This is a guest contribution by Ashley Coull. Ashley is the Audio Coordinator at Anki, a robotics and tech company dedicated to making artificial intelligence accessible to the everyday consumer. Fueled by passion and sometimes beer, she loves interesting research, good conversation, and new friends.
“How did you get your start in the industry?”
There is no one way to get a job in the audio industry. That much is fairly obvious. But just because everyone has their own unique story, doesn’t mean we can’t distill the essence of how one can break in. My goal with this article is to help give people the tools they need for the best chance of success. To do this, I’m going to talk about common themes derived from audio professionals’ answers to the question, “How did you get your start in the industry?” These common themes form the pillars that provide the foundation upon which a career in audio can be built.
This is a guest contribution by Karen Collins. Karen is the Canada Research Chair in Interactive Audio at the Games Institute, University of Waterloo, Canada, and the director of Beep: A Documentary History of Game Sound. She’s been researching game audio for the past fifteen years, and in the process, published four books and nearly 100 research papers on sound. As Albert Einstein said, “If we knew what it was we were doing, it would not be called research, would it?” Karen proudly admits she has no idea what she is doing. @GameSoundDoc beepmovie.com
Don’t we already know what sound is? What do we need research for? I’m often met by surprise or confusion when I tell people I do research in sound. It may help to explain a few research projects that I’ve worked on in recent years to share the types of research that can be done in sound. These were for the most part done in a university setting, although some of the projects received some funding or support from private partners (e.g. Google, Microsoft)—I’ll talk about the academic-industry research crossover below.
Image retrieved from IGN. Click to view source.
There’s no doubt the sound design community is one blessed with some fantastic artists who are surprisingly willing to share their experiences and insights. This fact was confirmed recently with Randy Thom’s announcement of a new blog discussing film sound. The blog, found here, already features three brief but insightful posts from Thom, and will no doubt be a source of excellent info in the future as well.
In a recent entry in their interview series, SoundWorks Collection speaks to Mark Ulano, production sound mixer for Quentin Tarantino’s upcoming film, The Hateful Eight. Take a listen and hear stories that could only originate from a Tarantino shoot, told by one of the best productiou sound mixers in the business.
This article was born out of an idea for a GDC audio talk proposal. Another one of my proposals was selected so I thought I’d turn the core idea of this one into a DS post in case it’s of use to the community.
used under creative commons, click for source
Do you use macros in your music/sound production? If the answer is yes, then this article isn’t for you. Given January’s theme is all about time management, I feel duty-bound to say you should make better use of your time and read one of the many other fantastic articles here on this site. If however, any of the following apply, read on!
- “I don’t know what a macro is”
- “Macros are just shortcuts right, like CMD C to copy?”
- “Macros are only used by programmers.”