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Posted by on Aug 14, 2014 | 4 comments

Designing GuitarMonics for Kontakt

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Guest Contribution by Rodney Gates

Greetings!

Welcome, and thanks for checking out this (TL;DR) article on the creation of the virtual instrument sample library, GuitarMonics, designed for Native Instruments’ Kontakt software. It was a long road from concept to completion, and I thought it might be a good idea to discuss some of the processes and discoveries I learned along the way for those that may be interested in creating their own sample libraries, for commercial or personal use.

Having been a Sound Designer and Audio Director for video games for over a decade now, and always a huge fan of virtual instruments that load up in the computer and sound stunningly real, I felt the desire to branch out into this field and begin establishing a foothold of my own with my new company, SoundCues.

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Posted by on Aug 11, 2014 | 2 comments

Vehicle Engine design – Project CARS, Forza Motorsport 5 and REV

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With this article I really wanted to find out about the nuts and bots of vehicle engine sound design and implementation. So I contacted a few people and got some great responses and a fascinating insight into the process. My thanks to Stephen Baysted, Audio Director and Composer at Slightly Mad Studios, Greg Hill, Sound Designer at Soundwave Concepts, Adam Boyd, Sound Designer and John Twigg, Software Engineer at Crankcase Audio and Nick Wiswell, Audio Creative Director at Turn 10 Studios.

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Posted by on Aug 8, 2014 | 0 comments

Film Sound Tips by Glenn Kiser, Director of the Dolby Institute

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Indiewire has published a guest post by Dolby Institute’s director Glenn Kiser in which he talks to filmmakers about the importance of sound design from the beginning of production.

Making a movie is a never-ending series of compromises, and nothing is as good as the original concept you had in mind. But if you’re really lucky, there’s a moment of alchemy that can happen in the editing room when you put the right piece of music or the right sound effect into the cut. Suddenly something magical happens, and the thing comes to life. You forget about the perfect location you couldn’t secure and the cold your lead actor had on the day you shot the emotional scene. It stops being a maddening litany of disappointments and becomes a movie.

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(via musicofsound)

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Posted by on Jun 30, 2014 | 0 comments

4th International FilmSoundHamburg Summer Academy

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The fourth annual FilmSoundHamburg got under way in Hamburg on Sunday evening – an event that will bring together enthusiasts from the worlds of sound design, film composition and game music for five days of workshops and seminars and masterclasses.

Among the highlights will be four separate masterclasses given by Tim Nielsen of Skywalker Sound (Maleficient, Lord of the the Rings, John Carter), and composers Olivier Deriviére (Assassin’s Creed IV, Remember Me), Javier Navarrete (Pan’s Labyrinth, Mirrors, Hemmingway & Gellhorn) and Lisle Moore (who has composed trailer music for Maleficient and the last three FIFA World Cups). In addition, a number of workshops and seminars will also be taking place.

FilmSoundHamburg takes place from June 29th until July 4th in Hamburg, Germany. Some places are still available so check the website for the full programme and price list.

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FilmSoundHamburg programme of events
FilmSoundHamburg on Facebook

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Posted by on Jun 28, 2014 | 1 comment

Designing Silence

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Charlie Chaplin on ‘City Lights’

“Ideally, for me,  the perfect sound film has zero tracks. You try to get the audience to a point, somehow, where they can imagine the sound. They hear the sound in their minds, and it really isn’t on the track at all. That’s the ideal sound, the one that exists totally in the mind, because it’s the most intimate. It deals with each person’s experience, and it’s obviously of the highest fidelity imaginable, because it’s not being translated through any kind of medium.” – Walter Murch

Silence can be sonic; sound can be silent. We’re always listening to both. When we listen to a sound, we listen to a silence. When we listen to silence, we listen to sound. The dualism behind this is just an illusion, because in reality, we only find one thing, a single coin, with two faces, but a single coin.

There’s always sound in silence, always. There’s no such thing as sound without silence. There’s no such thing as silence without sound. Both are always dependent on each other and get differentiated just because of our fantasy of reality. We could think as silence as “absence of sound” but that will not be in an absolute way because there’s no place without sound, there’s no time without sound. Silence is absence just in partial ways, depending on the wave, all the time attached to the context the absence of a particular sounds, or just the choices around the speakers can’t reproduce.

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