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Spellborn International
MMORPG | Setting:Fantasy | Status:Cancelled  (est.rel 04/23/09)  | Pub:Frogster Interactive / Mindscape / Acclaim
PVP:Yes | Distribution:Download | Retail Price:Free | Pay Type:Free | Monthly Fee:Free
System Req: PC | Out of date info? Let us know!

Sound Article

Posted by Jon Wood on Jan 04, 2006  | Comments

Sound Article -

The developers at The Chronicles of Spellborn have released a new developer article. This time around, it comes from the Sound Designer, Matthew Florianz. Florianz tells us about himself and the process of sound for The Chronicles of Spellborn. In the article, he makes reference to Jesper Kyd, the award-winning composer who has signed on to work on the game. Kyd premiered one of the tracks for Spellborn on our December Podcast here at


Patch Installation for 1.4.2 - 2006-01-04

Hi, my name is Matthew Florianz. Before I tell you about what I wanted to achieve with the sound for TCoS, I first want to tell you a bit about my background. In the mid 90’s, my first paid job was as a graphic designer for a video game distributor. I made and adapted advertisements for magazines, created short commercial movies and websites. For these movies, music and sound were needed, and I picked up an interest then. At the beginning of 2000, I joined Khaeon Games. As part of the team I helped make two fps games and a sci-fi arcade shoot-em-up. Mostly doing level design, doubling as a game and sound designer during the so-called after hours. That, combined with my private interest in ambient music ( is probably why I had all the needed experience in order to do the sound for The Chronicles of Spellborn.

An important element in my music, and thus my personal interest, is travel; how you experience the transition from one mood or environment to another. Both level and sound design have many commonalities, and something learned in one field can definitely be applied to the other. With level design there is the constant danger of achieving form through the collection of details. This results in very technical levels where the overall shape is as non-descript as all the little details. For music the same applies: if you forget the structure of the overall piece, all the individual elements don’t seem to work. So to me level design is not so much how a corridor looks, but how it connects the areas before and after it, much like music for me is mostly about bridging sound-areas.

For TCoS, on the most basic level, I want to achieve two things. First, to give players a sense of travel and exploration even if they go through the world with their eyes closed. This requires detailed and varying soundscapes for individual areas. At the same time (and almost at conflict with the previous) the soundscapes have to be subtle enough to allow external (player selected) music to be played over them. The question that is frequently asked (if sound can be turned off), taught me that sooner or later you will have heard all there is to hear, and will prefer to play your own music.

In this three part article I would like to tell you about the different aspects of sound, and how we implemented the dual approach mentioned before. In this first part you will read about the process of selecting the right composer, and finding the perfect music to fit the moods of The Chronicles of Spellborn.

Get the rest of the article, here.