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Game Audio and Implementation

GAME AUDIO REEL

Game Audio Redesigns

S.T.A.L.K.E.R. 2 Sound Redesign (Heart of Chornobyl Trailer)

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S.T.A.L.K.E.R. 2 Sound Redesign (Heart of Chornobyl Trailer)

The electricity and electric weapon fire was edited from various sound bank samples. The weapon mechanics for each gun were recorded in my home studio using different metal pieces like a tripod, a music stand, and a couple wrenches taped together. The explosion was layered with a couple sound bank samples and studio recordings for the wooden elements. The voices and weather were sound bank samples. Everything was edited and mixed in Reaper. I added different reverb and EQ depending on the size of the room. You can notice this the most when the character exists out into the rain and when the character enters the warehouse.

Horizon Zero Dawn Sound Redesign (Stormbird Boss Intro)

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Horizon Zero Dawn Sound Redesign (Stormbird Boss Intro)

To create the bird scream, I edited and used a combination of an elephant, an alligator, a bear, and some synths, and a leaf blower to give it a more mechanical feel. I recorded all of the mechanical movements at home using things like a metal file cabinet, a garage door, and a tripod. The snow footsteps, debris, and cloth movements were all recorded in my home Foley studio. Everything was edited and mixed in Audition.

Apex Legends Sound Redesign (Meet Fuse Trailer)

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Apex Legends Sound Redesign (Meet Fuse Trailer)

To create realistic and sci-fi gunfire, I used a combination of sound bank recordings and home-recorded SFX edited in Reaper. In my home studio, I recorded all gun mechanics, grenade launcher mechanics, and movement/footsteps.

Implementation

Wwise Game Audio Demo Reel

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Wwise Game Audio Demo Reel

This is a short compilation of my work recording, editing, and implementing game audio assets into Unity's 3D Game Kit using Wwise. This was a part of the School of Video Game Audio's Wwise course with the integration being provided by the school. I hope you enjoy my Wwise Game Audio Demo Reel! I created sound assets for Ellen (the player character), the Chomper, Spitter, and Golem enemies, and various props throughout the level. I then imported these assets into Wwise and organized them into random, sequence, and switch containers before tying them to game events. I also used Wwise to adjust volume and low pass filters in relation to the player's location using RTPCs and Attenuation. I built Ambient areas using the player character's location. I used Wwise to mix the effects and set up sound caster sessions to make sure the events played correctly. I used the profiler connected to the game to see when and where voices were called. Finally, I organized Actor-Mixers into audio buses that enabled Auto-Ducking when the sound was played. Links: https://www.matthewmccoydesigns.com/ https://www.linkedin.com/in/matthewmccoysound/ https://twitter.com/mtthwmccoy Chapters: 0:00 Intro 0:11 Creating Sound 0:22 Ellen 0:47 Chompers 1:10 Spitters 1:23 Golem 2:07 RTPCs 2:20 Ambient Zones 2:33 Auto-Ducking 2:50 Outro

Sound Design Challenges

Airwiggles Challenge - God of the Sea Summons an Army of Killer Whales

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Airwiggles Challenge - God of the Sea Summons an Army of Killer Whales

The Airwiggles Sound Design Showdown was a head-to-head sound design battle between teams of three. Teams had one week to create a 15-second sound design to match the given prompt with no visuals. This was round two and was between 3 teams. Our new prompt was "god of the sea summons an army of killer whales". This time our group decided to have the 'god' call out to the whales and then slam a trident into the ground causing a pulse to go out. The camera then goes underwater as the whales begin to answer the call whipping past the camera and making calls. The camera then resurfaces to see the army of the whales. My role in this design was focused on the Trident impact as well as the Foley, and the whooshes and calls of the whales. I initially had a sci-fi-like pulse effect but decided to go for a more powerful realistic lightning strike impact instead that I thought turned out really well. For the whale calls, I did some research, and killer whales are more dolphins than whales. So they have a very high-pitched call and some chittering almost human-like inflections. A clean recording of a Killer Whales is also very hard to find so I decided to try and create something similar. I used some pitched and slowed bird calls for a majority of the calls and recorded a balloon drag for some of the chitters. I also recorded myself for the blowholes. If I were to do this challenge again I think I would try recording some VO to layer for the different chitters and clicks. I think it would've sold the calls as more lifelike. For the underwater whooshes, I used the Whoosh plugin and some water movement recording. The Doppler built into Whoosh is amazing and made this part very easy. My team did some great work with the 'god' VO, the ambiences, and the final mix! Let me know what you think of our submission!

Airwiggles Challenge - Futuristic Bow and Arrow

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Airwiggles Challenge - Futuristic Bow and Arrow

The Airwiggles Sound Design Showdown was a head-to-head sound design battle between teams of three. Teams had one week to create a 15-second sound design to match the given prompt with no visuals. Our first prompt was "futuristic bow and arrow". After some planning our group decided to have a hunter creep through the forest, draw an arrow, pull release, and hit a target. We wanted the prompt to be clear to the listener so we decided on a more grounded in-reality bow and arrow with sci-fi elements on the bow itself. My work on this consisted of all the non-bow Foley and Ambience. I recorded walking through the forest, moving leaves and brush, pulling the arrow from the quiver, the leaves getting hit by the arrow in flight, the 'futuristic' creatures, and other ambient drones and wind. I also added my teammates' work on the bow drawback, release, and impact to the timeline, acted out the character movement, and mixed the final submission. Let me know what you think of our submission!

Me in Studio.JPG

BIO

When I was around 12 years old, I learned how the T-Rex roar was created for Jurrasic Park. Soon after, I learned celery sounded ominously close to a bone breaking and was blown away. I immediately knew what I wanted to do. I want people to look at something I worked hard on and say, "How'd they do that?!"

I went on to study at Illinois State for 4 years with a focus in Sound Design followed by one year at SCAD Savannah to complete my Master's in Sound Design.

Following graduation, I moved back home to Illinois where I continue to hone my audio skills. I created a studio space in my home where I'm working primarily in Game Audio doing Sound Design, Foley, Dialogue, and most recently Implementation. I love working with Game Design students at Bradley University to create and implement audio for their games. I've completed my Wwise 101 & 301 certifications and have started learning scripting in Unity and getting into Game Jams.

NICE TO MEET YOU

Whether its project related or you just want to make a new connection feel free to contact me!

mtthwmccoy@gmail.com

+1 (309)-696-7538

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