hobby xD
|
23 |
2. I will focus on writing strictly combat tunes now, even though I love writing peace tracks more as it's quite a bit more relaxing as a hobby xD
|
21 |
\n
|
24 |
\n
|
22 |
2. Write longer combat tracks as the most popular playstyle (big teams) tend to stay in that mode longer. That being said, 40minutes of deeply intensive combat tracks with war drums could be grating and stressful after a while. This creates a want for separate triggers between skirmish and war tracks.
|
25 |
2. Write longer combat tracks as the most popular playstyle (big teams) tend to stay in that mode longer. That being said, 40minutes of deeply intensive combat tracks with war drums could be grating and stressful after a while. This creates a want for separate triggers between skirmish and war tracks.
|
23 |
\n
|
26 |
\n
|
24 |
3. I will take all the tracks and run them through a mastering pass to normalize them to each other and try to use the existing tracks as a reference to minimize the amount of work needed incorporate the new tracks.
|
27 |
3. I will take all the tracks and run them through a mastering pass to normalize them to each other and try to use the existing tracks as a reference to minimize the amount of work needed incorporate the new tracks.
|