EXPLORE
This is the "library" section of the
site, which allows our users to browse our collections, perform detailed
searches and finally, preview individual tracks. The premise is basic but
the technology is fairly advanced. A few highlights:
- Cross-category
searches - automatically scans the entire library, not just one
genre/collection
- Custom search - by title, artist, track
length, even beats per minute
- Spotlight-like search - enter what you
know and the system will retrieve various matches
- Unlimited previews - test a musical cue
before licensing it - download it and try it out.
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ARRANGE
Given that we are a utility, we created
a basic "storage" system that allows our users to save all of their
preferences, even their browsing history. A few features:
- Save individual projects, or
sub-folders with as many tracks, files as needed
- Annotate - save production notes and
other important details to individual files
- Export - save and export your organized
project to your desktop.
- File formats - publish tracks in
multiple formats: WAV, MP3, AIFF or OGG
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LICENSE
Again, this system or licensing model
is built exclusively for the gaming community so it saves time and loads of
headache:
- License Wizard - the built-in licensing
engine guides users through the process with a few, quick and easy
questions. Automatically configures individual license type and fee.
- Multiple tracks, one check-out - so
long as the same license type applies, users can "click and buy" multiple selections
at the same time; no more single track purchases.
- Flexible pricing - if the individual
license fee turns out to be cost-prohibitive, users can change, delete and/or
modify their settings until the total price falls within budget, However, the nominal
fee for high quality sound fx and/or foley cues are purchased as
downloaded.
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ABOUT
GAMECUES
Gamecues is owned and operated by
Resnick Interactive Development, LLC. Established in 2000, Resnick
Interactive is a boutique audio production firm, operating and specializing in
video game development.
For more information about either
company, please visit http://www.gamecues.com/?pg=about_company
or www.resnickinteractive.com.
Email inquiries can be directed to Todd Resnick, CEO and Founder, at toddr@gamecues.com.
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Although I am totally with you regarding the importance of sound in games, I have my doubts regarding this system. As for myself, I thoroughly believe that just like in film, musical themes (and obviously also sound fx) should be uniquely created for each game anew.
If I understand your system well, it means that a certain cue, let's say "Red Sunset" by John So can be licensed to a certain game developer. Okay, so they use this theme in an important cut scene where the hero's best friend dies. The beautiful theme fits perfectly with this scene, and is imprinted in the player's memory as an important highlight in the game where his eyes got all watery. For him, the dramatic moment and the theme are One.
Now, how would he feel if he hears that same theme used again in an entirely different game, where it serves as background music at a Beach Picknick...? That would affect the uniqueness and value of this theme, and make it more generic, less personal. That's the very reason why you won't hear E.T.'s main theme in any other film. And I am deliberately making the link between film and games, as the gap becomes more and more narrow every day.
I personally believe that in order to create an outstanding game, one needs to have originally created and exclusive audio content, from the main theme to the smallest footstep.
Please forgive me if I understood wrong.
Respectfully yours,
Alex
Yes, I agree with you completely. The music for a game, film etc. should be unique because this, along with the graphic style and artwork, is what makes it stand out from the competition. Buying in 'ready-made' generic sound effects and music will ensure the finished product will end up just like any other game that sourced these from a library.
Elec.
One should perhaps consider the role of the game developer who doesn't want to hire an in-house composer but doesn't want to have a mediocre soundtrack either. Let's say that a developer uses music or sounds from gamecues for example that hasn't been used in someone else's game. Why would the music being from a library then be an issue to the game player or reviewer? Furthermore if the owner of the piece has an exclusive contract with the developer, and the developer has a good ear for what 'works' with their game, is not the result aesthetically just as favorable as one utilizing an in-house composer?
To each their own from the developer's viewpoint.
From the viewpoint of a computer professional and composer-producer it will be interesting to see if this particular business model works for all parties concerned, from consumer to developer to composer, and I'd like to hear from some game developers who use the gamecues service.
SP Goodman