This article is a guest contribution by Damian Kastbauer and does not reflect the views of DesigningSound.org or its Contributing Editors
I wondered how my life post-freelance would change my experience at GDC. Worried that I might not have the drive to meet and connect with people, without the dependency on hustling for opportunities. Ultimately the opposite proved to be true: this year was even more socially pronounced than ever. I met so many new and caught up with so many old friends. People and conversations continue to be my absolute favorite part of GDC; skimming the cream of inspiration from peoples experiences helps drive my excitement for this industry. Coming out of this year’s #GameAudioGDC there’s an overwhelming swell of emotion which can be felt rippling outward across the community with each passing day. It’s through these proclamations of passion and seeing people right-back to working on initiatives surrounding game audio that has helped me pull out of a post-GDC depression. After riding a week of enthusiastic positivity, its hard coming to grips with the hard work that needs to be done to follow up some of the difficult epiphanies about our culture that have surfaced within our industry through the gracious sharing of perception and experience of people in the community.
Siren Audio recently released version 2 of their critically acclaimed audio software tools, Feedback and Generative. Originally a part of the Lorelei Suite which they released back in 2011, these stand-alone applications are developed using Max/MSP and give the user a chance to create drones and evolving audio textures very easily.
In this review, I will be using audio and video demonstrations to show how you can use these applications to create various soundscapes, drones etc. musical and otherwise. For more information about the full capabilities of these tools please make sure to check Siren Audio’s official website and YouTube channel in which you can find quick-start videos as well as in-depth ones that walk you through all aspects of the applications so you can be on your way to using them extensively in no time. (more…)
As part of our continuing goal of promoting greater cross-discipline learning with media editing site Art of the Guillotine (Aotg.com), we’d like to bring your attention to their recent article Audio Levels and Metering: Pt. 1. While the article is largely focused at educating editors on good level and metering practices in non-linear editors, there’s some valuable information in the article, and it’s a great refresher on metering approaches even if you’re well versed on the subject. It also features a great side-by-side comparison video of four common meter types. Check it out here!
Following on the success of their independent SFX marketplace and high-quailty blog, A Sound Effect has announced the start of a new SFX-centric podcast. In the podcast, A Sound Effect’s Asbjoern Andersen and Christian Hagelskjær of Hzandbits will be looking at new independent sound libraries, gathering sound design news, and interviewing some of the major players in the independent SFX community.
In a recent video, SoundWorks Collection speaks to Sound Designer (and Designing Sound Contributing Editor) Peter Albrechtsen and Sound Rerecording Mixer Lars Ginzel about their work on the Danish film “The Idealist”. In the video, they discuss their uniquely sonic approach to the film, which concerns a journalist who exposes the biggest political scandal in Danish history. They also discuss the film’s use of Dolby Atmos and the opportunities it afforded them.
In a new sound profile video (and on a new website!) SoundWorks Collection speaks with Supervising Sound Editor and Sound Designer Christopher Boyes of Skywalker Sound about his work on Avengers: Age of Ultron. Check out SoundWorks’s new look, and this fantastic video, here.
I thought it would be boring to go the obvious route and talk about breaking a real world object for this month’s destruction theme. Don’t get me wrong, breaking stuff is a ton of fun…even more so when you can justify it as part of your job. Instead, I thought I’d try to go a little more creative and tangential. Let’s take a look at some of the fun that can be had by messing with a sound’s harmonic structure. This type of exercise would have been much harder a few years ago, but is now incredibly easy with tools like Izotope RX and Iris.
We’re discussing sound for the documentary “Scouts Honor: Inside a Marching Brotherhood” with Director Mac Smith and Co-producer John “JT” Torrijos. The live stream will begin at 8PM (U.S. Eastern). If the stream is not available immediately on the hour, it’s simply because we’re waiting for someone to log in to the hangout. You can watch in the embedded video above, but make sure you head directly to the hangout page if you want to ask any questions when we open up the Q&A.
Sound design is fun, and sometimes…on the good days…it can get messy. Really messy. There aren’t a lot of jobs where you get the opportunity to engage in acts of constructive destruction (can we even really say that’s a thing?), but sound design is one of those where, occasionally, the practitioner gets to loosen the leash on the reptilian side of the brain a little and delight in the simple joys of tearing something apart.
…all in the name of art, of course!
So that’s our theme this month. Destruction. What stories of hack, bash, slash and smash do you have to share?
As we recently reiterated, this site is by the community, for the community. We always encourage contributions from the community. It’s impossible to track down all of the potential stories and thoughts that might be out there. Please don’t wait for us to come to you. Whether it fits this month’s theme, next month’s (Failure) or is a topic unto its own…contact shaun [at] this website to get the ball rolling!
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. (more…)