We’re trying something new this month to keep the pace between features: a steady drip of thoughts, musings and anecdotes from voices in the wider community.
Starting MON 4/11, catch a fast-flowing stream of reflections on our theme from around the industry–and the world!
We’ve still slots for many more, so if you’ve got something to say, email doron [at] this site to contribute to this month’s topic.
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 Professional by 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.
Photo: Andy Martin
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.
To support his Kickstarter and receive rewards of soundscapes and impulse responses, visit The Northwest Soundscapes Project.
To learn more about Andy Martin and details about where he will be recording and how he plans to capture this extensive library, check out his interviews with The Audio Spotlight and A Sound Effect.
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:
WHEN: Designing Sound’s Google+: https://plus.google.com/100500018761690760477
WHERE: Sunday, March 27th at 5PM PST
If you’ve any specific topics you’d like to see discussed, leave us a comment here or on our Twitter feed: https://twitter.com/designingsound!
An archive of the talk will be available thereafter.
Photo: Frank ‘The Recordist’ Bry
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 On by 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)
Image retrieved from IGN. Click to view source.
There’s no doubt the sound design community is one blessed with some fantastic artists who are surprisingly willing to share their experiences and insights. This fact was confirmed recently with Randy Thom’s announcement of a new blog discussing film sound. The blog, found here, already features three brief but insightful posts from Thom, and will no doubt be a source of excellent info in the future as well.
Photo: Star Wars™ Battlefront™ by EA DICE. Article by Adriane Kuzminski.
In Part 1 of this blog series, EA DICE invites you to hear from the sound designers of Star Wars: Battlefront as they break down the anatomy of their favorite sounds. Does the inhaling blast of a thermal imploder give you a Pringles complex, prompting you to lob them one after another until your lack of strategy causes others to wonder if Jar Jar Binks is on the battlefield? Sound Designer David Jegutidse breaks down the audio magic behind the creation of this weapon, sharing design techniques, influences and Soundcloud examples. Also, for those attending GDC next month with an Audio Track, Main Conference or All Access pass, don’t miss David Jegutidse and Composer Gordy Haab’s session on the music and sound design for Battlefront.
Recently, MMO news site Ten Ton Hammer caught up with the audio team at ArenaNet, developers of the Guild Wars franchise. In an in-depth overview of their recent work, sound designers Jerry Schroeder and Drew Cady shared some of their approaches, techniques, and experiences in creating the highly detailed sounds that fill the worlds of Guild Wars 2 and its expansion pack Heart of Thorns. Head here to check out this fantastic article, which also features a video interview with Schroeder and Cady (and quite a bit of Foley work!).
via Ten Ton Hammer