Enemy movements in the game are scripted, and part of my job involved synchronising the music with the waves of enemy fighters. I used fast paced beats and synthesized basslines to heighten the sense of action in the game, and worked with Conor O'Kane to perfect the timing as the level evolved during pre-alpha testing.
Each sound effect was created from scratch using combinations of sampling, synthesizing and filtering techniques to give each sound the required edge.
The soundtrack and effects were seperately mastered to give the effects presence over the soundtrack, preventing the FX from sounding "muddy" and overpowering out the background music.
In total, 40 sound effects and 2:30 of music were required for the single level competition entry, with more to come after the competition as Conor shifts up a gear and prepares DroneSwarm for commercial release.
For downloads and more information on the development of DroneSwarm, follow this link to their website (opens in a new window).
Here are some comments from the judges, now that the competition is over:"First of all, Drone Swarm both looks and sounds amazing, some really polished graphics in both the background and the sprites. I especially liked the cel-shaded style effect going on with the player and enemy ships. The sound effects also are well made as is the music, definitely some of the best audio work in the competition." - Charlie
"The music is *truly* some pretty hot stuff indeed, and it adds to the war-like atmosphere of the game very well!! And so definitely are the sounds and voices, too, let us not forget now!!!" - Adigun
"This is an extremely proffesional and polished title to a level that I find truely amazing. The graphics and music are outstanding and are coherent throughout the whole experience which gives the game a nice overall style and really solidifies the game." - Motorherp
See how DroneSwarm placed in this really tough competition here.