It’s that time of year again, and the folks at GameSoundCon are conducting their annual Game Audio Industry Survey. The survey will be conducted until 31 May, and it is aimed to reflect current trends in the industry relating to compensation and budget, work and environment, use of live musicians and middleware, education, job finding, and contract terms. If you are an employee who receives a regular paycheck from a company, or a freelancer who is paid by the project, GameSoundCon would love to hear from you. Your answers are anonymous, and they will only be used for statistical purposes.
It’s also not a bad time to mention early bird registration is now open for GameSoundCon, which will take place at the Millennium Biltmore Hotel in Los Angeles on 27-28 September. Everyone is invited to attend, whether you are a composer or producer transitioning into games, an audio pro interested in understanding more about the technology and business side, a game music researcher, or someone looking to network or learn how to get into the industry. The conference is also accepting speaker submissions, particularly those about audio for VR, game music post-mortems, and peer-reviewed game audio research. To learn more, check out their ‘Who Should Attend?’ Page as well as the descriptions of their 2015 Sessions.
From July 8th through July 17th, Internationale Film Fernseh und Musik Akademie will be hosting Media Sound Hamburg; its 6th International summer school for film music, game music and sound design. The event will be taking place at Elsa-Braendstroem-Haus in Hamburg-Blankenese, Germany. Additionally, Randy Thom will be presenting a separate Master Class July 8th through 10th focusing on sound design.
A flat-rate ticket for the full event (excluding Mr. Thom’s master class) are 1.800 €, the “Forums” only ticket is 150 €, and tickets for Randy Thom’s master class are 4.000 €.
Photo: The Robot Orchestra at the Logos Foundation Performance space -https://architectofsound.files.wordpress.com/2016/03/the-robot-orchestra.jpg
Recently, Architect of Sound interviewed Dr. Godfried-Willem Raes – General Director of the “Robot Orchestra” Logos M&M (Man and Machine) Ensemble, President of the artist-run Logos Foundation of experimental music and sound in Ghent, Belgium, and composer – or music maker as he puts it – of new-music.
For a small taste of the article, the Logos Foundation was named after ‘Logos 3:5’, a piece a young Godfried-Willem Raes wrote in conservatory and performed with students – which lead to the group’s ban from the conservatory. Luckily, the group stayed together and evolved into the new-music production center. The ensemble is now a 67-piece robot orchestra and a crew of (human) musicians, dancers, technicians, and others who travel around Western and Northern Europe to perform and host workshops about instrument creation. To learn more, read AOS’s interview linked above and check out the Logos Foundation’s schedule of upcoming events.
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.