David Nichols, of the Track Time Audio blog, has posted a second part of his interview with Nick Wiswell, the Audio Director at Turn 10 and audio overseer of the Forza Motorsport games. In this part, Nick discusses how his team used FMOD to implement the audio, how they sourced rarer vehicles, the complexity of Racing audio, and working with Lance Hayes on the UI sounds and music to create the atmosphere the team was looking for. The full interview can be read here, and you can view part one of this great interview here
TTA: Racing game audio is, as I understand it, very unique in the video game world (much like the racing genre is rather unique). It seems like it takes the right kind of person who’s really into cars to produce a great racing game. Do you feel this is the same way for racing audio? Are there particular challenges unique to racing games compared to other genres (technically and/or creatively)?
NW: Creating audio for racing games has a very different set of challenges to creating audio in most other types of games.
Most games require lots of one shot sounds for things like character movement, footsteps, weapons, VO, world objects and object interactions etc. with a small number of constant sounds for moving objects, vehicles or background ambience.
With a racing game most of the objects in the game and making sounds created from many layers of continuously changing sounds.
We don’t use to talk so much about plugin news, but this fantastic.
spanner is a powerful surround channel manager, panner, remapper and folddown plugin for AVID Pro Tools.
it is the result of years of personal frustration with the Pro Tools panner and bussing setup and solves many of the common complaints about the surround workflow in Pro Tools.
if you ever work in surround you’ll appreciate this plugin I’m sure, but if mixing-in-the-box is your thing you’re going to see this as a major step forward.
Motionographer has published an interview with sound designer John Kassab, talking about his work on the short film “Childhood of a Circle”
Melbourne-based audio designer & deep sea diver John Kassab has been making a subtle but sound statement through a handful of featured Motionographer articles, notably: Callum Cooper’s Full Circle, Shaun Tan’s The Lost Thing (exerpt + interview), and of course, Kadavre Exquis’ recently released piece above (among others).
As the sculptors of all things aurally beautiful, sound designers are not often given their proper due, so be sure to lend an ear to John & all the other artists here who routinely tickle our cochlea.
SFGate has published an article talking about the Dolby Surround 7.1 Mix on Toy Story 3, the future of sound for 3D films, and how the people could…
Chuck Russom has released a new SFX library called Rocks, recorded in the California desert and featuring 388 sounds of cement, bricks, cinderblocks, marble, and rocks of various…
Some time ago I talked with David Sonnenschein (author of “Sound Design” book) about giving clases and seminars online. We do some research and started to try some…
JazzMutant, Devine Sound, Rachmiel, Twisted Tools and ABSoundscapes announced the release of GrainCube, a new free instrument for Reaktor, specifically aimed towards sound designers looking for granular gestural…