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.
Broken Age launched Act I in January 2014. Funded through Kickstarter with it’s development the subject of an epic (and ongoing) documentary courtesy of 2 Player Productions, the game was noteworthy for a number of reasons. I personally really enjoyed the games sound and music so in August 2014 I caught up with Camden Stoddard, the lead sound designer on the game for a chat. I was lucky enough to catch up with him again in March 2015 and also meet the other members of the audio team, Ashley Coull and Paul O’Rourke, as they closed in on the end of Act II
Designing Sound: Hi Camden. Thanks for taking the time to chat to me today. How are things going?
Camden Stoddard: Well, we’re in a weird place right now. I’m in Broken Age Act II land now. There’s a lot of layouts being done and there’s a whole bunch of work coming my way and I can’t really touch it until it’s locked. So now I’m kinda sketching and guessing what they’re going to do. So right now, I’m actually helping out on a couple of other projects, working on Costume Quest 2 and Massive Chalice.
In a recent post on the blog over at A Sound Effect, Asbjoern Andersen interviews long-time animation sound pro Jeff Shiffman of Boom Box Post. They discuss Jeff’s workflow and approach to sound design, as well as the specific challenges and successes he had working on numerous animated shows. Take a look at the interview here.
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.
[ed. This interview was originally intended as a part of our focus on women in March]
Fryda Wolff began her adult life working in video games for 12 years before deciding to run away and join the circus as a voice actor. She can be reached and researched at her website or on Twitter.
Designing Sound: How did you start working in the video game industry and what led you to game audio specifically?
Fryda Wolff : I got my foot in the door via Customer Service for EverQuest, as a Game Master. Three and a half years later, Sony Online Entertainment created its first audio department specifically to support EverQuest II. They needed someone entry level just to implement VO, I applied, and was hired. In high school I’d thought I’d like to become a recording engineer. When I learned that most university programs required credits of math and chemistry, I gave up on that idea. At the time I wasn’t aware of the myriad technical schools that specialize in audio. My entire games and audio education was received while on the job.