David at Tracktimeaudio has published an interview with Watson Wu on recording cars.
I have the privilege of getting my first interview with the awesome, excellent, Watson Wu.
TTA: First off, some of your work with NFS ProStreet — this game emphasized more on the fun of the game than on the realism of driving, did this slightly different emphasis have any effect on the recording technique for the vehicles? Were there any cars that proved difficult to record well? Lastly, did you use predominately dyno-based recordings?
For ProStreet I was hired to field record passbys and help the EA team apply microphones on GT race cars in Sebring, Florida. We were capturing Corvette CR06, Cadillac, and Viper cars during their practice runs around the track, speeding at 170-190mph. The Corvette CR06s are The Loudest race cars I have ever encountered! They were like constant sustains of gun shots, painful to our ears. While many of the microphones were able to withstand the constant pounding of the high decibels, I was given from the team mic pads to cut off the extreme sounds going into my field recorder. While EA as well as a few of their external contractors sometimes use dyno-packs, I most of the time capture vehicles while in motion. Many of us believe that this recording on the go produces the more natural sound. As we have learned from years of recordings, we constantly strive to achieve better or nastier recordings with newer microphones and push the limiters to the extreme for that more aggressive sound. after all, video games and films are fiction based.
Continue reading here.
Designing Sound Rearder: What technique (or tip) you wish you had known when you first started doing sound design professionally?
Rodney Gates: I wish I knew how to make something sound large, other than just using reverb tail. One way this can be achieved is by pitching something at multiple intervals – an octave down, two octaves down, and blending with the original. This makes whooshes longer and fatter, and impact sounds beefier. Letting the sounds pitch and change their duration naturally is smoother than keeping their length the same as the original, but the time-correction has it’s uses for keeping heavy sounds short (as long as they are blended a bit with the original, most pitching artifacts are hidden in this process). Also, working with the highest sample rate and bit depth files you can helps a lot with fidelity (24-bit / 96kHz is great, with 192 being even better). The higher sample rates help keep the high-end of the sound as the upper harmonics are brought down during the pitching process, whereas rates of 48kHz and below have their limits, causing the sounds to get darker the further down they are pitched.
DSR: What is your weapon of choice (or method) to create production elements (whoosh, sci-fi sounds, etc)?
RG: I like to use Waves’ Doppler plug-in for creating whoosh effects. However, I wish it handled audio files at a higher sample rate than 48kHz since it’s pitching sounds as it’s core usage.
For electronic sci-fi sounds, adding light MetaFlanger is nice to “tech” something up a bit. For a little low-end emphasis, a Rectified (Pro Tools plug-in) sine wave around 80Hz (or sweeping around that area) is cool to add.
Plug-in automation is your friend, too – it can add a lot of movement to your sounds when using it with plugs like MondoMod or Enigma, etc.
SoundWorks Collection has published two interesting interviews with sound effects recordists Ann Kroeber and Charles Maynes, produced by Michael Raphael.
Welcome to the Soundworks Collection; an audio series that profiles individuals whose lives are spent bringing to life some of the worlds most unique sound projects. Whether they are recording in the field, editing and mixing on a dub stage, or creating sounds in a foley pit, these professionals keep finding new and exciting ways to craft sound. This week we hear from sound effects recordist Charles Maynes. His work has included the HBO series “The Pacific”, “Flags of our Fathers”, and “Starship Troopers”. You can often find Charles recording loud explosions and heavy gunfire, but when he needs to rest his ears, he turns to Bach.
Ann Kroeber is a field recordist, editor, and sound designer, whose recordings were in The Black Stallion, Lord of the Rings, and the Horse Whisperer. Over the years, she has developed her own way to connect with the animals she records. In 1999 she formed a company called Sound Mountain and has recorded and or provided sound effects for such films as The Star Wars Trilogy, The Lord of the Rings: The Return of The King, Pirates of the Caribbean, The Lion, The Witch and The Wardrobe, Gladiator, The English Patient, The Horse Whisperer, A Bug’s Life, K-19, Polar Express, The Village, Hidalgo etc. and many games. She was Sound Designer on Carroll Ballard’s recent Duma and Fx Editor on his Fly Away Home as well as Affonso Arau’s Zapata. She has also provided sound effects and sound designed for a number of popular Games. She produced a 3 CD set of sound effects for the Hollywood Edge called “Sounds of a Different Realm Special thanks to American Public Media and Weekend America for the use of the audio piece.
SoundWorks Collection podcasts on iTunes.
[Written by Rodney Gates for Designing Sound]
In early June of 2010, I became Sony Online’s Audio Director for San Diego. So how has this experience been so far? I’ll dive into a few points.
A Delicate Balancing Act
When I started working at this company, my primary focus was as a Senior Sound Designer on “Clone Wars Adventures”. It was very different for me as I was initially the only person working on the game, especially after coming from High Moon where we had a 6-member team for one console title (and needed every person).
There were two other people in the San Diego audio department, one Audio Manager overseeing the ongoing maintenance of some of the older titles, and another Sr. Sound Designer working on the maintenance of Free Realms. There were also two Apprentices working on sound for the expansions of both EverQuest and EverQuest II, and that was it. Our boss was in Austin with his team, busy with “DC Universe”, so we were pretty much on our own.
Although we didn’t have enough people to cover all of the games properly (in my opinion), it didn’t seem right to me that the older games’ teams were solely being supported by the greenest guys on our team, working late or super-early hours that barely crossed paths with the rest of us.
Eventually, the existing division of our team began to run up against newer projects that were either starting up or had been moved to San Diego and weren’t being covered at all, while I was getting quite busy myself with “Clone Wars”. The decision was made to split the leadership duties, and I was put in charge of the San Diego headquarters.
As I mentioned in the previous article, from day one I immediately reorganized everyone on my team to jump in and start working on “Clone Wars Adventures” to get it ready for its September launch. It was definitely the big-ticket game happening that year. I also began to have meetings with the other teams to find out where they were in the production of their titles or expansions, to try and work out a schedule to finish out the year. Most of our work was unfortunately reactive at this point, as things were coming up quick. Fortunately, we were able to hire on another experienced senior-level Sound Designer as well. One of our apprentices left and we let the other one go, as I preferred to have more experienced hands on the games going forward.
With the team reorganized like this, and remaining fluid throughout the coming months as we adjusted to the schedule, we squeaked by 2010 managing to cover everything without killing ourselves.
Diego Stocco has made music from sand, from a three, has recorded a burning piano, and made lots of custom and crazy instruments by himself. His work combines sound design and music scoring, along with experimentation with real world objects and environments.
A great example of that is his last video, where he shows the elements he recorded in order to get interesting sources for designing the sound signature of DTS Inc.
More of Diego’s work at Behance. I also recommend you this two-part episode of Sound Builders.
[Written by Rodney Gates for Designing Sound]
It seems perfectly fitting that with the Star Wars films being such an influence for me as a Sound Designer, when the opportunity came up to become the Lead on “Clone Wars Adventures”, a joint venture between Sony Online Entertainment and Lucasarts, it was hard to resist.
Hit the Ground Running
When I started on the game, it was just a month away from its official prototype milestone. Yikes! Except for a couple of temp blaster shots playing in a tower defense minigame, the rest of it was completely void of sound. Plenty to do as I was the only one working on it.
I quickly became acquainted with Christopher Denman and Darragh O’Farrell over at Lucasarts, who began providing assets to me. Now, there is a level of excitement associated with this as original, digitized recordings of a lot Ben Burtt’s work came across the FTP. To be able to listen to the raw power window servo recordings that are the basis of R2-D2 & C-3PO’s movement in the films, or some of the lightsaber elements in their raw form was priceless. When I got R2 rolling around in the game, chirping away, that simple moment felt full-circle for me. I just sat back and smiled.
So, with a little bit of luck and some ridiculous temp voiceover, everything made it in by the December 19th prototype date – to a resounding success. The team knocked it out of the park!
Now here was the rub. This game had to launch the same week as Season 3’s premiere, which was the following September. Less than a year of development time? I wasn’t sure it could happen. Then again, it was a very different and ultimately simpler game than “Transformers: War For Cybertron”, which only had an 18-month cycle, so I wondered.
The holidays came and went and shortly thereafter things became quite busy…too busy for one person to continue handling. When June rolled around, I became San Diego’s Audio Director, so I immediately changed the way our local team was split up and immediately threw everyone onto the game. The three of us managed to get all of the sound, music editing, and dialog recorded and in for the September deadline, even while my wife and I were busy having our second baby the same week. Talk about pressure!
“Clone Wars Adventures” was one of the best-produced projects SOE has had to date, hitting all of its milestones easily and pleasing everyone at both Sony and Lucasarts. It continues to rise in popularity week after week, keeping in lock-step with the series as it airs.
“Rango” is ILM’s first animated feature. I was blown away by the level of detail in both the look and the sound design. Sound designer Peter Miller was kind enough to share his film making experiences with me.
Designing Sound: So how did you become involved in the project?
Peter Miller: I worked with Gore (Verbinski) on The Ring and we’ve wanted to work together since. I think he knew this film was right up my alley – he pitched it to me as Sergio Leone meets Hayao Miyazaki meets Carlos Castaneda. How could I refuse!? My good friend Craig Wood edits for Gore and the three of us have a great rapport in sound language. Both Gore and Craig are very sound-aware, and really great collaborators.
DS: How was it different working with the director on this film compared to the last?
PM: I think we kind of slotted quickly back into the way we worked on The Ring. We followed a similar process, even though Rango was a lot longer in creation. Gore is very much what I would call a ‘contributive’ director. He likes to be involved in as much of the process as he has time for. Typically, that means we start working very early on in the production time-line and discover our ideas together. It’s not a situation where he just gives a brief and then turns up for the final mix. Even though Rango is a comedy, I found the emotional requirements for the construction of The Ring and Rango oddly similar. In the same way as setting things up to scare an audience becomes a very subjective and intellectual exercise in a horror film, so does making people laugh in a comedy. After you’ve heard the jokes a few dozen times the initial funniness has worn off, so finding the humor takes a fairly cerebral approach. Which is not to say that we didn’t laugh a lot when we were making Rango – we just hoped the audiences would laugh at the same things.
DS: When did you start sound designing the film?
PM: I started on Rango in 2008, when the storyboard edit was almost complete. There had been some sound work already as the ideas came together, but Gore felt it was important to get me on-board as soon as he was able. I did some work on the ‘Metaphor’ sequence, where Rango is thrown between the cars on the highway, and the ‘Ritual’ where the townsfolk do their odd dance. Over the next months I also built a large library of atmospherics and fx and then went to Los Angeles later in the year when Craig came on. Craig mostly cuts with 5.0sound when he works, and we’ve found it a great way to start forming the shape of the final soundtrack. It is very unusual for sound people to be pulled into a project this early, and it is a measure of Gore’s great skill and commitment to sound that he insists on this happening.
During 2009, as the digital animation phase commenced, I worked from my studio in Australia providing sound effects and sequences as they were needed. In July 2010 I traveled back to the US for the next 7 months to complete the sound. At this time the full sound crew came on-board and I was very fortunate to have as my co-Supervising Sound Editor an old friend, Addison Teague, who I had worked with previously on ‘The Ring’. Addison headed a very talented sound crew from Skywalker Sound, and together we set about realizing Gore’s vision for Rango.
[Written by Rodney Gates for Designing Sound]
“Transformers” is a mega-hit franchise for Hasbro with a huge fan base fueled by cartoons that beckoned to us in our formative years during the 80’s. The battle between the Autobots and the Decepticons has raged on for decades now, with seemingly no end in sight, and we still line up to see it, be it new toy line, game, and movie releases.
When Activision handed down the “Transformers” mantle to us after “The Bourne Conspiracy” was released, we knew this was going to be quite a bit different than anything the studio had done before…and FUN. Finally I had the chance to work in the science fiction genre, something I’d always wanted to do.
In the very beginning, we weren’t sure what the story was going to be, but that didn’t stop us from jumping in and recording a new library’s worth of material in a few short weeks. Much of that was in anticipation of creating a whole new soundscape of material that didn’t exist much in our libraries with the prior game titles we had worked on. Fun times indeed!
As the vehicle technology behind the “Bourne” game’s Mini Cooper was being expanded and improved to make a vehicle mode viable for Transformers combat and transportation, I began editing all of the best vehicle source we had from the overused commercial libraries most sound people are familiar with out there. As anyone who’s done this knows, there isn’t much to work with. At least much that’s usable from a game standpoint. Still, I prided myself on getting all sorts of tractor trailer squeaks and hisses ready for Optimus Prime and muscle car engine audio ready for Bumblebee.
However, we soon learned that the story of the game wasn’t going to take place on Earth at all. Instead, the focus would be on the Transformers’ home world, Cybertron, as we jumped into the story of what happened before coming to Earth, an area not thoroughly-covered by Hasbro’s existing canon.
This was exciting news indeed.
With the robots no longer needing the ability to transform into human-designed vehicles for disguise purposes as they did on Earth, this opened up the sonic palette quite a bit to experiment with what it might sound like for these Cybertronian citizens to zip around in their own vehicle form, aligned with their own advanced civilization and technology.
Got 12min to kill? Here is a supercut of what’s got to be every wilhelm scream used in film to date.
The Recordist has released North Idaho Wind HD, a bundle of three new libraries of wind recordings, including Forest Wind HD, Frigid Wind HD and Corn Stalk Wind HD.
North Idaho Wind HD | $50 | 31 files | 1.46GB | 24-Bit 96kHz
Forest Wind HD contains 10 elegant 24-Bit 96kHz wind sounds from some intense windstorms here in North Idaho. Recorded over 3 distinct seasons it has blowing wind through tall fir trees with leaves and without. With slight howling and long sweeping gusts this wind demonstrates the open and dynamic forest landscape here in the North Western part of the US. Recorded with a Sound Devices 702 and a Sanken CSS-5 (Normal and Wide mode).
Frigid Wind HD contains 12 24-Bit 96kHz freaking cold wind sound effects from my field, garden and woods in North Idaho. Recorded with a Sound Devices 702 and Sanken CSS-5 during one of the coldest days of the winter in early 2011. The snow pack was hard and the wind was blowing with gusts that nearly froze my face off as I was standing out in the open with mic in hand. I was able to get the wind through my garden fence and whipping through the utility wires overhead. Another location was right out my back door on my porch which was getting hammered by the wind as it blew throught the bushes and trees. I’ll never forget how cold it was that day as it was for the record book.
Corn Stalk Wind HD contains 9 24-Bit 96kHz wind through dry corn stalk sound effects from my feeble attempt at a corn garden on my ranch here in North Idaho. Recorded during an elevated wind event with a Sound Devices 702 and a Sanken CSS-5 along with a Sony PCM-D1. The corn had long since died off but was still standing tall. I was making a last walk through of the garden before the colder temperatures set in and noticed the wonderful noises coming from the corn section. I was not sure how long the wind was going to last so I ran and got my PCM-D1 and sat low near the stacks and started recording. I was pleased with the results for the most part but decided I needed more wind protection for the mics. I switched to the Sanken CSS-5 and continued recording for another hour. A lot of the recordings were not usable but I was able to pick out sections that were pretty good. So, here they are.
Each library can be purchased separately at $20.