![]() ![]() Here’s the whiteboard diagram that our audio programmer Shuji Kohata drew to explain the system: There are other ideas we could have explored for more precision, but this system was focused more on handling several consecutive changes. Finally, anything difficult to hear after this is aggressively lowered and this processed tone range is mixed back in with the original track. Then distortion is applied to this range, changing its waveform into a square wave (a harsher sound associated with classic game consoles). ![]() Next, a 48-tone range (four octaves) is filtered out as a sine wave – drastically cutting out any very low, very high and subtle tones. So what does that system look like? Hang on, this gets a little technical…įirst, we take the music we want to 8-bit-ize, and convert it from stereo into mono. In some cases, we had to use some automatically-generated music. Many songs from the NieR:Automata score got original 8-bit versions! But we couldn’t make 8-bit versions of every single piece from scratch. It seemed like a great opportunity to make use of an effect called a Tone Filter, which I had given a presentation on at CEDEC 2015. However, inspired by the “Legend of Nier: 8-Bit Heroes” track on the “NIER Gestalt & Replicant: 15 Nightmares & Arrange Tracks” soundtrack from the original game, I suggested using 8-bit sounds in the hacking scenes. Now, we hadn’t planned on making 8-bit versions of the score at first. Whenever 9S hacks into one of the enemies or chests in NieR:Automata, the background music morphs into an distinctive electronic version, like you might hear in an 8-bit game. With that in mind, I’d like to focus on that implementation to give you a behind-the-scenes look at my work. At a recent audio team meeting, I was surprised to hear the way the music was handled in the hacking sections get the warmest reception. Today I’m writing about one part of NieR:Automata’s music implementation that took a special amount of care. Of course we were able to achieve this honor thanks in a large part to Keiichi Okabe’s wonderful score and YOKO TARO’s fantastic direction! We’re tremendously proud to be nominated for such a distinguished award. It’s kind of like the Game Developers Choice Awards at GDC.) Every year, game developers across Japan nominate and vote on awards presented at the conference. (CEDEC is the Computer Entertainment Developers Conference, a major games industry conference here in Japan. I didn’t compose the music for NieR:Automata, but I did implement it – that means I was in charge of the technical side of how you experience the background music in-game.īy the way, not to boast, but the NieR:Automata audio team has been nominated for the 2017 CEDEC Award for Sound. Hello! I’m Masami Ueda, a music composer at PlatinumGames, here to write about some of my work on NieR:Automata. ![]()
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