I decided to make this post for those interested in a quick peek into the sound design process. If you guys find this interesting, speak up, and I'll make more videos as things progress.
You'll notice that all methods and sound clips in this video are almost entirely subtle in nature and use; there are no outright, drastic changes being made to the game here. My goals with improving LURK's (and, by association, STALKER's) sound design is mostly based around this concept, although there are a few tricks I'm working on that are more along the lines of "drastic." More to come on that later.
My biggest inspiration is DICE. Their audio work has always been above and beyond everything else out there, particularly when Frostbite came out with their new technology, HDR Audio. Sweet tech and fantastic sound sources aside, their focus on the small things inspire me. It's these small things that I intend to focus on for LURK, because it is the small things that can bring a game's sound stage to life, and that breath of life is what STALKER deserves.
I think we can all agree that STALKER's strength has always been in the sum of its parts, anyway. What I show here in the video is one of many principals that I will be applying to enliven LURK - sound occlusion, EAX sound environments, 3D positioned sound sources and a proprietary, made-from-the-ground-up sound library that I'll capture myself. The potential aural awesomeness to be had with the compounding of all these principals excites me. I hope this (and any future) videos will help spread that excitment.
update 20120107: Thanks for the feedback, everyone! I'll be sure to make more vids. I really appreciate the interest!
As a sidenote, Millenia's back from his military service and is once more on the LURK team. Everyone say hi to Millenia! - Panzerdraco