-=> Quoting Jonathan Fingas to Lee Jackson <=-
 JF> Guess I must be good at this... by the way, have you noticed that
 JF> ever since the release of Doom, its sound effects have been used for
 JF> commercials and movies?
It's more likely that some of the sounds you refer to came from a
commercially produced CD sound effects collection.  We have several that we
use ourselves, for raw sounds and for sources to mix into other sounds.
 JF> I know, I know... would [your] asking Joe be a possibility?
He doesn't know Build either.  Best bet would be to try and contact one of
the level designers or someone on our CIS forum.
 JF> Don't think so.  I believe it's Soundelux (aka the Mechwarrior 2
 JF> sound people) that's doing the sound engine.  I think it's called the
 JF> "Sound Daemon."
Soundelux?  Didn't know they did one, and I deal with one of their
subsidiaries (The Hollywood Edge) quite often.  Maybe I should ask them.
;-)
 JF> What's special about the SOS engine?  I hope it's a little less
 JF> finicky than the previous HMI engine - just try and run an emulation
 JF> (as I did with my old GUS)!  Namely, you can't.
What version did you use?  The newest one supports almost anything, either
via emulation or directly.  I like its MIDI code, which is similar to what
we did with the EMIDI system.
 JF> I thought that may be the case.  By the way, to what degree are you
 JF> responsible for Shadow Warrior sound?  I hope you did most of it...
 JF> then I can harass you if a sound effect seems poorly done!  :-)
Jim Norwood did a multitude of them before I got involved with the project
late last year.  I've done almost every one since then.  It's about a 50/50
mix, maybe leaning a bit in my direction now.
 JF> I'm pretty sure you didn't do the Lo Wang sounds.
Wrong!...but thank you for playing!   Read on.
 JF> I know you guys went to a recording studio once again, so the sound
 JF> should be fairly well-mastered as it is.
We do use a studio here in Dallas (Carrollton, actually).  The person who
runs it, Bill Reardon, also auditions and contracts talent, so it's
one-stop shopping.  However, I write the final script based on what George
gives me, what I get from the team, and a few things of my own (George has
final say, since he picks what goes in).  I also direct each session in the
studio.
When the session is over, I take the DAT we receive (a backup of it,
anyway), dump the session to hard drive through SAW Plus, and cull out the
useable material.  Finally, I process the sounds down to VOCs through Sound
Forge (with additional tweaks through the Waves Native Power Pack plug-ins)
and present the whole package to George for his final selections.
Sometimes, as is the case with the interview with Lo Wang on our web site,
I have to do a bit of reassembly to get things right.  The "I love the
shuriken" response sounded quite different coming straight off the DAT.
I had to edit regions, mix tracks, and pull sounds out of my hat (the
"*clunk* AAAAHHHHGGGH!" sound, for example) to get it into its final form.
To make a short story long, I am a bit more involved with Lo Wang's voice
files than it might seem.  Our talent (don't know if I can mention who he
is yet - nonetheless, he's very good) does the voice, Bill Reardon does the
recording, legal stuff, and provides excellent direction help, and I do
everything else short of writing the checks to pay for the session.
 JF> I would if I could but I can't.  :-)  You see, there's no CD audio
 JF> support in Duke 3D, and I don't have audio-play controls on my 12X CD
 JF> drive.  Perhaps it's time for a 1.6 patch?
Either that or a boom box with a CD built in. ;-)
    -Lee
... Take him to Detroit!
--- Blue Wave/Max v2.30
---------------