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.
As a project of the IASIG, with the help of a team of volunteers, on the behalf of the Game Audio community, I’d like to introduce a new game audio related knowledge base:
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:
- Provide content that is searchable using tags, with grouping based on searchable titles and the “tag cloud”.
- Broadcast these links across other social media as a game audio related stream of constantly updating information. (in particularly via the Twitter #GameAudio hashtag)
- Replace static webpages that host links but don’t provide cross referencing, search, or tags.
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:
Lost Chocolate Blog: Game Audio Relevance – LAUNCH!
Former DesigningSound.org featured sound designer of the month Rob Bridgett has posted up a healthy summary of considerations faced by game audio professionals during a typical development. Issues of planning, budget, and resource management are discussed at length towards providing solutions to some of the common pitfalls inherent in managing large teams of creative talent.
Arkhive Sound: Budget Implications in Game Audio Production
Robin Arnott has released his first commercial independent library: WRAUGHK FX 001 – Fireballs
What you get: 179 fire effects (26 minutes and 50 seconds of flamey glory) delivered as broadcast wav at 192 kHz/24bit and 96kHz/24bit in stereo Left-Right and additionally in stereo Mid-Side, with descriptive filenames and embedded descriptions.
Download size is 3.4 GB (zipped) for 192kHz and 1.7GB (zipped) for 96kHz.
WRAUGHK 001: Fireballs is a powerful high-definition collection of whooshing, roaring, bursting, sparking, whipping, zipping, sizzling and crackling fireballs, fire effects and infernos. With the goal building a malleable resource for the creative sound designer’s toolbox, I recruited flame effects expert Cary Sparx, who brought years of professional experience doing-awesome-stuff-with-fire.
These aren’t just for the connoisseur of explosions and burning action sequences – though they’re awesome for that. They’re also great for more textured whooshes and swishes, or adding punch to impacts, or generally getting that extra bassy oomph out of your badass sound creations. Aside from the flaming staves, rope darts, fire swords, meteors and flamethrowers that you’d hope for, you’ll also get some very unusual flame effects, like the tonal rush of a suffocating flame emerging from a giant PVC pipe (onto an unsuspecting recording engineer), or of melting plastic tonally zipping past before bursting into electronic sounding crackles and sizzles.
With effects organized by tool type and audio descriptors, in both stereo and in their unencoded M/S form, this collection makes finding just the right completely-kickass sound hassle-free.
Recorded at 192 kHz / 24bit with a Sennheiser MKH 50 / MKH 30 into a Tascam HD-P2 with Oade Brothers preamps, in a brand new hangar for an unopened airport. Certifiably awesome.
You can get it here.
As always, fantastic article by Sound and Music.
Robert Barry explores the soundtracks of Eduard Artemiev, best known for his work with Andrei Tarkovsky, whose films are among the many celebrated at BFI’s Kosmos season of Soviet SF films.
The Sound of Soviet Science Fiction
Inspired by Portugal’s proud history of navigators who set out to explore beyond the known and visible horizon, the theme of the third annual Kyma International Sound Symposium (KISS2011) is “Exploring Sound Space” (Explorando o espaço do som).
Set in the nautically-inspired Casa Da Musica, architect Rem Koolhaas’ dramatic new music venue in Porto Portugal, the symposium will offer four intensive days of Kyma-related workshops, keynotes, technical talks, films, and live performances, all taking place from 15-18 September, 2011.
Sound designers, composers, performers, sound-artists, researchers, and others interested in exploring sound space are invited to join in the symposium to learn, discuss, share, listen, and enjoy! Kyma practitioners will have ample opportunities to network and exchange knowledge with colleagues from around the world.
More info here.
New pack available soon. What will be the mystery about?
It’s time for the next Sound Design Challenge! We’re really excited to have this one sponsored by McDSP. They’re offering up a copy of their Futzbox plug-in to the winner. Please take the time to thank them by following them on Twitter @McDSP_PlugIns and visiting their Facebook page (feel free to “Like” it while you’re there).
We’re going to try something a little different with this one, and it’s going to be a bit like a scavenger hunt. Here are the details… (more…)
New article by Rob Bridgett on Gamasutra:
In this feature, experienced audio director Rob Bridgett (Prototype) explains how the expanded possibilities brought by modern technology have lead sound directors to have to make careful collaborative choices to support a game’s vision.
Sound Friction: Collaborative Challenges in Games
Frank Bry has released a Fireworks Show HD library, featuring multi-channel recordings of a complete fireworks presentation.
Recorded at 24-Bit 192K with a close up and stereo set of microphones in full windshields and windjammers to 2 Sound Devices SD-702 recorders sync locked together. They were placed approximately 6 meters away from the finale launch tubes. The Sennheiser MKH-8040 pointed right at the launch tubes and the Sanken CSS-5 angled up in the air about 45 degrees. The MKH-8040 provides the serious low end thumps and mortar launches while the CSS-5 was in narrow stereo mode provides the echoes and shell explosions.
The full show is separated into 7 parts. There are no fades so they can be strung together for the full 17 minute performance. These parts are also included unprocessed as mono MKH-8040 stems and stereo CSS-5 stems. Also included are separate mortar launches and explosions in both mono and stereo with each microphone isolated and mixed together. There is also the option of using the raw full show tracks to design your own sound. The WAV file description list below shows the details.
Fireworks Show is available for $75 at The Recordist.
If you want to know about the recording process and Frank’s experience on recording this library, you can visit his blog.