Built off of the tremendously successful Realmsound Project, BattleBards is the premier provider of the best tabletop gaming specific audio ever created. Through the careful selection of audio project, talent, and tracks, BattleBards is quickly becoming the gold standard for gaming music, sound effects, soundscapes, and voicoevers; bringing this space a new level of immersive experience. BattleBards will provide gamers not only world class audio content but the tools needed to implement said audio in their games. Created by a team of dedicated gamers and engineers, these tools will bring audio to Game Masters in a practical, innovative way, opening up a new market for audio talent.
Now, onto the Gig itself. We want to continue to build our environment soundscape list by adding an ocean voyage from the deck of a fantasy sea vessel (think caravel or galleon). So what’s an environmental soundscape? Well, we would like to provide gamers with two audio tracks that can be played highlighting the sounds of being on board a ship in the middle of the wide blue ocean, no music, just the sounds of the sea, the ship, and the crew going about their business. Tracks must be able to loop cleanly and provide a rich, high definition canvas for the environment being featured. A challenge here is to make each track somewhat general, able to be used in a multitude of situations while ensuring that the track is interesting, features the targeted setting well, and provides for immersive play. For example, if you include an extremely specific event like the sounds of a dragon attacking the ship or someone falling overboard, use of this track would be too specific for a Game Master to use in a practical gaming situation so let’s avoid that.
Note #1, Ship: Single or multi-masts, this is a sailing vessel with all of the rigging, canvas, and moving parts associated with the real life equivalents. Such ships are typically noisy when riding over the waves as wood creaks, canvas flutter, rigging bustles, and the spray of the sea tumbles over the deck as waves crash here and there. The more realistic you make the ship which is really the main focus of this soundscape, the more compelling the foundation for the track.
Note #2, Crew: An important aspect, the crew going about their business should be more of an ambient / background soundscape layer than the main focus which should be the ship and the sea. It’s OK if the crew speaks English and it’s even more likely that no particular words can be understood as again, the crew is more in the background of the piece. Some elements of fantasy can be found here (more on that below) which can include the use of exotic fantasy languages (orc, elven, dwarf, etc) as crews on these ships are likely to be composed of all manner of races.
Note #3, Fantasy Elements: Unlike similar soundscapes out there depicting these situations, we want to add a light, splash of fantasy. We need to be extremely careful here however since it is too easy to get carried away with adding this layer. Any pronounced inclusion carries with it a degree of specificity that may limit the use of the track to too specific a situation. Some examples of potential fantasy elements include:
• Ship’s Mage: In fantasy settings, a mage can be a standard part of the crew next to Captain, Boatswain, and Quartermaster. A subtle inclusion of magic can be adopted to this track as a mage can be divining a heading, providing a gust of wind to the sails, protective enchantments during the storm, etc. Make this inclusion minor, distant, and seemingly like a normal part of the crew.
• Sea Creatures: The sounds of a massive creature in the distance breaking through the waves and back under, a dragon or massive bird flying far overhead in the vast sky as it travels from one destination to another, these can easily find a space within the fantasy layer. However, it’s important that these creatures in no way impact the voyage in any capacity, it all needs to be woven into the soundscape of the track. Remember that these soundscapes are likely to be looped for hours during a play session and anything obtrusive like an animal attack or similar instance will wreck the specific purpose of this piece.
• Other: The voice of an angry sea god caught upon the winds of the storm, strikes of magic fueled thunder ripping apart the skies, and whatever else you think would fit. Based on the nature of the two versions, its likely easier to explore adding these elements in the storm version of the track.
We are looking for two flavors for this soundscape, one during a calm sea and one during a powerful storm. Each track must be no shorter than 4 minutes in length (longer tracks would be appreciated but not required) and must loop cleanly (no start/end fades). Please make the fantasy elements into a separate layer as we ask to receive both Fantasy versions of the tracks as well as versions without the fantasy elements.
Please note that there will be no tolerance for stolen work, so make sure that submitted auditions are original compositions and that you have 100% rights to use and sell everything that you submit for consideration.
Most important of all, have fun making these! Talent that enjoys immersing gamers in these settings tend to be the most successful since it often shows in the track. If you have any questions, please shoot us over a message through Audio Catch, we’ll try to answer all of it, don’t be shy. Good luck!!!