Following on from last month’s interview with The Chinese Room‘s Director and Composer Jessica Curry I was lucky enough to grab some time to chat with the studio’s Audio Designer Adam Hay.
Designing Sound: Thanks for taking the time to speak to me Adam. So, looking back through your credit list the first games you worked on were at Traveller’s Tales?
Adam Hay: That’s correct, yeah. I started doing music technology at University and when I finished my degree I knew I wanted to get into games. I’ve been a lifelong game enthusiast. The first game that had a big impact on me was Monkey Island 2. I saw that first when I must have been 7 or 8 and I was totally enraptured by the sound and music of that game. I’ve been a bit of an adventure game addict since then. I got into early things like Click and Play and Games Factory so after University it seemed like a natural extension of my two passions, music & sound and games, to try and get into the industry. So I sent my post-University CV of to every games company in the UK and as luck would have it TT were looking for a junior sound designer at the time and I was lucky enough to get in there.
Broken Age launched Act I in January 2014. Funded through Kickstarter with it’s development the subject of an epic (and ongoing) documentary courtesy of 2 Player Productions, the game was noteworthy for a number of reasons. I personally really enjoyed the games sound and music so in August 2014 I caught up with Camden Stoddard, the lead sound designer on the game for a chat. I was lucky enough to catch up with him again in March 2015 and also meet the other members of the audio team, Ashley Coull and Paul O’Rourke, as they closed in on the end of Act II
Designing Sound: Hi Camden. Thanks for taking the time to chat to me today. How are things going?
Camden Stoddard: Well, we’re in a weird place right now. I’m in Broken Age Act II land now. There’s a lot of layouts being done and there’s a whole bunch of work coming my way and I can’t really touch it until it’s locked. So now I’m kinda sketching and guessing what they’re going to do. So right now, I’m actually helping out on a couple of other projects, working on Costume Quest 2 and Massive Chalice.
Mike Wilhoit is currently a Supervising Sound Editor for Technicolor and has perviously worked for Soundelux, Universal and Goldwyn Studios. Designing Sound spoke to him about his career with a focus on his work in comedic feature films.
Designing Sound: How did you find your way into sound for film and television?
Mike Wilhoit: I started at Goldwyn Studios in 1974. I started as an apprentice and worked my way up; Assistant Sound Editor, Foley Artist, Sound Editor, Sound Supervisor. My father Ken Wilhoit was a music editor for Quinn Martin Productions. He called me at work (I was also attending California State University, Northridge) and said “Son you have a union job as an apprentice, you start tomorrow”. I quit my job and studies, and started the next day.
DS: You have fellow family members who also work in the film and television business. Do you all enjoy talking about each other’s work, is it nice that they all have an appreciation for what you do?
[ed. This interview was originally intended as a part of our focus on women in March]
Fryda Wolff began her adult life working in video games for 12 years before deciding to run away and join the circus as a voice actor. She can be reached and researched at her website or on Twitter.
Designing Sound: How did you start working in the video game industry and what led you to game audio specifically?
Fryda Wolff : I got my foot in the door via Customer Service for EverQuest, as a Game Master. Three and a half years later, Sony Online Entertainment created its first audio department specifically to support EverQuest II. They needed someone entry level just to implement VO, I applied, and was hired. In high school I’d thought I’d like to become a recording engineer. When I learned that most university programs required credits of math and chemistry, I gave up on that idea. At the time I wasn’t aware of the myriad technical schools that specialize in audio. My entire games and audio education was received while on the job.
Jessica Curry is a Director and Composer at The Chinese Room, a game development studio based in Brighton, UK. The studio shipped their first game, Dear Esther in 2012 and are currently hard at work on their third, Everybody’s Gone to the Rapture.
Designing Sound: Tell us a little about how you got started out as a composer? What kind of projects did you start out with?
Jessica Curry: I started composing when I was a little girl. I begged for piano lessons and loved it from the outset. I was always writing little songs; the first Mozartian classic being “Jessica Curry is in a hurry, she’s going on holiday/Hip hip, hurray, she’s going on holiday.” I think you can spot the innate talent right there. Then a fun three years reading English Literature and Language at University followed by a “what the hell are you doing with your life, you’re working at the Warner Brothers store” talk from my amazing late step-dad who gently pushed the National Film and Television screenwriting Screen Music course application under my nose. From then on, a vast and pretty bizarre array of projects. I often say that I’ve had a desperately unstrategic career but I wouldn’t have it any other way. I always follow my heart rather than my head and this has led to some phenomenally interesting collaborations, ranging from a Requiem for a Second Life character for the Royal Opera House to writing lullabies for Great Ormond Street Hospital. So although I’ve very probably sacrificed recognition in one particular field, to me what I’ve gained is the most wonderful and unusual collection of projects and that to me has been worth far more.
Used under a Creative Commons license. Click image to view source.
I was born in England in 1988. Some of my earliest memories involve old BBC and Mac computers. I grew up listening to CDs, MiniDisks, playing “Duck Hunt” on my sister’s NES. The dial-up modem sounds are imprinted on my memory. I recall my father ordering books from Amazon.com back when that’s all Amazon sold. In my teen years I assembled my own computer to save money and grew to appreciate the inner workings of a computer. What I’m trying to say is, I’m an early product of the digital age, it’s all I’ve known.
At the time of writing, recent graduate and field recordist Chris Trevino has a Kickstarter campaign called “The Japan Sound Effect Collection” which he plans to be a collection of ambiences, train passes, and walla. Chris was kind enough to answer a few questions about his current campaign.
Designing Sound: Tell us a little bit about your own background in sound and field recording.
Chris Trevino: I was enraptured at a young age by the games that were coming out of Japan in the 90s. The music of Nobuo Uematsu (Final Fantasy Series) and Yasunori Mitsuda (Chrono Trigger/Cross) gave me both the game and Japan bugs. These games inspired me to take up the tenor saxophone and then later choir when I was younger and made me want to be a game composer.
I first started my undergraduate as an anthropology major, because of my love of cultures, but quickly discovered that I loved the ideas but was not passionate about the work. At the end of my first year, still dreaming of game music, I took summer music composition classes and my first sound design class. Needless to say, I got hooked.
Since then, I’ve sound designed a handful of theater productions and have done a lot of field recording on my own. In the summers of 2012/13, I trained with Ric Viers at The Detroit Chop Shop. While there, I helped record and edit four commercial sound effects libraries for BlastwaveFX. I started the Japan collection in Fall of 2013 while I was studying Japanese at a language center in Japan.
DS: What made you choose Japan as a subject for field recording?
CT: Choosing Japan as a subject for field recording was a natural choice given how much Japanese games influenced me when I was younger. When I was accepted into the language center in Japan, I knew that I needed to do as much recordings there as I could.
Michael Sweet presenting at GDC
As the Artistic Director of Video Game Scoring at Berklee College of Music, Michael Sweet leads the development of the game scoring curriculum. Michael is an accomplished video game composer and has been the audio director of more than 100 award winning video games. His work can be heard on the X-Box 360 logo and on award winning games from Cartoon Network, Sesame Workshop, PlayFirst, iWin, Gamelab, Shockwave, RealArcade, Pogo, Microsoft, Lego, AOL, and MTV, among others. He has won the Best Audio Award at the Independent Games Festival, the BDA Promax Gold Award for Best Sound Design, and has been nominated for four Game Audio Network Guild (GANG) awards. In 2014, Michael authored the book “Writing Interactive Music for Video Games” which is now available from Pearson Publishing.
Michael was a professor of mine during my studies at Berklee College of Music. Given this months’ theme of “education”, I thought it would be enlightening to hear Michael share his perspective as a professor of game audio with the Designing Sound community. So, without further ado…
Sweet Justice is a “full service game audio production company based in the South of England. Founded by industry veterans Chris Sweetman and Samuel Justice. With a combined experience of over 3 decades of frontline experience in the games industry, we have worked on a large number of AAA and independent titles. We have won multiple awards for our work within game audio.”
I was fortunate enough to convince Chris Sweetman and Sam Justice to do an interview where we chat about productivity, education, staying fresh, and even telling a story with sound.
The folks over at Pro Sound Effects have put together a video interview with Ryan Billia of Rumble Audio. This is the first in what will be a series of “Sound Design Spotlight” videos on the Pro Sound Effects blog. Keep an eye on their feed for future videos.