Mix Magazine, The MPSE and CAS have collaborated to put together a one day conference (September 6th, 2014) at Sony Studios in Culver City (Los Angeles, CA) exploring the Dolby Atmos and Auro 3D formats. Mix has been advertising this event for a while now, but details were fairly sparse. Things appear to have been locked down, and the schedule is now up on the event’s website. Take a look at the agenda to see who will speaking, or look at the schedule to see what will be available when. There’s a wealth of talent that will be talking about their experiences with the formats, including a keynote will presented by friend of the site Randy Thom.
If you were on the fence about the event, the new information will probably make the decision for you. The event is $79, though I know that MPSE members can register for free (you should have received an e-mail, I did). I believe the same holds true for CAS members. Hopefully, I’ll see some of you there!
Guest Contribution by Berrak Nil Boya
As a composer, musicologist and a sound designer who is making a transition to the world of game audio for the last year or so, not only do I have a new level of respect for everyone who works as a game audio professional but I also became aware of various changes I am going through almost daily to adapt my already established skill set and mentality to fit my new chosen profession. These changes affect different aspects of my auditory world to varying degrees, but listening and specifically critical listening ended up being a new kind of challenge for me. As a musician who is used to listening critically to music and its various properties, and as a musicologist who researched film music for years, the inherent interactivity and flow of the gaming experience required a new type of listening capability from me. One that depended on me to not just pay attention to the different aspects of the soundscape, but also to rise to the challenges that were presented to me by the game to succeed as a gamer. It meant orienting my attention to the other aspects of the game; so much so that, I forgot to listen for a while and instead just heard what the soundscape consisted of. So how would it be possible for me to play a game AND critically listen to its audio aspects at the same time? (more…)
The team that brought you the Free Firearm Sound Library is running another kickstarter, this time looking to provide the world with a completely cost free, high quality collection of CC0 licensed medieval weapon sounds. The project aims to include just under 500 unique sound effects, each with multiple takes, designed for use in all kinds of film and video game projects. For more information, or to contribute, check the Medieval Weapons Sound Effects Library Kickstarter Page.
Karen Collins, author and editor of four books on video game audio, and an accomplished sound designer in her own right, is currently directing the production of Beep, the very first documentary history of video game music and sound design. This ambitious project aims to cover the history of game audio, from Victorian mechanical arcades through today’s orchestral performances. The film will cover topics ranging from the psychology of game audio, to the use of game sound technology in pop music and other arenas, along with interviews featuring trailblazers and groundbreakers from every era of video games history.
The team is currently soliciting donations via Kickstarter. If you are interested in learning more, or in contributing to the project, check the Beep Kickstarter page.
In case you’ve been under a rock, and somehow haven’t noticed yet, Tim Prebble’s Hiss and a Roar sound effects label is having a birthday sale…and it’s BIG ONE! Through August 31st, you can get 50% off by using the discount code BOING at checkout. He’s also got a new library out too, SD020 Wind Instruments.
You’re still here reading?!
Back around the time I was first starting out, I remember opening up a demo of Cubase VST (on my trusty PowerMac 6400) and taking a look through the various menus. Everything seemed pretty standard, but something in particular caught my eye, a menu item labeled “Ears Only”. Curious, I clicked on it, only to have my monitor go completely blank. After a few seconds of panic thinking I had broken everything, I realized that Steinberg had programmed a mode that completely disabled the monitor and forced you to just listen. At first, this option seemed like a strange addition. Why, when I’m creating sound, would I not be listening to what I’m doing? Listening while working with audio seemed like a no-brainer. However, after gaining a little more experience, this “just listen” mode began to make a lot more sense. (more…)
Let’s start out with what to listen for in a recording location. Naturally, we’re always going to be looking for a space that isn’t going to introduce too many environmental and human generated artifacts into the recording, but the physical layout and acoustic properties of a location can contribute as much character to your recordings as microphone selection…sometimes even more. On top of that, recording vehicles and weaponry (what you’ve specialized in) isn’t something you can do just anywhere. So, what do you listen for when scouting potential recording sites?
The biggest problems I face when searching for a recording location is traffic, especially airports and expressways. I’ve scheduled multiple jobs where I had to find ideal locations away from these environments. Fortunately I live and work in a quieter area away so I don’t have to travel too far. However, that rare Ferrari I need to record is located in the middle of a downtown so it’s crucial to make generous car owner friends who are willing to drive an hour or so to a quieter location. Most microphones I’ve tried are quite sensitive in capturing unwanted background sounds. This is why I often use my Sennheiser MKH-418s M/S shotgun mic. For isolation with a mono mic I use either my Neumann 82i or the Rode NTG8. On bigger budget jobs I will rent the Neumann RSM-191s mic (probably one of the best field recording mics ever made). (more…)
There’s a short and interesting post on the Sound Reflections blog by La Cosa Preziosa, and it ties nicely into our theme this month:
One of the benefits of our tight-knit recording community is the availability of dialogue and exchange on the subject and techniques of recording. What do you use and how you use it? What tips have you got? Any questions? There is certainly no shortage of websites dedicated to the subject and forums to air our views in- the first being Twitter of course! Recording chat is plentiful among us recordists. But what about the other end of the recording process- the listening?
Head here to continue reading.
Guest Contribution by Rodney Gates
Welcome, and thanks for checking out this (TL;DR) article on the creation of the virtual instrument sample library, GuitarMonics, designed for Native Instruments’ Kontakt software. It was a long road from concept to completion, and I thought it might be a good idea to discuss some of the processes and discoveries I learned along the way for those that may be interested in creating their own sample libraries, for commercial or personal use.
Having been a Sound Designer and Audio Director for video games for over a decade now, and always a huge fan of virtual instruments that load up in the computer and sound stunningly real, I felt the desire to branch out into this field and begin establishing a foothold of my own with my new company, SoundCues. (more…)
With this article I really wanted to find out about the nuts and bots of vehicle engine sound design and implementation. So I contacted a few people and got some great responses and a fascinating insight into the process. My thanks to Stephen Baysted, Audio Director and Composer at Slightly Mad Studios, Greg Hill, Sound Designer at Soundwave Concepts, Adam Boyd, Sound Designer and John Twigg, Software Engineer at Crankcase Audio and Nick Wiswell, Audio Creative Director at Turn 10 Studios. (more…)