Guest Contribution by Chris Burgess
There are two points to this article. The first is, if you see something you want to do, get out there and make it happen. The second, being that when an opportunity presents itself to you, be aware enough of your surroundings to scoop it up (and then record some awesome sounds). What follows is an account of my attempt to record dry ice on various metals. What I learned and the mistakes I made in case others wish to repeat this session for their own use.
In a recent blog post over at Boom Box Post, company co-owner Kate Finan discusses here recent experiments — and successes — in using contact microphones for underwater recording. It’s a great examination of some of the alternatives available for the (sometimes expensive) commercially available hydrophones on the market.
Looking for a new sound design tool? Short on cash? If so, you may be in luck. The Pro Audio Files is giving away three copies of Iris 2! But better act fast on this one. Entries must be in by 5/22. Head here to enter!
Photo by Flickr user Kit, used under Creative Commons License
I love building things. I spent a great deal of my childhood building all kinds of creations out of LEGO and K’NEX (and I still do). Of course, one of my favorite parts of the building process was the necessary destruction of the older things to make the new. Working with sound, especially taking apart the normal, everyday sounds to build new and interesting sounds, has always struck me as an extension of this. Though I’ve gleefully annihilated countless LEGO creations over the years, the scars on my fingers from sharp plastic bricks are there to remind me that while it can be a great deal of fun to destroy all the things, a tiny bit of caution can go a long way. (more…)
Guest contribution by the fine folks at TONSTURM
As the theme of this month is destruction we are really happy to be invited on Designing Sound to share our stories about the production and creation of our latest sound effect library:
TONSTURM | Massive Explosions:
Brighten the Corners of Game Audio
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 the first podcast, they interview Paul Virostek of Airborne Sound and Creative Field Recording about the current state of indie SFX. It’s available now on iTunes and Stitcher.
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.