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  • Hey everyone, Unyshek here and

  • welcome to another #Ask343 episode.

  • Today we're joined by the Audio Team and

  • they're answering your community questions

  • that you asked on Twitter using hashtag

  • Ask343 before we dive into the questions,

  • I'll let them introduce themselves and tell

  • you about what they do here at the studio.

  • Hey John, yeah, thanks.

  • It's an honor to be here.

  • I'm excited to answer some questions

  • from the community and Chase Thompson.

  • I'm the Lead Audio Technical Designer

  • on the team here and what that means

  • is that I do a lot of our audio

  • systems design and tools design.

  • And so you know,

  • similar to the sound designers,

  • where they are responsible

  • for making things sound cool.

  • I'm responsible for making everything

  • work in the game and play back

  • the way that it should.

  • Hey, I'm Joel Yarger and I'm the Music Supervisor

  • for Halo infinite.

  • I've been with the team little over two

  • years and previously I worked at

  • PlayStation on the God of War franchise,

  • Uncharted franchise, Last of Us,

  • that type of first party.

  • First party work.

  • Hi! My name is Kyle Fraser and I'm the Lead Sound Designer

  • here at 343 Industries.

  • My day-to-day responsibilities

  • are kind of just overseeing the

  • overall sound design for the game.

  • Also just kind of involves just a lot of

  • content creation for many different areas.

  • And you know doing my best to try to make

  • the game sound is best possible for you guys.

  • Great to have you here today,

  • excited to dive into some

  • community questions.

  • This question from the community

  • is with the new acoustic system.

  • Does it allow players immediately on

  • either side of the same wall with

  • no portals to hear each other's

  • location similar to other games?

  • Or does the room and portal

  • pathfinding completely take precedent?

  • Yeah, that's a great question.

  • Sounds on either side of a wall are

  • never going to be completely muted

  • because of the acoustic system.

  • It should sound natural,

  • so that's the whole goal of this.

  • Of this system is to make the audio

  • feel as natural as possible so

  • you know if a gunshot was on the

  • other side of the wall,

  • even if that wall was

  • completely closed off from you,

  • you would still hear it,

  • and so that's the goal of this

  • system is to make sure that you can.

  • It feels natural,

  • and when those sounds are in other rooms,

  • they'll be appropriately muffled

  • or turn down based on.

  • On how occluded or obstructed the sound is.

  • So if there is a portal there,

  • it'll be clearer an if there's not,

  • it'll be muffled,

  • but you'll still be able to hear it.

  • Awesome, that's super cool to hear,

  • and I'm glad we're taking that more

  • realistic approach with that audio design.

  • This question from Twitter is

  • I'm all for the direction of

  • the soundtrack in infinite,

  • but my question is,

  • will there be some somber emotional tracks?

  • Example heavy price paid,

  • made me feel the emotions of

  • betrayal or arbiter.

  • Thanks for that question.

  • The short answer is yes.

  • We have a lot that we haven't

  • been able to share yet,

  • but we have emotional and character

  • arcs that involve spoilers.

  • That can't wait for you to play the game,

  • and here the highs and

  • lows of the entire score,

  • not just what we've shared so far.

  • I think 2 characters that we do know

  • about, the Pilot and Escharum, are part of that,

  • so you can hear hints of of where those

  • characters will be going on their journey.

  • And musically, it's pretty wide.

  • And when you say highs and lows,

  • you mean emotional highs,

  • emotional emotional highs and emotional lows.

  • Dynamics of that.

  • It's not all bright,

  • it's just we wanted to recapture

  • what made early Halos feel special.

  • In that regard.

  • Gotcha, thank you for diving into that one.

  • I love the music so very excited to let

  • fans here more as they play the game.

  • This question is about some weapon sounds.

  • Will we see the classic overcharge hum?

  • With the plasma pistol back

  • for Halo Infinite,

  • it's really cool seeing the studio

  • embracing the two decades of Halo

  • Audio and trying to weave legacy

  • into the soundscape of the game.

  • Yeah, we kind of like initially sat down

  • or trying to kind of brainstorm

  • different sounds that we could bring

  • back from the original trilogy.

  • This was definitely kind of high on the list,

  • but the sound is just, you know,

  • it has a lot of character,

  • has a really strong sense Anastasia.

  • And so yeah,

  • we definitely decided to kind of

  • weave it into our aesthetic into our

  • designs now worked out really well.

  • It didn't feel kind of jarring.

  • It didn't feel forced in any manner,

  • and So what you kind of have is when you

  • charge up the fire of the plasma pistol.

  • Get kind of a nice satisfying like high

  • tech line up then before it's fully charged,

  • you'll get the kind of swell at

  • the home that goes into this home

  • loop and you kind of get some nice

  • like ********* plasma and whatnot.

  • But yeah, I think you guys will dig it.

  • It's a nice iteration on the plasma

  • pistol that's that is awesome to hear.

  • And I love how you were able to

  • describe it in such depth, right?

  • The different phases of charging

  • up that plasma pistol.

  • This next question from Twitter is will

  • enemies shooting at your friendlies

  • still be loud for you or is it just the

  • thing when you are personally targeted?

  • I worry for the situational

  • awareness up close.

  • How quiet are we talking here?

  • That's a great question.

  • So the the threat priority

  • system uses a bucketing system

  • where the highest threat to the

  • player is going to be turned up,

  • and the next level of enemies is going

  • to be turned down just a little bit,

  • and then any friendly characters

  • and weapons in the game are going

  • to be turned down the most,

  • and the great thing about that

  • is that a lot of the time,

  • especially in multiplayer,

  • you're going to be playing really

  • close with your teammates.

  • You're going to be running around the

  • map together and trying to stay close,

  • so in past games, your teammates weapon

  • fire would be the loudest thing in the mix.

  • And what this system does is it?

  • It brings those down so that you can

  • really hear the most threatening enemy,

  • and then right under that will be

  • the other enemies that are nearby.

  • So it's not going to make those

  • completely inaudible. In fact,

  • it will help bring those up in the mix,

  • because your teammates won't be

  • quite so loud anymore.

  • Touch it, that's super cool.

  • I actually didn't know that we had such

  • like an incredibly detailed stack ranked

  • list of Brett prioritization there.

  • That's super cool.

  • This next question is will the music be

  • adaptive like it was in earlier Halo titles?

  • Well, the tracks play out differently

  • depending on the gameplay state.

  • Absolutely yes, you know,

  • it's hard to even put music in a

  • game nowadays that isn't adaptive.

  • In some ways we're utilizing some

  • technology like Wis for engine along

  • with some custom developed tools

  • and music systems to help track.

  • What the player is doing,

  • what the enemy AI is doing at

  • anyone given time and also we take

  • into account a lot of what we

  • consider to be a player intention,

  • what a player might be doing next,

  • or how we could react to what

  • a player might be doing next.

  • Whereas you know are they going

  • full on into battle or they.

  • Keeping back and sniping?

  • Or are they just passing through

  • and walking to the next experience?

  • Well, sort of, just, you know, not really.

  • Even fully engaging in the experience

  • that there is unfolding in front of them.

  • So all of that is taken into account

  • and it's constantly improving that too.

  • You might be walking through the

  • world and get a piece of music

  • while you're just exploring that.

  • Carries over into combat engagement,

  • whereas if you just walked into

  • the combat engagement without

  • that piece of music playing,

  • you get something else.

  • So it is very adaptive,

  • based on what you're doing

  • very where you're at.

  • Yes,

  • very adapted based on where you're at,

  • what you're doing,

  • where you're at in the story,

  • even what music is chosen is kind

  • of indicative of what you've

  • already accomplished in this story,

  • so we can kind of keep things

  • fresh and keep things moving.

  • So what I look really look forward

  • to is we have a pretty tech techie

  • music team here on site that we

  • put a lot of thought and care into

  • how the music plays out and think

  • once the game comes out and you can

  • experience it will be able to start

  • talking and releasing more details

  • about the underlying technical stuff

  • again without giving away spoilers now.

  • So not just say yes,

  • but a strong emphatic.

  • Yes, we will have this definitely.

  • Yes, awesome yeah,

  • thank you for diving into that one.

  • Alright, so our next question from the

  • community is what's the toughest sound

  • effect to design or implement that

  • you're allowed to talk about and why?

  • Yeah, I think kind of every area

  • of sound design kind of has its

  • own unique set of challenges,

  • and it's definitely from

  • a content perspective.