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News: The Genius Loci Weimar Spatial Audio Competition

Posted by on Mar 29, 2016 | 0 comments

The Genius Loci Weimar Festival is holding a spatial audio competition

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.

News: The Northwest Soundscapes Project Kickstarter

Posted by on Mar 28, 2016 | 0 comments

Andy Martin stands with a boom mic and recording gear ready to capture the lush forest surrounding him. Article by Adriane Kuzminski.

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.

Sunday Sound Thought 13 – Contact Hearing

Posted by on Mar 27, 2016 | 2 comments

As the year continues, many of these posts will be philosophical in nature. Some will be in contradiction to previous postings. These are not intended as truths or assertions, they’re merely thoughts…ideas. Think of this as stream of consciousness over a wide span…

In a previous post, I posited that perhaps hearing is a specialized function of touch. An experience I had on my recent vacation made me think of this idea again in a different light…hearing through touch.

I was on a boat traveling between islands, and I had ear plugs in (the engine was pretty loud). I reached down to press against the hard seat, and noticed a bump in my perception of the low end of the spectrum. I took my hand away, the bump left. I stood up from the seat briefly, but didn’t notice any significant change in the spectrum. Sat back down, and placed my hand on the seat again. That boost in the low end was very pronounced. I don’t know why contact with my hand had such a dramatic impact over the fact that I was sitting on the seat…maybe because the vibrations in my hand/arm had less muscle and fat to attenuate them when traveling through the skeletal structure to reach my head? Regardless, I heard the engine differently when I place my hand on a surface that was vibrating in sympathy with it.

That’s an interesting angle from which to explore subjectivity of perspective in a story. Not something that can be used in just any circumstance, but it’s one more tool in the bag for putting the viewer in the mind/space of a character.

GDC Roundtable Recap – SUN 3/27 5PM PST

Posted by on Mar 23, 2016 | 0 comments

Sightglass Coffee is where it all gets broken down each morning.

#lostdinklybird Photo: Luca Fusi / Hashtag: Chris Trevino

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.

Sunday Sound Thought 12 – Documenting Vs. Experiencing

Posted by on Mar 20, 2016 | 0 comments

As the year continues, many of these posts will be philosophical in nature. Some will be in contradiction to previous postings. These are not intended as truths or assertions, they’re merely thoughts…ideas. Think of this as stream of consciousness over a wide span…

I just got back from a two week vacation to the Philippines, and a lot of my more sound oriented friends asked me questions that were all variations on, “How much did you record?” The answer is just over a minute of audio.

It seems like a crime to go someplace so different from my everyday experience and not sonically document it in more detail. I’ve noticed one of my personality traits over the years though. If the purpose of my activity is not to be out collecting sounds (i.e. on vacation with my wife), I’m FAR more selective about pulling out my recorder. If I’m going to record a sound in said situation, it better be something I can unequivocally use without fuss in the future. If there’s music playing somewhere in the background…not recording. If HVAC hum is going to be present in an otherwise beautiful nature soundscape…not recording. The list goes on.

I choose to follow this philosophy because listening to record and listening just for the experience are two very different things. If I’m trying to record a sound, I’m not likely to notice how the leaves on a bush behind me are reflecting only the high frequency components of a power washer, or the unique way the different components of a helicopter modulate as it crosses the sky…seeming to break the normal laws of Doppler phenomenon. Being aware of unique occurrences of sound interactions in the environment gives me new ideas for mixing and sound design that I can use in the future.

That’s something I can’t always get while concentrating in an attempt to record a bird call in the tropics, using only a Sony M10, while the bungalow next to me blasts the AC and music echoes down from the nearby outdoor cafe.

New SFX Libraries: February Recap

Posted by on Mar 14, 2016 | 0 comments

A boom mic sits in the snow recording the wintery ambience as the digital recorder sits in a GDC bag. Article by Adriane Kuzminski.

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.
http://designingsound.org/contact-2/sfx-independence-submission

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) (more…)

Sunday Sound Though 11 – Natural Spectrum Awareness

Posted by on Mar 13, 2016 | 6 comments

As the year continues, many of these posts will be philosophical in nature. Some will be in contradiction to previous postings. These are not intended as truths or assertions, they’re merely thoughts…ideas. Think of this as stream of consciousness over a wide span…

I’ll be honest, I lied to you last week.

…well, sort of. Talking about spectrum and perception was really all a big set up for this week’s thought.

In his book, The Great Animal Orchestra, Bernie Krause discusses the idea of Biophony; that each sound generating organism evolved in such a way that it’s voice fit into it’s surrounding soundscape so as to not compete with other organisms. If a bird doesn’t have to compete with an insect or a deer’s vocalizations, or even wind for that matter, it doesn’t have to struggle to be heard by its peers. As a result of this, natural soundscapes tend to fill the spectrum of sound. They aren’t isolated into bands. As I discussed last week, the wider the spectral content, the fuller and louder a sound seems.

This has made me wonder about how our environment affected us as we evolved within it. Perhaps this activation of more critical bands was a selective element in our evolution. There are cases of animals becoming quiet when predators are present, which would decrease the spectral content of our environment. If a human’s surroundings didn’t sound as “full” as they usually might, wouldn’t that be a clue that something is out of the ordinary? Would that help an early human survive the rigors of life in the wild? Would that also explain why we are so sensitive changes to the spectral content of sound?

Dive Into Code – Part 3 of 3

Posted by on Mar 11, 2016 | 2 comments

Super Breakout for the Atari 2600 with the Atari Paddle Controller

Photo: Leonard Paul

This article is a guest contribution by Leonard Paul, president of the School of Video Game Audio. He has worked on over twenty AAA and indie games such as ‘Need for Speed: Hot Pursuit 2,’ ‘NHL11,’ ‘Vessel’ and ‘Retro City Rampage’ as a technical sound designer and composer, and he has also composed for documentaries like ‘The Corporation’ and the upcoming ‘Beep: A Documentary History of Game Sound.’ You can visit his School of Video Game Audio website or can follow him at @SchoolGameAudio.

 

In the previous two installments, we looked at how C++ code works by triggering simple events in FMOD Studio for Mac. In this final installment, we’ll look at how you can add FMOD Studio to a clone of the classic video game ‘Breakout’ using Xcode on OS X. If you’re on Windows and looking for a similar tutorial, feel free to leave a comment and if there is enough interest I’ll add a bonus installment in the future. Also, feel free to download the source code and the FMOD Studio project as well as the completed application, if you just feel like playing around.

Since we want to work with games, it would be nice to test our coding skills on an actual game instead of use the basic code from the previous parts. Unfortunately, we can’t add our FMOD Studio code to just any game, since they aren’t often open source. Another issue is that games are quite complex, which makes it very difficult to correctly combine all of the elements together without any issues. I’ve opted to utilize SDL2 (Simple DirectMedia Layer 2), a free open source engine, which has been used on commercial titles including Team Fortress 2, Left for Dead 2 and DOTA 2. One advantage is that it allows us to run the code relatively unchanged on Windows, Mac OS X, Linux, iOS and Android, which are all supported by FMOD Studio as well. If you use the SDL2 audio system instead of FMOD Studio, then you can also compile to JavaScript using Emscripten and run on nearly any system with JavaScript support. (more…)

Sunday Sound Thought 10 – Spectral Loudness

Posted by on Mar 6, 2016 | 0 comments

As the year continues, many of these posts will be philosophical in nature. Some will be in contradiction to previous postings. These are not intended as truths or assertions, they’re merely thoughts…ideas. Think of this as stream of consciousness over a wide span…though this week’s is a physiological than philosophical

This week’s thought isn’t anything new. In fact, it’s something that gets brought up randomly throughout the community. It’s recurrent for a good reason though…it’s the idea that you can make something seem louder by expanding the spectral content without actually increasing the volume. A wider spectral pattern activates more of the inner ear’s “critical bands.” The more bands that are activated, the louder something seems…even if the dB-SPL measurement stays the same.

Then there’s the distortion/clipping side of the coin. It makes use of this very effect to increase the perceived loudness. Distortion adds harmonics, increasing the activation of critical bands in the inner ear, but remember that it does this by changing the waveform…giving it more time in the “crest/trough zone” per cycle. It changes the RMS measurement. Depending on how it changes the wave form crest/trough, it can also increase the empirical, not just the perceived, loudness level.

Thanks for indulging me while I reminded myself of this…awareness of the spectrum is important in sound design.

Audio Design for VR – Ustwo’s Land’s End

Posted by on Mar 1, 2016 | 2 comments

LandsEnd_03

Guest Contribution by Todd Baker

Land’s End has been described as ‘VR for everyone’. Ustwo began the project as an investigation into new methods of interaction and navigation in VR. Anyone who has tried the new medium will be familiar with the varied reactions from users; whilst many find the immersion compelling, others can suffer with disorientation, fatigue, even VR Sickness. Land’s End focuses on minimalist, intuitive interaction, set within environments that are immersive and welcoming – giving the player space to observe and breathe. Naturally the look, feel and sound of the world are essential in terms of creating a place that players can feel comfortable exploring. (more…)