Two nice videos about the sound of Guild Wars 2 published by ArenaNet.
Two nice videos about the sound of Guild Wars 2 published by ArenaNet.
Michael Raphael has released “Brooks Streams Waterfalls“, the announced new library of Rabbit Ears Audio.
REA 007 is a celebration of moving water in nature. From small trickles to rushing torrents, Brooks Streams Waterfalls is for those who need a variety of water movement in their library.
Locations were chosen based on their variety of elements. Water sounds most unique when it has something to pass through that changes its flow. The brooks and streams in this collection feature currents that are shaped by rocks, boulders, and downed trees. The waterfalls chosen range from small falls fed by babbling mountain brooks to large rushing waterfalls fed by strong relentless currents.
This collection of sounds features 45 files that clock in at 68 minutes. It was tracked on a Sound Devices 744T with a Cooper CS-104 as the front end. Both Schoeps (MK4/MK8) and Sennheiser MKH (30/40) Mid-Side pairs were used. The Schoeps were the “go to” pair, but the MKH’s got a workout as well. Only one human back was slightly damaged during a river crossing and one Rycote back-cap was lost to a waterfall.
Brooks Streams Waterfalls is available at $50. Use this code to get $5 off: WATERSHIPDOWN
It’s a great pleasure to introduce this month’s featured sound designer at Designing Sound: Tim Nielsen. Mainly located at Skywalker Sound, Tim has a long, diverse and impressive credit list, working both as a sound designer, supervising sound editor and effects editor, and he will share lots of articles, tips and thoughts with us. Enjoy!
Tim Nielsen was born in 1971 and his fascination with film sound started at the University of Southern California where one of his student friends was Addison Teague who years later became a close colleague at Skywalker Ranch.
Tim Nielsen was actually Skywalker guru Gary Rydstrom’s first summer intern back in 1996, and since then there’s been no going back. Two years later Tim got his first proper sound effect job at the Ranch and has since then worked on a number of films and projects, of which the ones mentioned below are just a few selected highlights.
Tim’s fascination with sound effects recording has also led to the release of an iTunes-collection called ‘Natural Sounds for Sleep and Relaxation’. There’s not been much relaxation for Tim himself, though, as he’s been keeping constantly busy – at the moment he’s the sound designer for John Carter, a new action-adventure by Wall-E director Andrew Stanton.
It takes a strong game to weave so seamlessly the combination of art contained within. Limbo was a game that so totally embodied itself that it found its way atop most “Best of…” lists the year of it’s release on XBLA. With the game properly ported and recently released on PC and PSN, DesigningSound.org took some time to catch up with Martin Stig Andersen.
When I saw Martin speak this spring at GDC I was struck by how well formed his concept of sound for Limbo was, not only that but how his formative years seemed completely in support of hit contributions to the soundscape. If you have played through even a section of the game you will know that this could be no small feat, as it’s not every sound designer that could inexorably link the flickering black and white images to abstract impressions of sound.
This is a story that follows a complete trajectory. From his days in University learning and experimenting with electroacoustic music, acousmatic music and soundscapes throughout the development and application of interactive audio gestures which help bring to life the action on screen.
Read on for further insight…
June’s featured sound designer, Coll Anderson, has been working on some new ideas for his personal site recently. The photo above comes from a short post titled, Idea of the day…
It’s a funny little collection of some workflow thoughts that are worth the read. So head over there to check out what’s going on in that photo.
And while you’re at it, check out some of the quality sound effects libraries that Coll has for sale. There are some very cool sounds available, here are some examples from his Gore library:EFX SD Gore Various by C. A. Sound, Inc.
Check out the rest here.
Izotope has published a short interview with re-recording mixer Frank Morrone (Sleepy Hollow, Lost, When We Were Kings). While it is primarily about RX2, it does give some insight into his workflow (7 Pro Tools HD systems!) and preparation for the new J.J Abrams and FOX drama – “Alcatraz” .
When I made plans for a lunch with Emmy Award-winning sound mixer Frank Morrone, I was in for quite a surprise with where the afternoon would take us. Our lunch in Hollywood quickly led to a tour of his sound stage in Burbank and a private sneak peek into the place of TV commercial legend: The Disney Vault.
Talking about audio over lunch, I asked Frank to give me a background on his musical tastes, specifically what sparked his love interest with sound. He explained that audio wasn’t what drew him into his line of work, but rather his love for recording, with a TEAC 3340 four track serving as his first object of infatuation.
Continue reading here.
Related article: Inside the sound on “Lost”
[Written by Axel Rohrbach]
Here is a teaser video showing some of the things we recorded:
But this is only a very small part. Creating the “Cinematic Trailers” was one of the biggest challenges for us so far. The goal was to provide a designed collection with sounds having both, the quality you expect when you are in a cinema watching trailers and at the same time new and inspiring sounds. In addition to that, we wanted to put stuff into the “Construction Kit” that we never found in other sound libraries before.
We started with some basics, to get a feeling for which source sounds we need to create the “Designed” collection. We tried some things here and there, recorded flame whooshes with torches, fire balls and burning arrows. We did textiles whooshes, impacts and eerie Piano scrapes. After those basic standards it became difficult. We thought “having orchestra recordings for those typical rises would be awesome”. This is something used and needed very often, but besides music instrument libraries like “Symphobia” I don’t know of any sound fx library, especially in that price range, that contains such things. As BOOM Library is a spin-off of the audio production company Dynamedion (www.dynamedion.com), luckily we have access to a great and very experienced team for orchestra recordings. I instructed the orchestrators to arrange those orchestra-effects and let them some free space for experiments as well. We did the recording during one of the “Open Orchestra Recorcing Sessions” Dynamedion organizes several times per year, where the team books a high quality German orchestra for 2 days of recording and then gives everyone the chance to “buy in” the session to have music recorded. It is a great way to have smaller amounts of music recorded without needing to go through all the hassle and costs of organizing a complete session only for a few minutes of music.
Recording Taiko drums was another thing, not very typical for sound libraries yet very often used for trailer impacts. For the impacts we figured out that some really harsh crackling / breaking sounds are missing. That brought us to the idea of the plastic cups, shown in the video. We experimented with doormats, duct tape and glass. We put all kinds of stuff on a rope. We recorded very fast car drive bys with quiet engines to get rid of the car feeling as good as possible. Bike drive bys were very cool sounds as well as ski and snowboard pass bys. I had a vacuum cleaner around and recorded a pretty cool sound which actually sounds processed already, simply by turning it on and putting my hand in front of the tube and removing it again.
We prepared sustained sounds and swung speakers playing those sounds in front of the microphone, went to an airport to record starting planes and created some synthetic and processed sounds as well.
For the “Designed” collection we had some days of research before we started. We tried different new Plug-Ins, especially algorithmic reverbs and equalizers. Some new made into our PlugIn folders. I am personally very impressed by the sound of the Brainworx EQs. They are not very precise, but very nice sounding and clean. They replaced the Waves APIs on my system for now. Nebula3 is another EQ that is used quite often on the designed sounds. As for reverbs, all kind of plugins were used, only the Lexicon reverbs are new because they sound dense and crisp. We released two videos, going into the depth of the sessions of two sounds.
Spoken frankly, we are quite happy that this project is over, because it took way more time that we initially thought. However we are also happy because we use those sounds every day. I mentioned that in another interview before: we are our own best clients because we always do libraries that we are missing for our own daily work. Since the library has been released, we used the sounds in trailers already, I did the audio for a cinema logo animation of a VFX studio, used those sounds in movie scores as well as for in-game sound effects. It makes our lives much easier and I hope yours too. Together with Cinematic Metal it is a perfect combination to create fat trailerish title sounds. Thanks again to Charles Deenen for your support!
The greatest thing however is that we are indeed receiving tremendously good feedback from our customers at the moment. Honestly: after our first four releases we couldn’t imagine to have a fifth collection that would even be more acclaimed by our customers. Every release is so exciting: you never know if the sound designers out there will like it or not until the collection is being released. So this makes everything just more fun and inspires us to raise the bar with every new release.
Adam Stiles – Sound Designer (Trailer: The Dark Night, Gamer, Hellboy II: The Golden Army)
“There are so many sounds in here that aren’t anywhere else but needed so,so often. For example, to have that much taiko drum recording at that fidelity is worth the cost alone. Everything is fantastic, an excellent,excellent collection. With the Cinematic Metal library, you could almost do any high end trailer with those alone.
I’m so happy there’s a company like you guys out there. The need for these type of sounds are monumental. Especially for us at Riot Games, we need more, and more.”
Besides the demos, make sure to check out the “Facebook 500″ sounds which you can download for free here.
Those are mostly created exclusively with the Cinematic Trailers library. Some sounds however do include our other libraries, mainly Cinematic Metal.
For some more information check out our website.
Michael Raphael has announced REA_007 Brooks, Streams, Waterfalls, which will be available on August 2. Here’s a sneak peak of what’s coming:
Chuck Russom has released a new sfx library called Beeps. It’s available at $25, but you can use a discount code ($5 off) created for Designing Sound readers. Code is BEEPDS.
This sound library is a collection of beeps, blips, and buzzers. Designed to provide source for user interface sounds, sci fi projects, hi tech computers/machines, and anywhere that a good set of beeps would be needed. Each beep comes in multiple durations, individually edited and ready to drop into your project. If you need to design your own beep length, many of the sounds come with a long version that you can edit and tailor to your needs.
Featuring 200 sounds recorded, designed, and mastered at 24bit 96K wav.
Delivered as broadcast wav files embedded with descriptive metadata, readable by Soundminer, Basehead, Netmix, Protools, and most other audio applications. Drop this collection into your sound library and start working today.
Game Audio Relevance is all about providing game audio relevant links, articles, and videos in a curated and searchable means. While there are many other sources for game audio related articles and information, a “web search” does not always turn up reliable information. The purpose of this blog is to:
The name “Game Audio Relevance” is meant to portray that the information one will find is relevant to, but not necessarily exclusively about game audio. For example, many articles about audio recording or synthesis are relevant to game audio though not about game audio specifically.
Many fine people from the sound community have contributed to provide over 800 links to launch with and the resource continues to grow as we gobble up additional resources. The hope is that this provides a resource to people who are looking for information about Game Audio and allows them to dig deeper through the use of related articles and content.
Subscribing via RSS or Twitter @IASIG_GamAudRel will keep you up to date on new posts and keep you in the loop on developments as we move forward.
There’s an addition post commemorating the launch with some additional info over here: