The BBC reports that it has re-opened its legendary Radiophonic Workshop, since shuttering it in 1998:
The original workshop was known for its pioneering use of electronic sounds.
Founded in 1958, it was best-known for creating the eerie swoosh of the Doctor Who theme tune, but its compositions were also used in numerous radio dramas, The Goon Show and The Hitch-Hiker’s Guide to the Galaxy.
[...] “By bringing together the people making the technology with people making the music, we are hoping to find engaging answers to some of the modern problems associated with the role of sound and music on the internet, in certain creative forms and within broadcasting.”
The other artists joining [Composer Matthew Herbert] in the New Radiophonic Workshop are Mica Levi, from the band Micachu and the Shapes, Yann Seznec, Max de Wardener, theatre director Lyndsey Turner, Patrick Bergel and broadcast technologist Tony Churnside.
The Workshop, aside from creating a lot of memorable television music and sound effects, was in the 60s and 70s at the cutting-edge of developing modern synthesizer and sampler techniques, and created a base for avant garde composers like Delia Derbyshire. The new Workshop will be completely online, with artists collaborating and presenting their work primarily over the web. If you haven’t heard about it before you should definitely check out Wikipedia and this great Sound on Sound article written a few years ago.
Randy Coppinger has a cool little post up on his blog about voice acting techniques for taking damage.
A common task for voice actors in game dialog recording sessions is taking damage. The key challenge is providing a wide variety of reactions to getting hit. Here are some different approaches to creating a large number of unique sounds.
Guild Wars 2 was released recently and if any of you have had a chance to hear the wonderful sound design in the MMO you will definitely like to check out the article over at Sound + Vision. The videos in particular are the most interesting part.
What are the challenges of designing a soundscape for an MMO in particular?
Two of the biggest challenges in an MMO are both the diversity and amount of soundscapes. Previously, with most of the FPS games I’ve worked on, we put a lot of effort in to creating a single soundscape for the game. With Guild Wars 2, we have many different types of regions that need unique new sounds for each area. It sometimes feels like having 10 normal sized games all in one. The art teams work very hard to make each region look entirely different and have an artistic style that suits the climate and or inhabitants. We spend a lot of time working to match that feeling.
Some of our races are very mechanical, some are magical, some are small and some are big. The ambience in each area needs to match the lore so you feel like it is a real place. I love it when you can just wander through the game, listening to the environment and it all seems natural. Sounds weird to say, but sometimes when we do our job right, no one ever notices.
Designing Sound: Tell me a bit about Wwise Project Adventure. What is it? What is it’s purpose?
Damain Kastbauer: “The Wwise Project Adventure – A Handbook for Creating Interactive Audio Using Wwise” is a guide to creating a complete project based on a fictitious game. The handbook frames many of the challenges generally faced in game audio and shows different ways to solve the problems through the Wwise authoring application. I also think it attempts to consolidate several different resources that Audiokinetic has made available over the years and bundle them into a comprehensive manual for people who are exploring the possibilities of game audio through Wwise.
The handbook and companion project will be available directly from the installer starting with today’s release of Wwise 2012.2. The included project includes working examples of the different techniques covered throughout the handbook utilizing content from Bay Area Sound. So many game audio fundamentals run throughout, I really feel that it is a great place to start for anyone interested in gaining a better understanding of the technical side of game sound.
Frank Bry has released a new sound effects library called Ultimate Snow, which includes 300 different snow recordings at 96kHz/24-Bit. The Ultimate Snow Sound Effects Library contains 300 of…
The School of Sound has announced the release of a reprinted version of “SOUNDSCAPE: The School of Sound Lectures 1998-2001“, one of the most amazing books to read…
Shaun Farley from Dynamic Interference has announced the Sound Design Challenge for this month. For this month’s challenge, we’re going to be creating a sound design to fill…
Wired has published an exclusive video featuring Ben Burtt, Randy Thom and the guys behind the sound of “Star Wars: Clone Wars” (Matthew Wood and David Acord) talking about…