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MessagePosté le: 05 Juil 2006 11:37 pm    Sujet du message: Articles Répondre en citant

Dans cette section seront postés les articles en ligne concernant les jeux video Largo Winch.


In this section will be posted online articles concerning the Largo Winch video games.
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MessagePosté le: 05 Juil 2006 11:41 pm    Sujet du message: Répondre en citant

Voici une entrevue en anglais avec le mec qui a réalisé la bande sonore du jeu Largo Winch.

Here's an interview with the guy who has realized the sound design of the Largo Winch game.


Frédéric Sounds off 5.1 & Wii

Posted: 07/04/06 10:34pm

By Author: Hang Lauv

The Game Feed was fortunate enough to get a chance to speak with Music and Sound Designer Frédéric Devanlay of Big Wheels Studio recently. In our discussions we got an inside look at what it takes to bring great sound and music to some of our favorite games. Most of his work can be heard on a variety of Ubisoft titles such as Tom Clancy’s Ghost Recon Advance Warfighter and Splinter Cell Pandora Tomorrow. He is now working on more next-gen hits as we talk about Red Steel for Wii and what it takes to make great game music.



The Game Feed: Hi Fred, Thanks for spending time to speak with The Game Feed.

Big Wheels Studios has done some outstanding work with some of our readers’ favorite games. For those who don’t know, can you talk a little bit about the company and your role in music and sound design?

Frédéric: I created the studio in 1990. At first I composed music [for] advertisements [and] then accidentally, I came in[to] the world of video games in 1993.

At the same moment, [I work] as composer, sound designer or sound engineer. In the course of games I really discovered [to] work [towards an] image and the importance of sound check design. Moreover I intervene more and more as sound designer. Indeed in France there are big problems related to the royalties with the French type-setters in the video game [industry].

I realized the sound design of: Splinter cell (Pandora), Ghost recon 2 and 3, Heroes of M*M 5, Taxi 3, Atlantis 2, Pod 2, Largo Winch, Alexander the great etc. … I’m still at work for Splinter cell 4, Hot Pxl, [and ]Dark Messiah. I intervened on Brothers in Arms, Far Cry, Silent Hunter 3, [and] Blazing Angels. I also make the recording of the voices for localization.

TGF: After all the games that were shown at E3 last month, did you see any games that you really would like to work on and were there any games that really impressed you in terms of sound and music? Which game would get your “Best Sound” award?

Fred: I still don’t know [about an] award because there were novelties in the course of development. The spirit of "Murderer" pleases me well; I think that in term of sound design there [are] beautiful things to be made. For others it is necessary to play [the game] to realize the quality of the sound band.

TGF: Before E3, you were very busy creating the sound for all of Ubisoft’s E3 trailers. Were any of those games particularly more enjoyable or interesting to work on, and did any of their games really excite you?

Fred: I like Splinter Cell, I think it’s my favourite. It is necessary to be really creative. For games [like] Rainbow six, Haze or Brothers in Arms we ask fewer questions. It is necessary to be effective, hard-hitting and very realistic. For Dark Messiah, Red Steel or Rayman 4, we can leave free court with its imagination besides keeping the previous key points.



TGF: The big leap both Microsoft and Sony are promoting is high-definition graphics with the Xbox 360 and PS3. 5.1 surround sound has accompanied that very well, but what do you see as the next big leap in sound design? How has your work changed or approach to sound differ when designing surround sound vs. stereo?

Fred: We approach the sound design differently, because it is especially in this domain which [brings out 5.1]. It is necessary to be a player also. When I realize one atmosphere of [urban fights] for example, I imagine that I am playing or that I look at an action movie. It is some time[s] the small details which we put to the left or behind [the player to mimic real life]. There is also a [time factor]; the set is longer too for 5.1.

TGF: One company that has decided to skip the 5.1 surround sound step is Nintendo. What are your thoughts on their decision to leave out digital sound in Wii? Do you think it’ll hurt them and are you upset as a sound designer that they won’t be including it?

Fred: No, games [not so long] ago were in stereo. And then this console is [smaller] to be friendlier, thus we shall play [it] during evenings, thus 5.1 is less imperative.

TGF: You are also going to be working on Ubisoft’s Red Steel for Wii. As part of creating the music and sound for the game, have you or will you spend time playing it? What are your thoughts on Nintendo’s new approach to controls?

Fred: Regrettably I [do not] time to play the game while I compose or while I make the sound design. The periods are too short and often I see only very few [parts] of the game because [it] is always in development. Now with [a] new [type] of console, it will be necessary [to spend] a little of time to play [it] to feel [real] sensations.



TGF: Another Nintendo surprise was the announcement that the Wii controller will also include a speaker. What are you’re plans for using the speaker in Red Steel? What do you think of having the speaker in the controller in general, and did you know about it before the announcement?

Fred: I [cannot say anything about] the specificities of the console yet. I wait for the recommendations [by] Ubisoft.

TGF: When working on new games in general, how do you go about deciding on the game’s music? Do you go into depth researching different songs or do you simply sit down and start brainstorming?

Fred: For the [game’s music] as for [as] sound design, I put [my] feet [in] and later I decide on which direction I am going to take. I don’t ask of questions.

TGF: With the transition to the Xbox 360 and soon to be released PS3 and Wii, have you found any challenges or difficulties creating music and sound for next-generation consoles? Is there anything you wish was more available such as tools or hardware capabilities that were included in these new platforms?

Fred: No, for me it has [not changed] my way of working. Except [that] the quality and the space [has] increased for sound. At least we are not [working] anymore [with] midi files …

TGF: On the other side of that, is there anything you’ve seen or noticed that you couldn’t do before on current-get systems? Was there anything that made you say, “Wow, we really have to take advantage of that”?

Fred: I [would] so love [it when] music can really follow [with] the action of the game and the feelings of the player [like] a movie.

TGF: Finally, kids these days dream of making video games for a living. Any tips for the cool kids who want to get into the industry by making game music?

Fred:Now with the computer techniques it is easier, but the most important thing is to bring your personal touch. [Bringing in more of a young influence] is going to make the difference. Or [with] sounds [and] mixing, do not [be] content with using banks of sounds. Moreover, a lot of time[s] I recognize collections in certain games.

TGF: Thanks again for taking the time to speak with us Fred.

Fred: I would like to thank all people of Ludi Factory at Ubisoft: Karen Vernnimen, Sylvain Brunet, Manu Bachet, Martin Dutasta, Anne Langourieux. Steinberg France and Zslide

from: http://www.thegamefeed.com/features-29085ed3dd71b6083d9d3088402a6791.html?url=features-5db80183d5533473e0e23300a597a273.html
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