Guest Contribution by April Tucker
Meet Yuki, one of my cats. She’s a tiny, feisty 6-year-old tabby. Earlier this year, we learned that Yuki had gone deaf after having normal hearing most of her life. She probably lost her hearing gradually, but it wasn’t obvious until one day when I was vacuuming and realized she was right by me, happily curled up and sound asleep.
There’s a learning curve to owning a deaf pet – especially a cat that’s already stubborn and sleeps in places you can’t find. Deaf pets get extremely startled if you touch them when they don’t perceive you first (through vibration, sight, or smell). Words that they responded to before (like “dinner” or “no”) suddenly have no meaning. Yuki became cautious, spending a lot of time just trying to gauge her surroundings (like the other cats who were unaware of her condition).
In an appropriately seasonal blog post over at A Sound Effect, Asbjoern speaks to Saro Sahihi of SoundBits, a boutique SFX library and sound design company. Saro, who has released some excellent gore SFX libraries, goes in-depth on how to achieve some truly squishy, wrenching, and disgusting gore sounds for all your horror needs. He even touches on some other horror mainstays, like how to achieve a good jump-scare sound, or crafting dark ambiences.
Head over to A Sound Effect to check out the whole article!
There’s a common joke among game audio artists and designers: if you ask any number of sound designers what genre they’d most like to work on, the odds are good they’ll all say “horror”, twice. It’s no surprise it’s such a common answer, either; horror games offer designers some of the most interesting and diverse sound design opportunities one can come across. There’s no doubt that Frictional Games’s upcoming title SOMA fits this mold as well, evidenced by a fantastic blog post on Frictional’s website by the game’s audio director, Samuel Justice.
In the post, Sam discusses the approach he and the rest of the team took towards defining the distinct above- and underwater worlds of this eagerly-anticipated horror title. Sam goes into extensive detail on the techniques they used, both in the game’s engine and in content creation, to achieve a unique sonic identity for the game. Check out the post here, and also take a look at Sam’s other online home over at Sweet Justice, which features another great blog chock full of good info.
In a recent blog post, A Sound Effect spoke to sound designers Ruslan Nesteruk and Glen Bondarenko on the techniques and tools they utilize in creating sci-fi weaponry SFX. The post delves into layering, synthesis techniques, breaking down each weapon into its constituent components, and a great deal more. If you want some insights on creating better sci-go weaponry, you owe it to yourself to head over to the post now.
At least my cats were on top of things.
When I first started up as a freelance sound designer and re-recording mixer, I had never been responsible for running a business. Working for myself seemed to be the ultimate job; I could set my hours, pick my projects, and do things how I wanted to do them. Beyond this freedom, what else was there? As it turns out, I completely glossed over that whole “how to run my own business” thing, charging headlong into freelancing with no real understanding of what that entailed. Had I taken just a few moments to sit down and read a bit about being your own boss and business, I would have saved myself a whole lot of trouble down the road. Here are a few of the bigger things I learned along the way; hopefully, you can learn something from my mistakes.