If you are a student or recent graduate over the age of 21, Ric Viers would like to invite you to apply to his internship at The Detroit Chop Shop. This three month unpaid internship is an opportunity for you to learn how to record, edit and design sound effects, attain real-world experience, participate in Chop Shop projects with clients such as ABC, ESPN, BET, HGTV and Skywalker Sound, and receive mentorship under Ric Viers.
The deadline for submissions is May 13, 2016, and the internship runs from June to August 2016. To apply for this program, submit a video (strictly one minute or less) to www.facebook.com/ricviers, expressing your personal charm and why you think you have what it takes to intern at the Chop Shop. This internship is all about attitude, so no resume or credits are necessary. Since the Chop Shop values attention to detail, visit their website to learn what will be expected of you, as well as the specifics of the program and the tone of the directors. Good luck!
1. the systematic investigation into and study of materials and sources in order to establish facts and reach new conclusions. “This month on DesigningSound.org we’re going to be looking into the subject of research”
1. investigate systematically. “What have you been researching? Would you like to share it with the community?”
The current state of audio technology is fascinating. A single person from home on a laptop can create their own DAW, plugins, use them to make music, mix a film, and author playable media. Physical modeling allows us to recreate believable sounding instruments from pure math. We can create convincing spacial audio in 3D game engines. We clean up audio removing extraneous noises with the precision of a surgeon who leaves no scars. We can capture the acoustic properties of a space, apply it to any sound, then remove the reverb we just added as if by magic. We can even morph and change the acoustic properties of a live environment in real-time. We can control sound with the press of a key, a slide on a touch-screen or a gesture in the air. But how did we get here, and where are we going?
For this month, DesigningSound is going to be looking at the subject of research and how it applies to audio. How does one conduct audio/sound research? What landmark studies contributed to where we are today in the audio-verse. What studies are currently being carried out and where might they take us?
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” if there’s something else you’re burning to share with the community.
The game audio community would like to recognize the passing of a friend, innovator, and legend in Jory Prum who passed late last week.
From his parents:
We are deeply heartbroken that our son, Jory Kyle Prum, passed away last night, April 22, 2016. We placed him in God’s hands and he was taken around 9 PM. We were by his side as he took his last peaceful breath and completed a 41 year life that was full of passion, love, music, technology, humor, and generosity. As an international pioneer in video game audio, he touched thousands upon thousands of people around the world. Self-taught, he was a computer genius, as well as a consummate sound designer for film and video. He was unique–a one of a kind–free spirit and Renaissance man that will be missed and kept forever in our hearts.
Leslye & Sam Prum
It’s the most difficult to let go of those who have affected us the most. That we should live without, however loosely connected, makes life feel lesser for their passing. When left with only memories, it is through memories that we keep their spirit alive. Jory left many positive memories during his time and I expect these to continue to resonate for long into the future.
Please feel-free to contribute to the memory of Jory in your own way in response to this.
If you are releasing a new SFX library and you would like it to be included in our recap, send us the details through our SFX Independence Submission Form. However, please notify us of libraries that were released within the last month or substantially updated, since we will not include old libraries that are on sale.
Last month, we had the most submissions I’ve seen since taking over these recaps six months ago. There are sounds of snowpocalypse, machinery hums, granular and rotational noise, expanding Reaktor libraries, handwriting, whooshes, copyright-free broadcasts, drones, destruction, Catalan ambiences, excited dogs, and new glitchy and experimental libraries for Ableton Live. So, let’s get on with it and check out these new libraries from our community.
Snowman HD Professionalby The Recordist
Ho, ho, ho, Merry.. wait? It’s Spring! And this means your chance to capture snow sound effects is over! (Unless you’re in the path of Winter Storm Ursula.) But if corn starch just won’t cut it, check out Snowman HD Professional by Frank “The Recordist” Bry. This library goes far and beyond the usual crunchy footsteps and snowball fights. It contains avalanche-quality slides and impacts, as Frank recorded his tractor dumping chunks of snow and piles sliding off his metal roof. He also included many gentler sounds in this library with powdery impacts, light debris and icy sprays as well as the simulated sounds of bodies and tires interacting with snow. If you purchase this library, I suggest you take Frank’s advice and pitch-bend these sounds for some real winter crunch! (339 Stereo/Mono WAV files, 823.4MB, 24bit/96kHz)
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.
Photo: Genius Loci Weimar Festival Spatial Audio Competition. Article by Adriane Kuzminski.
The Genius Loci Weimar Festival, an annual celebration that brings buildings and structures to life with multimedia facade projections and audiovisual performances, is running a spatial audio competition until 13 April. The Festival is seeking a project that focuses on the concept of genius loci, an idea from Roman religion that is defined as “the distinctive atmosphere or pervading spirit of a place.” To enter, you must register on their website and submit an artistic 30-second spatial audio concept that focuses on the spirit of the Hafiz Goethe Memorial with respect to its architecture and historical events and without using clichés or “careless historical retelling.”
The Festival will take submissions until 23:59 CET on 13 April. If selected, you will receive a 5,000 Euro commission to finish a 10-15 minute production that will be performed during the festival on 12-14 August 2016. To learn more about the details of the competition, check out the general terms and conditions page.
With his Kickstarter ending on 2 April, Andy Martin (Senior Sound Designer at Sucker Punch) will spend the next year capturing sounds from the last great untouched North American wilderness for The Northwest Soundscapes Project. The idea for the sound library transpired while recording birds and wildlife for Sucker Punch’s inFAMOUS Second Son. The more time he spent recording these natural soundscapes, the more his ecological understanding began to grow. Inspired by Gordon Hempton’s “One Square Inch of Silence” and Bernie Krause’s “Great Animal Orchestra,” Andy Martin decided it was time take his passion to the next level and develop a comprehensive library dedicated to the Pacific Northwest. He will be capturing sounds from a diverse range of terrain from the deserts of the Columbia Plateau, the glaciers of the North Cascades, the islands of the Puget Sound, the Hoh Rainforest and the Colville National Forest, Trout Lake, Sherman Lake, Lake Chelan… and the eclectic list of landscapes goes on.
GDC’s a week in game audio overdrive, a week-long gathering that resonates all through the following year.
Several of Designing Sound’s editors, friends and family were fortunate enough to make the trek to San Francisco in time for this year’s show. And before the embers have cooled, we thought we’d get together and make some sense out of everything we saw.
So join us for an interactive community roundtable and discussion:
If you are releasing a new SFX library and you would like it to be included in our recap, send us the details through our SFX Independence Submission Form.
As many of us travel to San Francisco for GDC this week, some of our fellow sound designers won’t be able treat it as a vacation with assets to create and soundscapes to design. If you are in need of endless gore, futuristic weapons, granular loops, quick and dirty waveshaping, clicking and grinding bicycles gears, whooshes of every sort, and cinematic suspense and punch, look no further than these recent libraries from SoundBits, New Sound Lab, SoundMorph, Audiomodern and StrangeLines.
Just Gore | Add Onby SoundBits Do you find yourself overwhelmed designing sounds for zombie and horror games? If the sounds of bones crushing and limbs avulsing are your bread and butter, SoundBits has a new add-on pack to breathe fresh life into your festering undead. Just Gore | Add On contains 790 sounds of blood-soaked sadism with splattering lacerations, squishy impacts, twisting rips and tears, flowing blood, clean stabs, and bone marrow cruelly exposed to the light of day. All that’s missing is your katana and a Cornetto. While this library focuses on R-rated gore, the sounds are dry enough to be added to any film or game that wants the audience to feel their characters’ pain. (790 WAV files, 553.7 MB, 96-192kHz/24bit)