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Posted by on Apr 1, 2016 | 0 comments

Monthly Theme: Inspirations and Distractions

A little girl sits atop her father's shoulders, staring off into the clouds.

The mind wanders, the mind returns. [Credit: The Atlantic.]

April already! Time flies when you aren’t watching.

Maybe you’ve been buried deep in a project–maybe you’ve been spacing out.

This month’s theme at Designing Sound is Inspirations and Distractions.

How do you lash the reins to inspiration? Where have you found it in the first place? And once you’ve started, how do you stay on course? Maybe it’s been a while since you’ve felt inspired. We’d like to hear about that, too.

Send us your stories and join the conversation around these two daily players in the universal journey to create great sound.

Please email doron [at] this site to contribute an article for this month’s topic. And as always, please feel free to go “off-topic” as well.

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Posted by on Feb 23, 2016 | 0 comments

Designing Sound GDC Game Audio Crawl

EVENT POSTER

 

*** UPDATES ***

03.11.16: With over 260 RSVPs we’ve had to change the venue to not one, but four awesome bars / cafes, all within two blocks on Market Street. DS contributing editor Richard Gould will be at Brewcade from shortly before 4:00pm to hand out stickers which will signifiy you’re part of this event so you’ll know who and who not to randomly strike up a conversation with! Once you have a sticker, pick the venue that best fits your personality.

Brewcade (Retro Game Bar): 2200 Market St

Blackbird (Rustic-Modern Bar): 2124 Market St

Lucky 13 (Rock / Punk Bar): 2140 Market St

Café Flore (Relaxed Cafe, Food): 2298 Market St

 


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Posted by on Feb 18, 2016 | 2 comments

The Programmed Music of “Mini Metro” – Interview with Rich Vreeland (Disasterpeace)

As art of the Audio Programming theme this month, I thought it would be interesting to learn about the interactive/reactive score to Mini Metro, a game which was released late last year by developer Dinosaur Polo Club to broad critical acclaim.

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I sat down recently with Rich Vreeland (aka ‘Disasterpeace’) to discuss the project. Rich was the composer and designed the music system in Mini Metro. Pretty much everything you hear in the game consists of samples that are trigged in real-time as a result of player actions.

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Posted by on Feb 2, 2016 | 1 comment

Monthly Theme: Audio Programming

Audio (music) programming by dabit.

This month at Designing Sound, we are focusing our lens on the concept of Audio Programming.

The above image is from David Padilla’s (AKA dabit) Banjo (here is the github link), which is a MIDI looper for live performance. He is a professional programmer (and an audio hobbyist) who’s work producing music within a programming language is quite impressive and academically intriguing. Though we do not all need to be professional programmers in order to be interested and involved in the process of audio programming. We, as sound designers, definitely have some additional tools and techniques to produce incredible and unique sound design through other (more user friendly) methods of programming as well.

Audio programming has always been a part of sound design in some form, though with the development of the more popular programs/languages such as Kyma, Max/MSP, and Pure Data (Pd), the world of audio programming continues to take an increasingly integral role in many of our workflows.

Whether you are a user of one or more of the above mentioned programming languages, a Csound expert, or are into another form of audio programming that is potentially less widely known or used. We would love to hear from you about your thoughts (and potentially tutorials) on how you use your favorite programming languages to produce your work.

Please email doron [at] this site to contribute an article for this month’s topic. And as always, please feel free to go “off-topic” as well.

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Posted by on Jan 31, 2016 | 2 comments

Macros for Audio Production – Automating Your Workflow

This article was born out of an idea for a GDC audio talk proposal. Another one of my proposals was selected so I thought I’d turn the core idea of this one into a DS post in case it’s of use to the community.

Professor_Lucifer_Butts

used under creative commons, click for source

Do you use macros in your music/sound production? If the answer is yes, then this article isn’t for you. Given January’s theme is all about time management, I feel duty-bound to say you should make better use of your time and read one of the many other fantastic articles here on this site. If however, any of the following apply, read on!

  • “I don’t know what a macro is”
  • “Macros are just shortcuts right, like CMD C to copy?”
  • “Macros are only used by programmers.”
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Posted by on Jan 6, 2016 | 0 comments

Monthly Theme: Time/Project Management

PT Time Counter

 

The new year has just dawned and we still have 360 days of 2016 to enjoy. How many of those days will you spend editing, designing, mixing, implementing, programming, or listening? No matter how much you wish you could use the TCE trimming tool to extend your year, the seconds on your watch will continue to count even if your DAW is not.

This month, Designing Sound is looking at the ways we view time, whether that be managing your day between desperate projects, speeding up your workflow to fit more in every day, taking time out to listen and reflect so you can return to a project with a fresh set of ears, or using temporal-based processing to fix simple sync issues or take your sound design into an otherworldly abyss. So, what does time mean to you?

As always, we here at Designing Sound encourage our community (and yes, that means you) to contribute an article for this month’s theme, or any sound design related topic that may be on your mind. Your contributions, and added perspectives are a large part of what keeps this site vibrant and fresh. So please, keep reading, thinking, and writing about sound design, and anytime you would like to contribute, just contact doron [@] this websiteThank you for being a part of our community. 

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Posted by on Dec 4, 2015 | 0 comments

Monthly Theme: Sonic Degradation

Screen Shot 2015-12-04 at 9.02.43 AM

Sometimes the last thing we as audio professionals want is the degradation of the audio that we are working with, though often, we use sonic degradation for many creative audio endeavours. This month, we would like to explore the good, and the bad of sonic degradation within sound design.

As always, we encourage contributions from our community of readers. Please feel free to chime in on this month’s topic, and also, as always, you can always go “off-topic” or start preparing something for next month’s (which will be “Time/Project Management”). Just email doron [at] this site to get the ball rolling!

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Posted by on Dec 1, 2015 | 4 comments

What My Deaf Cat Taught Me About Sound

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Guest Contribution by April Tucker

Meet Yuki, one of my cats. She’s a tiny, feisty 6-year-old tabby. Earlier this year, we learned that Yuki had gone deaf after having normal hearing most of her life. She probably lost her hearing gradually, but it wasn’t obvious until one day when I was vacuuming and realized she was right by me, happily curled up and sound asleep.

There’s a learning curve to owning a deaf pet – especially a cat that’s already stubborn and sleeps in places you can’t find. Deaf pets get extremely startled if you touch them when they don’t perceive you first (through vibration, sight, or smell). Words that they responded to before (like “dinner” or “no”) suddenly have no meaning. Yuki became cautious, spending a lot of time just trying to gauge her surroundings (like the other cats who were unaware of her condition).

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Posted by on Nov 4, 2015 | 2 comments

Monthly Theme: “Pure” Sound Design

Cover image by Mirko Tobias Schaefer (flic.kr/p/5vBCdn). Used under Creative Commons Attribution 2.0 Generic

What is the essence of sound design?

It is widely accepted that individuals who are visually impaired develop the ability to hear heightened detail and extract deeper levels of information through their other senses, in which hearing/sound is a large part.

For many of us, the sounds we regularly design are for the distinct purpose of supporting, and enhancing the context of (often moving) images within a larger media project such as a film, or a video game.

This month, Designing Sound would like to take away any potential (visual or otherwise) “crutches” that we lean on when designing sounds and consider what sound design is at its core, in its purest form, and without any visual aids to help (or distract) us. This a month to reflect on, and explore the depth, and meaning, of “pure” sound design.

As always, we here at Designing Sound encourage our community (and yes, that means you) to contribute an article for this month’s theme, or any sound design related topic that may be on your mind. Your contributions, and added perspectives are a large part of what keeps this site vibrant and fresh. So please, keep reading, thinking, and writing about sound design, and anytime you would like to contribute, just contact doron [@] this websiteThank you for being a part of our community. 

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Posted by on Nov 3, 2015 | 0 comments

Adventures in SFX – Creating Port of Call

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Michael Raphael has been recording and releasing high res sound effect collections for sound designers and editors since 2010. His site Rabbit Ears Audio covers such diverse sonic ground as Hind Helicopters, train whistles, and typewriters. In a recent collaboration with Audio Director Rob Bridgett he has released a new library called Port of Call and they’ve kindly offered to give us some insight into its creation. Many thanks to Michael and Rob for this contribution.

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