I have four single mic Rycote windscreens that come from two (maybe three) different generations of design/construction. My two WS2 windscreens are very recent, and much sturdier in build than my two WS4 windscreens. There’s some field recording I’d like to do over the summer, but I have concerns about getting these windscreens safely out to some of the locations I want to hit. I want to be able to throw them in and out of a backpack quickly without concerns of deforming them…which is actually very possible with the older WS4s. So I thought I’d try out an idea I’ve had for a long time…build travel cases for them out of PVC materials.
One of the main reasons I haven’t done this before, is because of the tools that I would need to get it done. I figured I would at least need a large bore drill and a jigsaw to pull this off. I didn’t have any other pressing, or even hypothetical, projects that would require these tools, so investing in them just to build these felt like a waste of cash. Currently, I live in a town where the public library also has a tool lending service. Just walk in with a library card, fill out the safety release, and you have access to far more tools than I can store in my apartment.
Event playbill sketch credit jovietajane (https://twitter.com/jovietajane).
Community spotlight on: the Pacific Northwest, a uniquely concentrated locus of game audio talent goings-on.
Every month, Vancouver and Seattle both host up an in- to semi-formal gathering for like-minded designers and composers, usually alternating developer showcases and bar crawls. Lots of cities do these, but it seems like these ours are particularly well-attended: upwards of 75+ attendees Eventbrite’d in for November’s behind the scenes look at the sound of Bungie’s Destiny, on site at their Bellevue headquarters. Each city’s been on a really consistent tear with these meet-ups for the last two years, but they’d never really come together.*
Until this weekend.
On Saturday, the Vancouver and Seattle Game Audio communities came together in the basement of Western Washington University, a graciously provided-for halfway point, for a collaborative afternoon of talks and panels. We ate donuts, shuffled slides, met our brothers and sisters from across the border and broke it all down over pizza.
I’ve been going to these things for a while, and I always leave them hazy-brained and grateful to be part of an industry so welcoming. And it’s just flat-out unfair not to spread that around. So here’s Designing Sound, bending towards Bellingham, for a bullet point recap of some of the knowledge that was shared.
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.
Jeremy Rogers at The Sound Keeper has just come out with a great new blog post on one of the most iconic film sound effects: the Indiana Jones punch. In the post, he recreates the sound, breaking it down step by step with great example clips and a detailed tutorial video. Head over to his post to check it out!
As part of our continuing goal of promoting greater cross-discipline learning with media editing site Art of the Guillotine (Aotg.com), we’d like to bring your attention to their recent article Audio Levels and Metering: Pt. 1. While the article is largely focused at educating editors on good level and metering practices in non-linear editors, there’s some valuable information in the article, and it’s a great refresher on metering approaches even if you’re well versed on the subject. It also features a great side-by-side comparison video of four common meter types. Check it out here!