Discover how the latest Sound Blaster X-Fi technology was utilized in designing the state-of-the-art audio in QUAKE 4.

Interviewee: Zachary Quarles, Senior Sound Designer/Music Composer, Raven Software

A Game By: id Software
Developer: Raven Software
Publisher: Activision
Game Title: QUAKE 4™
Official Site: www.quake4game.com

Q1: What was your role on the QUAKE 4 project? Have you worked on other game projects before?

Zachary: I was the Audio Lead on QUAKE 4. I was responsible for the majority of the sound design and music compositions in the game. Kevin Schilder was responsible for voice-over editing, processing, and organization, while Christian Antkow from id Software was responsible for additional multiplayer sounds.

Previous projects of mine include: Soldier of Fortune II: Double-Helix (Audio Lead), X-Men: Legends (Cinematic Audio Lead), Star Trek: Elite Force - Expansion (Additional Audio), and a host of different freelance projects that I worked on while I was a contractor.

Q2: What is the importance of audio in QUAKE 4 and how much attention was paid to it?

Zachary: Since QUAKE 4 takes place on an alien planet that is under siege, the 5.1 surround spectrum plays an integral role in the gameplay experience. If you can hear something coming at you from every direction, you immediately begin to break down the walls that hinder immersion for the player.

In terms of audio creation, there was great attention paid in QUAKE 4. There were literally thousands of audio files created for this title (voice-overs excluded), meticulously crafted in a Protools environment. Many items were bashed, scraped, squished, and immolated for the sake of this game. I have some painful memories of cast-iron pots raging their vengeful hate upon my fingers, instead of their intended target(s)...Ouch.

Q3: What is the inspiration for the audio work in QUAKE 4?

Zachary: Of course, movies play a large role in inspiration, simply because they can be a readily available source for comparison. I listened to multiple war movies along with several sci-fi and horror ventures. After that point, I pretty much tried to forget everything and go out into the real world just to start recording different elements. I would take these recordings and start monkeying with them within the digital environment. It was through these experiments that I started to really figure out the texture of how QUAKE 4 sounded.

Q4: The OpenAL audio implementation in QUAKE 4 is really great, how was it done and how does audio hardware take advantage of it?

Zachary: From the programmatical (Good Lord, is that even a word?) angle of things, Carlo Vogelsang from Creative Labs came out to the Raven offices towards the end of the development cycle and began work on the actual code-implementation of OpenAL. From there, I went through all the levels in the game and mapped out reverb areas. This information is based around the use of portals in the game. If you shift into a new portal area, then the opportunity to use a slightly different reverb setting is presented to you. It was simply a case of deciding how we wanted the reverb to sound and how often it played a role. Of course, outdoor areas were pretty much dry, while the portions of the game that take place in dank sewer-like passageways become remarkably thick with reverb.

Q5: There is an EAX^® ADVANCED HD™ option in the game, does this add to the experience?

Zachary: EAX ADVANCED HD takes advantage of all of the reverb environments and low-pass occlusion elements of the game. For example, if you are being hounded by some frisky Strogg inhabitant through a hallway, you'll hear his growls from behind you and the reverb will be bouncing all around your head. If you jump through a doorway and the door slams down between you and the menace, suddenly his growls become lower in volume and become somewhat muffled. It's a subtle change, but quite effective.

Q6: In terms of audio, which part of QUAKE 4 is your favorite?

Zachary: Well, the process of creating a huge alien world was very daunting, but also pretty gratifying once I realized that we pulled it off. I really do love the 5.1 surround spectrum and how complicated and layered the world sounds. When we added OpenAL to the equation, I was in heaven. I really wish we would have had OpenAL earlier in the game development process because I would have tried to experiment with it a bit more. As it stands, I think the final product sounds great and was very pleased with the work that Creative Labs helped out with.

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