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Posted by on Mar 27, 2012 | 0 comments

Upcoming Webinar Series with David Sonnenschein and Ric Viers

Former Designing Sound “Featured Sound Designers” David Sonnenschein and Ric Viers are hosting another in their series of “Secrets for Great Film Sound” webinars. They’ve got some great deals on offer this time around. So, if you’ve missed out on the series in the past, this might be a good time to sign up. The four week course begins on April 3rd, and registration is $250 until April 2nd ($300 afterwards). You can also get yourself a $50 discount by participating in a very brief survey…it might even take you all of 3 minutes. ;)

Head over to Sound Design for Pros for full details and to register for the course.

…And don’t forget to fill out that survey!

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Posted by on Mar 26, 2012 | 3 comments

Exclusive Interview: Jeramiah Ross AKA Module Part 1

In the this first installment of this exclusive two part interview, Damian Kastbauer talks to Jeramiah Ross, the award winning audio designer & composer of PS3 game Shatter. Also known as the producer and live performer Module, Ross discusses audio implementation for games, and how his experience as a live act influences his game audio design process. Be sure to check out his latest album, Imagineering

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Posted by on Mar 22, 2012 | 1 comment

Top 11 Video Game Mixing Tips

Game Audio Mix has posted a list of tips for optimal mixing for video games. The full list can be viewed on the Gameaudiomix website


Here are a few things that I lay awake thinking about last night, and in the hope that I may get a good night’s sleep tonight, unbothered by such thoughts, I wrote them down.

In no particular order…

1)      PLAN TO MIX

Planning is good, it is healthy, it let’s other people on the team know what you are about to do  AND it means you aren’t scrambling to get something unscheduled crammed into the dying light of a project. This is the most simple element, yet the easiest to forget and to get caught out by. Having some dedicated time built into the overall project schedule to sit down as close to the end of the project as possible, is the best chance you have of getting a final mix pass done on your game. Scheduling this time is simple, but requires some deft political manoeuvring, particularly if your team is not used to running things past a Beta date. Being open and up front with PM and Producer resources from as soon as you get involved on the project is the only way to get anything like this scheduled. If you are doing the mix out of house, or using contractors, this becomes more evident to the PM world, however, if you plan on doing it in-house, it can quickly become overlooked, so constant reminders to everyone on the team about the upcoming mix is usually required. We usually try to schedule a 3 week period after production Beta, called ‘Sound Beta’ in which we do nothing but a mix pass on the entire game. This isn’t plausible, or even necessary, for every game, but the amount of time you need is scalable, usually dependent on hours of game play, and complexity of game mechanics – even if you have a couple of days to set overall levels, this is more than you’d get through not planning.


Game Audio Mix

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Posted by on Mar 22, 2012 | 1 comment

Wwise 2012.1 now available to download

Audiokinetic have released Wwise version 2012.1, which focuses on new features, workflow enhancements and a variety of performance and bug fixes.

The headline new feature is undoubtedly the  introduction of seven  iZotope plug-ins for Windows and Xbox 360. Included in the suite are:

  • Hybrid Reverb

    Hybrid Reverb allows the user to import an impulse file, extract the early reflections, and separately control the reverb tail. Includes 14 impulse responses.

  • Trash Filters

    36 sweepable filter styles including: synth, standard analog, resonant analog, retro and talkbox. An assortment of 84 different speaker, cabinet, amp, and effect box models, each with a selection of 3 different microphone types: dynamic, condenser, and ribbon.

  • Trash Distortion

    47 different distortion types including: ‘overdrive’, ‘distortion’, fuzz’, ‘retro’, and ‘faulty’.

  • Trash Multi Band Distortion

    3 bands allowing for up to 2 Trash distortions per band with independent control over each crossover.

  • Trash Box Models

    84 different box, speaker, cabinet, amp and effect box models each with 3 microphone types: dynamic, condenser, and ribbon.

  • Trash Dynamics

    Compressor and Gate ideal for adding variety in real-time.

  • Trash Delay

    1 second delay with 6 delay types including: Tape, Tube, Analog, LoFi Digital, Broken Bit, and Digital.


Among other features includes Nested Work Units, to simplify the workflow for multi-user projects, Unity Pro Integration and pipeline support for the Wii U

To download the latest version, visit the Audiokinetic downloads page.



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Posted by on Mar 20, 2012 | 2 comments

“Film Sound Effects”, New Library with Sounds from 1966

Sound editor/mixer Andrew Walker has launched Film Sound Effects, a huge vintage sound library distributed in a modern way, independent, digital. The library started in 1966 by re-recording mixer Gerry Humphreys (Ghandi, The Italian Job, Blade Runner) and sound recordist Peter Handford (Out Of Africa, Frenzy, Hope and Glory). It was recorded originally on tape, then transfered to DAT in the 90’s and finally digitized as 48khz/24-Bit, which is the version available online.

Catalogued in two leather bound folders and with over five thousand entries, it’s been used by sound editors on over three hundred movies.Sound effects were charged by how many feet of stock were used before eventually getting mixed into the final soundtrack.

With the introduction of non linear digital editing and the ease at which cd sound effect libraries could be accessed, the library soon gathered dust in Gerry’s office.

Now after a long time spent ingesting the library into a digital file format it represents a fantastic wealth of sounds that’s unique for the period it came from.

If you’re searching for authentic sound effects for feature films, television drama,documentaries or games you’ll find this library a rich source of new material and a valuable addition to your existing sound effects libraries.

The library is available in several categories, at different prices for each pack. More info at FSE. Now below is a quick q&a I had with Andrew talking about the new project.

How this idea of the digital version of FSE started out?

I had an audio post facility based at Twickenham Film Studios together with Dean Humphreys called Crossfade. Deanʼs father Gerry was the head of the sound department at Twickenham and when he passed away in 2006 we inherited a box full of DAT tapes that had been cleared out of his office. We didnʼt initially set out to make it a commercial library rather just transfer it and add it to our existing library but after it all got digitised we realised it would make a perfect vintage library.

Could you talk us about the process of data transfer from the DATs to digital files? How you dealt with metadata on that stage?

We were lucky to have the original catalogue that referenced to the DAT tapes, it was in essence the soundminer for that era, each effect had a unique FSE number with a detailed description and category cross referenced to the DAT roll it resided on.

Transferring was a three stage process,first digitizing in each tape in its entirety. Each effect had an ident which made the second task of editing the recording and naming each file straight forward. The final part was the most time consuming, using soundminer and having the original catalogue for cross reference, each FSE file had itʼs description and category typed word for word into the metadata fields and was done whenever we had a quiet moment between jobs.

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