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Posted by on Mar 18, 2015 | 1 comment

“…desperately unstrategic…” – An interview with Jessica Curry, Director and Composer at The Chinese Room

Jessica Curry is a Director and Composer at The Chinese Room, a game development studio based in Brighton, UK. The studio shipped their first game, Dear Esther in 2012 and are currently hard at work on their third, Everybody’s Gone to the Rapture.

Designing Sound: Tell us a little about how you got started out as a composer? What kind of projects did you start out with?

Jessica Curry: I started composing when I was a little girl. I begged for piano lessons and loved it from the outset. I was always writing little songs; the first Mozartian classic being “Jessica Curry is in a hurry, she’s going on holiday/Hip hip, hurray, she’s going on holiday.” I think you can spot the innate talent right there. Then a fun three years reading English Literature and Language at University followed by a “what the hell are you doing with your life, you’re working at the Warner Brothers store” talk from my amazing late step-dad who gently pushed the National Film and Television screenwriting Screen Music course application under my nose. From then on, a vast and pretty bizarre array of projects. I often say that I’ve had a desperately unstrategic career but I wouldn’t have it any other way. I always follow my heart rather than my head and this has led to some phenomenally interesting collaborations, ranging from a Requiem for a Second Life character for the Royal Opera House to writing lullabies for Great Ormond Street Hospital. So although I’ve very probably sacrificed recognition in one particular field, to me what I’ve gained is the most wonderful and unusual collection of projects and that to me has been worth far more.

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Posted by on Jan 29, 2015 | 2 comments

Dynamics In Education – Interview With Michael Sweet, Professor of Game Audio at Berklee College of Music


Michael Sweet presenting at GDC

Michael Sweet presenting at GDC

As the Artistic Director of Video Game Scoring at Berklee College of Music, Michael Sweet leads the development of the game scoring curriculum.  Michael is an accomplished video game composer and has been the audio director of more than 100 award winning video games.  His work can be heard on the X-Box 360 logo and on award winning games from Cartoon Network, Sesame Workshop, PlayFirst, iWin, Gamelab, Shockwave, RealArcade, Pogo, Microsoft, Lego, AOL, and MTV, among others. He has won the Best Audio Award at the Independent Games Festival, the BDA Promax Gold Award for Best Sound Design, and has been nominated for four Game Audio Network Guild (GANG) awards. In 2014, Michael authored the book “Writing Interactive Music for Video Games” which is now available from Pearson Publishing.

Michael was a professor of mine during my studies at Berklee College of Music. Given this months’ theme of “education”, I thought it would be enlightening to hear Michael share his perspective as a professor of game audio with the Designing Sound community. So, without further ado…

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Posted by on Dec 20, 2013 | 1 comment

Review: Twisted Tools METAMORPH

Metamorph Logo

METAMORPH is the latest sample library from Twisted Tools, makers of the designed sample libraries as well as some fun and unique Reaktor ensembles. With sounds designed by BJM Mario Bajardi and Komplex (Iter-Research), METAMORPH “takes heavily processed violins, pianos and acoustic instruments and morphs them into impacts, sci-fi atmospheres, user interface elements and beyond.”

METAMORPH comes as stereo 24-bit, 96kHz BWAV files with full SoundMiner metadata for easy searching. It includes sampler kits for Ableton Live 9’s Sampler and Simpler, Logic 9’s EXS24, and Native Instruments’ Kontakt, Battery, and Maschine; Also induced is the MP16d, Twisted Tools’ sample player. METAMORPH contains just over 2 GB of samples broken down into 10 categories: Drums, Imaging Elements, Micro, Noises, Pass By, Sci-Fi Atmos, SFX, Textures, Tonal, and Composite. The “Micro” category includes User Interface and “Microbot” elements. There’s a good selection of sounds to be had, and the added metadata makes finding things fairly easy.

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Posted by on Dec 17, 2013 | 5 comments

An Interview with John Roesch


In  over 30 years working in sound, Foley artist John Roesch has amassed an impressive list of credits, including major films like “Inception” and “The Matrix” and games like “Final Fantasy X” and “Dead Space.” With over 400 credits to his name, John was awarded the MPSE’s Career Achievement Award earlier this year. I recently had the opportunity to sit down with John on his Foley stage on the Warner Brothers Studios lot in Burbank, California to talk about Foley, how he got into the business, and where he sees things moving forward.

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Posted by on Oct 1, 2013 | 6 comments

Review: Game Audio Culture by Rob Bridgett


Review by Karen Collins

Game Audio Culture” isn’t a book, so much as a manifesto. Dragging sound design (perhaps somewhat reluctantly) from out of the darkened underground studios and out into the open, Bridgett proposes that it’s time that sound designers started to be more collaborative with the rest of the game team. Bridgett boldly states that we’re in a “post-sound design era… no longer obsessed with the ‘neglected’ art” of the soundtrack. Sound designers can’t play the victim anymore: sound is getting the respect it deserves, and the next stage is to become a key collaborator on projects. Suggesting that fully one third of the sound designer’s skill set should be social skills, Bridgett sees the audio director as playing a much more important role in the future than in the past. Bridgett dubs this new art “social sound design”.

With that premise in mind, “Game Audio Culture” maps out just how Bridgett envisages the future role of the sound designer to play out. How does game audio influence collaborative practice? Where does design come into the mix, and how does that change under the idea of social sonic practice? How should scheduling change to accommodate a more social, collaborative space? How do you plan your budgets? What role does audio play in QA, and how does audio bring in feedback from its team and its players? These are just some of the questions Bridgett seeks to answer.

For the game sound designer, this book offers practical tips on how to turn your workplace into a more collaborative, holistic world, in which sound plays an important part. It best serves as a how-to guide on being an audio director, in a world where many of the triple-A titles have teams of people working on audio that need to be coordinated and managed. Most game audio directors find themselves in that role through promotion and experience, but without any formal training available. Bridgett fills the gap in knowledge by providing useful tips and tricks that will benefit even the most experienced designers and audio directors. For the rest of us, he gives us much to think about in terms of our practice.

For the academic or scholar studying game audio, the book is particularly useful in its description of process, and will help anyone to understand the many different skills required to undertake sound design for games today. Especially interesting are the more meandering thought pieces that round out the book: self-described “utopian” considerations of where game audio is heading, what the future holds for sound design, and two interviews that read like thoughtful, in-depth discussion between two sound designers, kicking back over a beer and reflecting on their jobs.

Finally, I would suggest that game designers themselves pick up this book, to understand what the sound team is doing and to incorporate some of these tips in bringing the sound team on board early. In short, there’s something in “Game Audio Culture” for everyone: it’s one of those books that is worth reading multiple times, as a reminder of how far we’ve come, and how far we still have to go.

Special thanks to Karen Collins for contributing this review. You can find Karen on

You can purchase Game Audio Culture online here.

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