You probably already read the interview with Rob Bridgett. Now you have the opportunity to ask your own questions to Rob. There are several ways to do that:
- Leave a comment on this post
- Use the contact form
- Write to designing sound [at] gmail [dot] com
The deadline for questions is until 25 November and the answers will be published on the final post of the special, along with several tips and recommendations for sound designers. Rob will choose and answer any questions that he want. Note that all questions will be considered, but not all will have to be answered.
What are you waiting for? Make your contribution now!
Hello
I have a (or a few) question for you
What techniques do you use for designing sounds? Using synths or recording sounds from landscapes etc? or maybe both?
How long do you spend on making a particular sound, say a bullet firing from a gun?
How much does the work flow differ from movie effect?
oh, and 1 more thing, I want to write music and create sound effects for games, do you have any tips for me regarding jobs, how much samples do I need when searching for a job?
Thanks
-Deaq
I teach interactive audio in a recording program, and I have some students that have borderline genius levels of potential. Advice from a pro is both inspirational and practical.
What would you say to the students that are just graduating, and want to know how to break into the game audio production world. What kind of demo should they have (to stand out), and how should they approach contacting development teams?
Thank you so much for your time!
Hi Rob,
I was wondering how QA (Quality Assurance) fits into your production/development pipeline? Thanks!
Hey Rob,
It’s been great having you in the spotlight this month, kudos to Designing Sound for pulling together an epic set of articles.
In your recent article on the role of the Audio Director you spent a fair amount of time discussing implementation and the recently adopted title of “Technical Sound Designer” as someone who spends 80% or more of their time working on implementation and sound defects.
It seems like, in the not too long ago past, that implementation was seen as a “stepping stone” for Sound Designers or Musician’s to get their foot in the door in order to eventually move “up” to Sound Design or Music.
I’m curious as to whether you feel that the Technical Sound Design role has gained traction across the industry as it’s own specialization?
Are there aspects of game audio that you wish would get more attention from professionals on the development (non-audio) side?
Are there any techniques or technologies for interactive sound that you would like to see more of/ used more often across the industry?
Care to share any visions of the future for game sound?
Steady on,
-damian
Hello Rob
im an electronic music composer and i want to make the leap from that to a professional sound designer, im a complete geek in digital sound synthesis, my question is probably dumb but im curious in where should i look to become a professional sound designer not just a geek. what subjects should i master.
are there any institutions that teach sound design as a career?
what were the steps you took to land your first job and consider yourself a sound designer.