For those interested in the some of the current academic and research-led themes developing in sound design, the September 2014 edition of The New Soundtrack is dedicated to just this topic.
Guest-edited by Sandra Pauletto (University of York), this special issue features contributions that explore the growing maturity of sound design and the breadth of the topic as encompassed by the contrasting ‘European’ and ‘Hollywood’ practice, Foley performance as a means to interactive immersion, sonification, sonic hyperrealism and, sound design as an intuitive process in the creation of film and television soundtracks.
Back around the time I was first starting out, I remember opening up a demo of Cubase VST (on my trusty PowerMac 6400) and taking a look through the various menus. Everything seemed pretty standard, but something in particular caught my eye, a menu item labeled “Ears Only”. Curious, I clicked on it, only to have my monitor go completely blank. After a few seconds of panic thinking I had broken everything, I realized that Steinberg had programmed a mode that completely disabled the monitor and forced you to just listen. At first, this option seemed like a strange addition. Why, when I’m creating sound, would I not be listening to what I’m doing? Listening while working with audio seemed like a no-brainer. However, after gaining a little more experience, this “just listen” mode began to make a lot more sense.
Guest Contribution by Rodney Gates
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.
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.
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.