3/16/2023 0 Comments Protools game audio angry botsOne day we were charged by a puffed-up, hissing gator that led to complete panic and chaos as we fled for our lives. I had several incidents where startled, disturbed and angry alligators came at me or snapped and lashed out when they felt cornered at very close proximity. We were cocky and deliberately aggravated the alligators to get a more dramatic response. We tracked down and cornered alligators in the swamp to try to get them angry so that they would hiss. What happened?īrian Coburn: We went to the Okeefenokee swamp in Georgia where I was trying to make close proximity recordings of angry alligators. Sega-16: You’ve mentioned that you were nearly attacked by an alligator while recording the sounds used for the T-Rex roar. They may have used some of my sounds, but I was not involved with the cartridge project. Sega-16: Was the Sega CD team separate from the cartridge one, or did they overlap?īrian Coburn: Two different teams, I think the cartridge was created by BlueSky. Sega-16: How did you get involved with Jurassic Park CD?īrian Coburn: I was the main sound designer for the Multimedia Studio, and when the project came along, I was offered the opportunity to work on it. We would wheel this thing around between our different studios and patch it into our protools systems when we were mixing 3D spatialized sounds for the game. In order to pan sounds in QSound, we had a large rolling cube that contained multiple computers and custom audio processors with a custom pc mounted on the top and a joystick controller. For instance, we used QSound other 3D audio technologies when they were just getting off the ground in the early ’90s. How difficult was it to find or create the necessary tools for working on it?īrian Coburn: We worked closely with leading developers of game-related technologies. Sega-16: CD technology, as used in video games, was still in its infancy when the Sega CD was released. One issue was whether the studio should develop only for Sega platforms, or whether we should also try to leverage content onto the platforms of our competitors as well. They weren’t sure what to do with it or how to make it effective. How much freedom and support did Sega give the Multimedia Studio?īrian Coburn: I think Sega was ambivalent about the Multimedia Studio. Sega-16: We’ve heard about the creative freedom Sega gave the designers at the Sega Technical Institute. Sega-16: What was your position at Sega of America?īrian Coburn: I was a sound designer and composer at Sega from 1992 to 1997. We recently got a chance to chat for a spell about his time at the Multimedia Studio. With years of experience in the field of music (he currently engineers and produces the Internet’s first virtual band, the Bots) Coburn spent a great deal of time creating sound effects and music on the Genesis and the Sega CD. Working at the Multimedia Studio for five years, Coburn was involved with several Sega titles during the Genesis era. Sega poured hundreds of thousands of dollars into the studio, equipping it with all the latest technology, and the team was at the forefront of incorporating things like surround sound and QSound into their CD games.Īmong the group, which included Spencer Nilsen, was Brian Coburn. The Sega Multimedia Studio was a group of in-house technicians and composers who scored and did sound design on many of the company’s biggest games, including Ecco the Dolphin, Jurassic Park, and Spider-Man vs. All of those great products needed sounds and music, and Sega even had that base covered. From Sonic Team to the Sega Technical Institute, there was no shortage of creative minds to turn to for the next big game. During Sega’s heyday, there was an immense amount of talent churning out hit after hit.
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