Following on from last month’s interview with The Chinese Room‘s Director and Composer Jessica Curry I was lucky enough to grab some time to chat with the studio’s Audio Designer Adam Hay.
Designing Sound: Thanks for taking the time to speak to me Adam. So, looking back through your credit list the first games you worked on were at Traveller’s Tales?
Adam Hay: That’s correct, yeah. I started doing music technology at University and when I finished my degree I knew I wanted to get into games. I’ve been a lifelong game enthusiast. The first game that had a big impact on me was Monkey Island 2. I saw that first when I must have been 7 or 8 and I was totally enraptured by the sound and music of that game. I’ve been a bit of an adventure game addict since then. I got into early things like Click and Play and Games Factory so after University it seemed like a natural extension of my two passions, music & sound and games, to try and get into the industry. So I sent my post-University CV of to every games company in the UK and as luck would have it TT were looking for a junior sound designer at the time and I was lucky enough to get in there.
Image hot-linked from the Scout’s Honor website. Click the image to visit it.
We’ve finally been able to confirm a new date for our postponed Designing Sound Discussion Group to talk about the documentary, “Scouts Honor: Inside a Marching Brotherhood.” As previously announced, we’ll speaking with Director Mac Smith and Co-Producer John “JT” Torrijos. In a new development, Gary Rizzo, re-recording mixer on the film, will be joining us for the discussion as well. It should be a fun conversation, and will provide some interesting perspectives on sound for documentaries. The conversation will take place on Sunday, May 3rd, at 8PM U.S. Eastern time.
From the original announcement…
Scouts Honor is a unique documentary in a couple of ways. First off, it’s follows the Madison Scouts, a drum and bugle corps out of Madison, Wisconsin, on their 2012 tour. The other thing that makes it unique is that this is the first film for both Smith and Torrijos in these roles…who both have day jobs at Skywalker Sound. We’ll be talking with Smith and Torrijos about the film, their experiences taking on a different role in film-making, and the methods used to sonically capture some spectacular recordings of live performances. [ed. I’ve heard them…in theater…and they are IMPRESSIVE!]
As usual, this will be hosted via Google Hangouts and will have time for Q&A at the end of the discussion. Come here Sunday, the 3rd, to watch the live-stream and find the direct link to the Google Hangout to join the conversation a little more directly. See you all on the 3rd!
Looking for some good sound-centric reading this summer? Paul Virostek of Creative Field Recording has collected a number of must-read lists, reviews, and resources on some of the best books focused on creative recording and sound design in a recent blog post.
Included in Paul’s list are some of Designing Sound’s own recommendations, found here and here, but be sure to check out the blog post at CFR for many more great suggestions!
Cities and Memory: Oblique Strategies, a recent collaboration between sound artists, musicians, and field recordists from across the world, was released earlier today. The project brought these sound artists together to create new musical remixes of field recordings from around the world, using Brian Eno and Peter Schmidt’s Oblique Strategies cards as guideposts for their creations. It features recordings from locations across 19 countries, and involved 63 contributors, including Designing Sound’s own Berrak Nil Boya. Some of the pieces can be heard currently at the website, and an album of highlights will be released later this month on the Cities and Memory bandcamp.
In a new entry in their podcast series, SoundWorks Collection speaks to Michael Raphael of Rabbit Ears Audio and Rudy Trubitt, Director of Audio for Lionel Trains. They discuss Rudy and Michaels experiences in sourcing new steam whistles for Lionel’s new products, exploring the challenges presented in recording the high-SPL steam whistles and the recording techniques they used, as well as finding unique sounds to fit Lionel’s specific needs.