Comments on: Your Questions to Chuck Russom https://designingsound.org/2010/04/08/your-questions-to-chuck-russom/ Art and technique of sound design Sat, 23 Feb 2013 16:56:00 +0000 hourly 1 https://wordpress.org/?v=6.2.8 By: Rene Coronado https://designingsound.org/2010/04/08/your-questions-to-chuck-russom/#comment-840 Sun, 25 Apr 2010 19:51:31 +0000 https://designingsound.org/?p=4148#comment-840 I have the hardest time getting fire to sound right. Any tips?

]]> By: Charlie Silver https://designingsound.org/2010/04/08/your-questions-to-chuck-russom/#comment-839 Sat, 24 Apr 2010 08:56:06 +0000 https://designingsound.org/?p=4148#comment-839 Hey Chuck,

I had a question regarding session file management. With games today having a lot of sounds that often need to be tweaked, do you put the individual layered sounds that comprise an explosion in one session file or have more of a macro file containing all of the explosions, shotgun blasts, etc? I’m wondering what file management practices you would recommend based on your own personal experiences.

Thanks!

]]> By: Chuck Russom https://designingsound.org/2010/04/08/your-questions-to-chuck-russom/#comment-838 Fri, 23 Apr 2010 18:27:11 +0000 https://designingsound.org/?p=4148#comment-838 Hey Ryan Smith,

I wrote my latest article after reading your post. I hope it will give you some of the info you are after:

https://designingsound.org/2010/04/chuck-russom-special-using-sound-libraries/

]]> By: Colton https://designingsound.org/2010/04/08/your-questions-to-chuck-russom/#comment-837 Thu, 22 Apr 2010 14:25:12 +0000 https://designingsound.org/?p=4148#comment-837 What software do you use aside from your DAW and sound forge? Do you ever get into Max/MSP, Reaktor, or any other programs? Thanks!!!

]]> By: Ryan https://designingsound.org/2010/04/08/your-questions-to-chuck-russom/#comment-836 Thu, 15 Apr 2010 03:32:05 +0000 https://designingsound.org/?p=4148#comment-836 Hey Chuck,

Knowing that your audio will be downgraded somewhat for a videogame, do you ever compensate by adding more high end than you usually would in the mix so it pops through more after it gets converted down to whatever format? MP3.. 44K.. or whatever videogames are doing now-a-days?

]]> By: Enos https://designingsound.org/2010/04/08/your-questions-to-chuck-russom/#comment-835 Sun, 11 Apr 2010 10:22:46 +0000 https://designingsound.org/?p=4148#comment-835 Hi Chuck!
1) When recording sound fx, how often do you use several different mics to capture different perspectives. I understand that gun sessions is an obvious one as well as vehicle recording. But do you find yourself using multiple mics for perspective/different sonic qualities when recording other more common sounds?

2) Regarding audio implementing, is it part of your job as a sound designer nowadays? If so, what engines are you usually working with (FMOD,WWISE,etc…)?

]]> By: JED https://designingsound.org/2010/04/08/your-questions-to-chuck-russom/#comment-834 Fri, 09 Apr 2010 19:08:30 +0000 https://designingsound.org/?p=4148#comment-834 Also, how do you give metadata to your sounds? What’s your strategy in terms of how to name your sounds and describe them. Thx again!

]]> By: JED https://designingsound.org/2010/04/08/your-questions-to-chuck-russom/#comment-833 Fri, 09 Apr 2010 01:58:15 +0000 https://designingsound.org/?p=4148#comment-833 Hi Chuck!
Can you tell us if you managed to bypass this MTX box, cause we’re a couple of guys who think that it’s still possible to do it (making a 7pin to 5pin to 2x 3pin XLR connectors)… Also, can you give us some of the most crazy “natural / unreal” sounds you ever recorded? Thx

]]> By: Edward Mowinckel https://designingsound.org/2010/04/08/your-questions-to-chuck-russom/#comment-832 Thu, 08 Apr 2010 23:40:39 +0000 https://designingsound.org/?p=4148#comment-832 Why hello Mr. Russom, and Miguel! Mr. Russom, you sir, you do a lot of field recording. I think the list of things you haven’t recorded is shorter than the list of things you have recored. So I ask you this which I have a problem with; Mic gain when recording. Judging gain is something I need to work on. I went out to record a train, waited in the frakking freezing cold for it to pass, which it eventually did. Whereupon, I get my recording, bolt inside, shed my parka and zero down all my gear at what was surely a record speed, put my SD card into my computer, ready for AWESOME train sounds, expecting an intense ‘BWOOM TICKA-TICKA-TICKA-TICKA’ as it booms past me. However, all my mic picked up was ‘Fwuh-ta-ta-tuh’. I thought I had adjusted my gain well, I clapped my hands, and adjusted the gain until until I wasn’t peaking. CLEARLY, this is no the way to go.

So, to summarize my VERY LENGTHY question: Do you have tips for selecting the right gain levels for what you’re recording?

Also: God of War II is a very loud game, in terms of music, and sound. Was there ever a conflict between the sound design team, and the music team over whose noise takes precedence, or gets cranked up more? Or in videogames, is the attitude toward balancing the mix between music and sound more laid back since the player can adjust those levels on their own?

]]> By: RichardDevine https://designingsound.org/2010/04/08/your-questions-to-chuck-russom/#comment-831 Thu, 08 Apr 2010 16:51:02 +0000 https://designingsound.org/?p=4148#comment-831 Hello Chuck, you mentioned that you love using Sound Forge. I would love to know some of your favorite sound editing tips with this software.

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