In a recent blog post, A Sound Effect spoke to sound designers Ruslan Nesteruk and Glen Bondarenko on the techniques and tools they utilize in creating sci-fi weaponry SFX. The post delves into layering, synthesis techniques, breaking down each weapon into its constituent components, and a great deal more. If you want some insights on creating better sci-go weaponry, you owe it to yourself to head over to the post now.
This is a guest article written by Justin Spasevski, a freelance sound designer and mixer based in Sydney, who is currently editing and mixing “The Celebrity Apprentice Australia”. You can view his credits and portfolio on his website Braided Audio.
When looking into the creative aspects of sound design, I’ve always found it interesting how certain workflows can influence the end result. Sure, most of us have developed methods that work well, but sometimes we need to approach things differently in order to achieve something unique. So in light of this, I’ve decided to focus on an area that is of particular interest to me - the use of touch and motion controls for sound design.
Given recent technological advancements in capacitive touchscreens and consumer-level motion sensors, I have found the tech to be increasingly useful for sound design applications. What makes them so interesting is their unique approach to user input, often adding extra dimensions to the standard ‘click’ and ‘type’ interactions we’re all accustomed to.
In this article, I will demonstrate sound design techniques that utilise touch and motion controls and discuss why they can be a valuable asset to any sound designers’ toolkit. Let’s start with the most popular piece of hardware - the iPad.
There’s a lot of things to like about Frozen. The animation is beautiful, the script is tight, the performances are great, and it even features a catchy tune or two. It’s also got some great sound. Check out the opening ice cutting sequence. It probably had whole cinemas ducking for cover in 3D but even in plain old 2D it works. The effects are great and when you get out from under the ice into the open air there’s that indefinable ‘softness’ to the soundstage that only happens in a snowy environment. And the film has a lot of it; ice, snow, crunchy, soft, cracking, and exploding and it all sounds just right. But my favourite thing about Frozen are some door knocks from right at the start.
We as a community are lucky to have a number of amazingly informative resources available to us, and podcasts count among the most popular. Well, add a new one to your listening list: the Dolby Institute, in conjunction with SoundWorks Collection, is presenting a limited number of podcasts in a series entitled “Conversations with Sound Artists”. For the first episode, released a few days ago, they speak to Randy Thom of Skywalker Sound. Read more info on the podcast on SoundWorks Collection’s page.
The Mark 2 Lancer Assault Rifle created by Epic Games
What is your favorite sound effect from a video game? Reminiscent sounds from arcade, Atari and Nintendo games often come to mind, but effects from a few modern games have also become classics. Yet it is not from their nostalgic qualities that they join Mario’s square waves but rather from their versatility and ability to evoke sensations of skin-raising, visceral empathy. I am, of course, referring to a sound on my own list, the Mk2 Lancer with its chainsaw bayonet from Gears of War.
This summer the franchise gets an upgrade, and in this short video, development team The Coalition shares how they not only translated the game to Dolby 7.1 Surround, but also how they remastered the orchestral score and overhauled the sound design with new Foley while maintaining the distinctly crunchy character of the original game.