Yeah they have a killer audio team at Geometric. In case you didn't already know, 100 % of the audio in Cocoon is synthesized

Curious if anyone else has similar game inside a game experiences?

If I remember correctly, this was also one of the rare cases where sound design was done before any art, and I believe our wonderful concept artist @alisondesignit.bsky.social even took inspiration from the audio when creating her cool concept for the game.

I’m particularly happy with how the “enemy” sounds turned out. Those were made by importing random binary files using “Import Raw Data” in Audacity, then processing it with convolution. Playing these with a higher spawn rate based on distance somehow made them feel quite threatening to me.

Both to improve player feedback and to make it feel more like you were actively playing something. That manual panning was then mixed with the normal spatializer handing panning based on the objects’ positions in the actual game world. Surprisingly the combination panned out quite well.

The hacking minigame in Men in Black: Most Wanted was essentially a game playing inside a VR game. Working with spatialization became especially interesting in this context, and I ended up manually applying panning to the minigame elements based on their position relative to the bug character.

- "Permanent Notes" - a place for things I want to keep for the entire project, like small personal guides or lists of larger-scope ideas.

Curious if other people are doing something similar or smarter? #gamedev #gameaudio

- "Scratch Pad" - for quick, messy notes (for example from meetings). Each note has an Archived checkbox, when checked it hides the note in the “Done” tab so I only see what’s still relevant.

- "Kanban Board" - for tasks sorted by status. This isn’t a replacement for Jira, but a personal space where I can track small things like “talk to IT about VPN on laptop,” or unload creative ideas related to specific design tasks.

Thank you Allan!

That makes sense, from my experience VO pipeline is extra hard because so many departments touch it, so it can be tricky to figure out who "owns" it and decide how things are done

I remember you mentioning this in a podcast some months ago, and it was quite inspiring. Mad me want to try tackling an annoying VO pipeline issue we had by writing some FMOD editor scripts which definitly wasn't flashy 😅

Would love to see what other scripts people are building around FMOD?

Shoutout @idosounddesign.bsky.social for the initial idea behind the validation script!

The video is kinda long and rambly, but I tried to sprinkle in a few stupid nuggets to keep it from being completely dry.

I hope we’ll see more knowledge sharing around FMOD scripting, and that FMOD will publish more resources.

- Validation on bank build (checking mixer routing and event/parameter names)
- Automatic add/remove of occlusion user property based on master track automation
- Automatically color children from parent
- VO name comparison between FMOD and the spreadsheet used in-engine

Since there doesn’t seem to be much documentation or shared knowledge out there, I put together this video demo.
The four scripts covered in the video:

There's a quick breakdown of the fire and reload layers in Reaper, in case that’s interesting to anyone here. Also shoutout to the amazing team at Coatsink for making all the weapons feel so fun and satisfying to use.

While watching through the films early on, I was surprised by how vocal the weapons often are when moved around. I tried to bring some of that into the game by driving movement sounds from weapon velocity while making sure it did not become annoying to the player.

At one point we even experimented with a two-handed pump-action shotgun which was super hard doing dynamic reload sounds for – it got pretty decent, but still happy we ended up with the 1-handed version 😅