Eduardo Ortiz Frau is a freelance game audio designer based in Austin, TX. He has worked in audio and music production for over ten years and has been working in sound design for games since 2011. He’s worked on titles like The Stanley Parable, Apotheon, and Neverending Nightmares. Eduardo Oritz Frau was kind enough to answer some of our questions about his work including his experiment in representing himself as a company as opposed to an individual sound artist.
Eduardo Ortiz Frau
Designing Sound: How did you get into sound?
Eduardo Ortiz Frau: Like many other sound designers, I came into this profession because of my love for music. Music was all I used to think about when I was younger. I was in bands, I studied audio engineering and classical composition, worked in recording studios, etc. Eventually, I got burned out on the music industry. I wasn’t feeling inspired by it anymore and I was also struggling to make a living within it. So I ditched it, moved to Austin, TX and started exploring other ways I could employ my audio skills. That led me to discover the video game industry and, specifically, the world of indie games. I had no idea what was going on with indie games before this time, but needless to say, I was completely enthralled by what seemed to me like THE up and coming medium to work with. So I focused all my energy and resources into breaking into the industry.
For this month’s theme of “Research”, Dr. Susan Rogers was kind enough to answer our questions about her work and research in music cognition and psychoacoustics. Susan Rogers holds a doctorate in cognitive psychology from McGill University (2010). Prior to her science career, Susan was a multiplatinum-earning record producer, recording engineer, mixer and audio technician. She is currently an Associate Professor at Berklee College of Music, Boston, teaching music cognition, psychoacoustics, and record production. She is the director of the Berklee Music Perception & Cognition Laboratory where she studies auditory processing in musicians.
Dr. Susan Rogers – credit Jandro Cisneros
Designing Sound: What drew you towards the subject of psychoacoustics and music cognition?
Dr. Susan Rogers: I have an engineer’s mind. I like understanding mechanisms and processes. I also have a scientist’s mind because I am curious about natural phenomena. Auditory science and brain science attract similar kinds of thinkers — those who are ok with imagining the mechanism and process. We typically don’t view air pressure variations, electrons or nerve spikes in action; we must often infer the process from the resulting behavior or event. Short answer is that it’s just fun.
Matthew Hines is an audio technologist specializing in post production and audio mastering by day, and a keyboardist by night. Hailing from England, where he cut his teeth editing MIDEM award-winning classical recordings, dialogue and audio restoration for Nimbus Records, he’s called USA home for the last eight years. Freelancing as a sound designer and dialogue editor for independent film soon led him to a role as Audio/Multimedia Producer and Product Manager with iZotope, working with a dedicated team over the last five years to deliver key innovations such the RX Post Production Suite and most recently, VocalSynth, which released today.
Designing Sound: iZotope excels at creating both creative and utilitarian plugins. How does the makeup of the company influence the kinds of products you develop and how do you ensure consistency?
Recently, MMO news site Ten Ton Hammer caught up with the audio team at ArenaNet, developers of the Guild Wars franchise. In an in-depth overview of their recent work, sound designers Jerry Schroeder and Drew Cady shared some of their approaches, techniques, and experiences in creating the highly detailed sounds that fill the worlds of Guild Wars 2 and its expansion pack Heart of Thorns. Head here to check out this fantastic article, which also features a video interview with Schroeder and Cady (and quite a bit of Foley work!).
via Ten Ton Hammer
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.