Sound Story Network http://feed.informer.com/digests/B48OX5U4PQ/feeder Sound Story Network Respective post owners and feed distributors Thu, 25 Jan 2018 14:44:00 +0100 Feed Informer http://feed.informer.com/ The Composer Success Series: Composing For Theatre – With Elyssa Samsel, Kate Anderson, and Daniel Kluger https://www.asoundeffect.com/composing-for-theatre-composer-success-series/ A Sound Effect urn:uuid:50a23ca6-d6ca-c7fb-0ce5-97ff9ab585ca Thu, 16 Sep 2021 17:09:24 +0200 <img width="640" height="335" src="https://cdna.asoundeffect.com/wp-content/uploads/2021/08/16152431/composersucces-theatre_v2_2.jpg" class="attachment-large size-large wp-post-image" alt="Composing for Theatre - The Composer Success Series" srcset="https://cdna.asoundeffect.com/wp-content/uploads/2021/08/16152431/composersucces-theatre_v2_2.jpg 825w, https://cdna.asoundeffect.com/wp-content/uploads/2021/08/16152431/composersucces-theatre_v2_2-300x157.jpg 300w, https://cdna.asoundeffect.com/wp-content/uploads/2021/08/16152431/composersucces-theatre_v2_2-768x402.jpg 768w, https://cdna.asoundeffect.com/wp-content/uploads/2021/08/16152431/composersucces-theatre_v2_2-125x65.jpg 125w, https://cdna.asoundeffect.com/wp-content/uploads/2021/08/16152431/composersucces-theatre_v2_2-75x39.jpg 75w, https://cdna.asoundeffect.com/wp-content/uploads/2021/08/16152431/composersucces-theatre_v2_2-220x115.jpg 220w, https://cdna.asoundeffect.com/wp-content/uploads/2021/08/16152431/composersucces-theatre_v2_2-500x262.jpg 500w" sizes="(max-width: 640px) 100vw, 640px" /><p> Elyssa Samsel, Kate Anderson, and Daniel Kluger on how to get started and succeed in music for live theatre:</p> <p>The post <a rel="nofollow" href="https://www.asoundeffect.com/composing-for-theatre-composer-success-series/">The Composer Success Series: Composing For Theatre – With Elyssa Samsel, Kate Anderson, and Daniel Kluger</a> appeared first on <a rel="nofollow" href="https://www.asoundeffect.com">A Sound Effect</a>.</p><img src="http://feeds.feedburner.com/~r/ASoundEffect/~4/mVKLNYJcZz4" height="1" width="1" alt=""/> Music arrangement Broadway composing getting started live musicals off-Broadway orchestration performers play singers songwriting sound design starting success theater theatre Jennifer Walden Get Accentize’s PreFET plugin here – completely free! https://www.asoundeffect.com/accentize-prefet-free-plugin/ A Sound Effect urn:uuid:2a323d68-9c0c-8224-042c-88d870af33e6 Thu, 16 Sep 2021 16:49:40 +0200 <img width="640" height="388" src="https://cdna.asoundeffect.com/wp-content/uploads/2021/09/16160118/prefet_free_plugin.jpg" class="attachment-large size-large wp-post-image" alt="Get the free PreFET plugin here" srcset="https://cdna.asoundeffect.com/wp-content/uploads/2021/09/16160118/prefet_free_plugin.jpg 825w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/16160118/prefet_free_plugin-300x182.jpg 300w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/16160118/prefet_free_plugin-768x465.jpg 768w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/16160118/prefet_free_plugin-125x76.jpg 125w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/16160118/prefet_free_plugin-75x45.jpg 75w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/16160118/prefet_free_plugin-220x133.jpg 220w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/16160118/prefet_free_plugin-500x303.jpg 500w" sizes="(max-width: 640px) 100vw, 640px" /><p>Accentize is giving away their PreFET pre-amp emulation plugin for free - get it right here:</p> <p>The post <a rel="nofollow" href="https://www.asoundeffect.com/accentize-prefet-free-plugin/">Get Accentize&#8217;s PreFET plugin here &#8211; completely free!</a> appeared first on <a rel="nofollow" href="https://www.asoundeffect.com">A Sound Effect</a>.</p><img src="http://feeds.feedburner.com/~r/ASoundEffect/~4/m7Cu-TAgY0A" height="1" width="1" alt=""/> Sound community highlights Accentize Amp Sim plugin Free VST Plugin pre-amp emulation plugin PreFET Asbjoern Andersen The Creative Arts Emmy ’21 sound category winners have been found – here are the sound stories behind 8 of them: https://www.asoundeffect.com/creative-arts-emmy-21-sound/ A Sound Effect urn:uuid:dc020dfa-d3a4-0bdd-f296-12ad66d98c69 Tue, 14 Sep 2021 15:27:17 +0200 <img width="640" height="388" src="https://cdna.asoundeffect.com/wp-content/uploads/2021/09/13212642/creative_emmy_sound_2021_.jpg" class="attachment-large size-large wp-post-image" alt="Creative Emmy sound editing, sound mixing, and music 2021" srcset="https://cdna.asoundeffect.com/wp-content/uploads/2021/09/13212642/creative_emmy_sound_2021_.jpg 825w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/13212642/creative_emmy_sound_2021_-300x182.jpg 300w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/13212642/creative_emmy_sound_2021_-768x465.jpg 768w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/13212642/creative_emmy_sound_2021_-125x76.jpg 125w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/13212642/creative_emmy_sound_2021_-75x45.jpg 75w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/13212642/creative_emmy_sound_2021_-220x133.jpg 220w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/13212642/creative_emmy_sound_2021_-500x303.jpg 500w" sizes="(max-width: 640px) 100vw, 640px" /><p>Go behind the sound for the 2021 Creative Arts Emmy sound category winners here:</p> <p>The post <a rel="nofollow" href="https://www.asoundeffect.com/creative-arts-emmy-21-sound/">The Creative Arts Emmy &#8217;21 sound category winners have been found &#8211; here are the sound stories behind 8 of them:</a> appeared first on <a rel="nofollow" href="https://www.asoundeffect.com">A Sound Effect</a>.</p><img src="http://feeds.feedburner.com/~r/ASoundEffect/~4/JAFRi3bHSjA" height="1" width="1" alt=""/> Television sound awards complete list composer composing Creative Arts Emmy editor Emmy 2021 emmy awards mixer music Original Music sound Sound Editing sound effects Sound Mixing TV winners Jennifer Walden Designing the Sound of Neill Blomkamp’s ‘Demonic’ — with Jo Rossi, Vince Renaud, and Nolan McNaughton https://www.asoundeffect.com/demonic-sound/ A Sound Effect urn:uuid:a3aa0192-04ec-cd43-dc9f-b42c88d4ede7 Mon, 13 Sep 2021 23:30:56 +0200 <img width="640" height="386" src="https://cdna.asoundeffect.com/wp-content/uploads/2021/09/09174234/Demonic_sound_01.jpg" class="attachment-large size-large wp-post-image" alt="Demonic_sound_01" srcset="https://cdna.asoundeffect.com/wp-content/uploads/2021/09/09174234/Demonic_sound_01.jpg 717w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/09174234/Demonic_sound_01-300x181.jpg 300w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/09174234/Demonic_sound_01-125x75.jpg 125w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/09174234/Demonic_sound_01-75x45.jpg 75w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/09174234/Demonic_sound_01-220x133.jpg 220w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/09174234/Demonic_sound_01-500x301.jpg 500w" sizes="(max-width: 640px) 100vw, 640px" /><p>'Demonic' blends high-tech virtual reality and ancient demonic folklore - here's how its sound was made:</p> <p>The post <a rel="nofollow" href="https://www.asoundeffect.com/demonic-sound/">Designing the Sound of Neill Blomkamp&#8217;s &#8216;Demonic&#8217; &#8212; with Jo Rossi, Vince Renaud, and Nolan McNaughton</a> appeared first on <a rel="nofollow" href="https://www.asoundeffect.com">A Sound Effect</a>.</p><img src="http://feeds.feedburner.com/~r/ASoundEffect/~4/UjcnZI0UYO4" height="1" width="1" alt=""/> Film sound ambience Big Fish Audio Cargo Cult demon demonic film glitch glitchy horror izotope Krotos modulation monster Native Instruments Neill Blomkamp Reformer simulation sound design sound editorial sound effects Soundtoys The Cargo Cult virtual reality vocal design vocals Jennifer Walden Sound Designer, Toivo Kallio (Returnal, Angry Birds: Reloaded) https://www.thesoundarchitect.co.uk/tsap-s04e13/ urn:uuid:0f2689e6-e541-3d26-b250-409b8553c602 Sun, 12 Sep 2021 10:49:43 +0200 <a href="https://www.thesoundarchitect.co.uk/tsap-s04e13/" title="Sound Designer, Toivo Kallio (Returnal, Angry Birds: Reloaded)" rel="nofollow"><img width="1280" height="720" src="https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/09/Toivo.png" class="webfeedsFeaturedVisual wp-post-image" alt="Toivo Kallio" loading="lazy" style="display: block; margin: auto; margin-bottom: 5px;max-width: 100%;" link_thumbnail="1" srcset="https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/09/Toivo.png 1280w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/09/Toivo-300x169.png 300w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/09/Toivo-1024x576.png 1024w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/09/Toivo-768x432.png 768w" sizes="(max-width: 1280px) 100vw, 1280px" /></a><p><a rel="nofollow" href="https://www.thesoundarchitect.co.uk">The Sound Architect - </a></p> <p>In this special in-person interview, Sam chats to our very own Toivo Kallio. Toivo is not only a highly talented Sound Designer at Rovio Entertainment, he also kindly lends his skills to editing and mastering our podcast episodes (including this one!).  Big thanks to Toivo Kallio for editing and mastering. Like what you hear?...</p> <p>The post <a rel="nofollow" href="https://www.thesoundarchitect.co.uk/tsap-s04e13/">Sound Designer, Toivo Kallio (Returnal, Angry Birds: Reloaded)</a> appeared first on <a rel="nofollow" href="https://www.thesoundarchitect.co.uk">The Sound Architect</a>.</p> Blog Film Sound Game Audio Interviews Sam Hughes Sound Designers/Audio Professionals The Sound Architect Podcast toivo kallio Sam Hughes 21 great new audio jobs at NYT, Facebook, Bungie, Space Ape Games, Relic, Bad Robot Games, ZeniMax, Players Attic, 8 Circuit Studios, Hexany, TiMi Studios, TMI Project, DMS, This American Life, NExT Studios, Maschinen-Mensch, Coolmath Games, Nine, Diamond https://soundlister.com/21-great-new-audio-jobs-at-nyt-facebook-bungie-space-ape-games-relic-bad-robot-games-zenimax-players-attic-8-circuit-studios-hexany-timi-studios-tmi-project-dms-this-american-life/ Soundlister.com urn:uuid:d6e190c9-cf68-541a-b483-76e8275f8eb6 Fri, 10 Sep 2021 15:46:50 +0200 <p><img width="600" height="314" src="https://soundlister.com/wp-content/uploads/2020/05/audiojobs_20_b-600x314.jpg" class="attachment-large size-large wp-post-image" alt="Audio jobs by Soundlister" loading="lazy" style="float:left; margin:0 15px 15px 0;" />Wanted: Sound Designer, Music Lead, Senior Technical Audio Designer, Studio Audio Director, Voice Over Supervisor, Voice Over Artist (Male), Voice Over Artist (Female), Associate Sound Designer, Audio Production Coordinator, Producer, ML Audio Research Engineer, Senior/Principal Technical Sound Designer, Podcast Producer, Junior Dubbing Mixer, Fellow, Game Audio Designer, Games Producer, Audio Producer, Audio Editor, and Senior Audio Engineer</p> <p>The post <a rel="nofollow" href="https://soundlister.com/21-great-new-audio-jobs-at-nyt-facebook-bungie-space-ape-games-relic-bad-robot-games-zenimax-players-attic-8-circuit-studios-hexany-timi-studios-tmi-project-dms-this-american-life/">21 great new audio jobs at NYT, Facebook, Bungie, Space Ape Games, Relic, Bad Robot Games, ZeniMax, Players Attic, 8 Circuit Studios, Hexany, TiMi Studios, TMI Project, DMS, This American Life, NExT Studios, Maschinen-Mensch, Coolmath Games, Nine, Diamond Podcasting, and Stitcher</a> appeared first on <a rel="nofollow" href="https://soundlister.com">Soundlister.com</a>.</p> <img width="600" height="314" src="https://soundlister.com/wp-content/uploads/2020/05/audiojobs_20_b-600x314.jpg" class="attachment-large size-large wp-post-image" alt="Audio jobs by Soundlister" loading="lazy" style="float:left; margin:0 15px 15px 0;" /><div style="padding-bottom: 40px;"> <div class="frm_forms with_frm_style frm_style_job-submission-style" id="frm_form_21_container" > <form enctype="multipart/form-data" method="post" class="frm-show-form frm_pro_form " id="form_frd89" > <div class="frm_form_fields "> <fieldset> <legend class="frm_hidden">Job Subscription</legend> <div class="frm_fields_container"> <input type="hidden" name="frm_action" value="create" /> <input type="hidden" name="form_id" value="21" /> <input type="hidden" name="frm_hide_fields_21" id="frm_hide_fields_21" value="" /> <input type="hidden" name="form_key" value="frd89" /> <input type="hidden" name="item_meta[0]" value="" /> <input type="hidden" id="frm_submit_entry_21" name="frm_submit_entry_21" value="62db5ddbc2" /><input type="hidden" name="_wp_http_referer" value="/feed/" /><label for="frm_verify_21" class="frm_screen_reader frm_hidden">If you are human, leave this field blank.</label> <input type="text" class="frm_hidden frm_verify" id="frm_verify_21" name="frm_verify" value="" /> <p><center></p> <div id="frm_field_272_container" class="frm_form_field frm_html_container form-field"><center></p> <h3>Get exciting new audio job opportunities delivered straight to your inbox</h3> <p></center></div> <p></center></p> <div id="frm_field_271_container" class="frm_form_field form-field frm_none_container frm_first frm_half"> <label for="field_adbxe" class="frm_primary_label">Email Address <span class="frm_required"></span> </label> <input type="email" id="field_adbxe" name="item_meta[271]" value="" placeholder="Enter email address" data-invmsg="Email Address is invalid" /> </div> <input type="hidden" name="item_key" value="" /> <div class="frm_submit frm_half"> <input type="submit" value="Subscribe" class="frm_final_submit" /> <img class="frm_ajax_loading" src="https://soundlister.com/wp-content/plugins/formidable/images/ajax_loader.gif" alt="Sending"/> </div></div> </fieldset> </div> </form> </div> </div> <div style="padding-bottom: 20px;"><p>We came across interesting new jobs at 8 Circuit Studios, Space Ape Games, Relic Entertainment, and Bad Robot Games &#8211; and they&#8217;re looking for a Sound Designer (Remote), Music Lead (England), Senior Technical Audio Designer (BC, Canada), and Studio Audio Director (CA, US).</p> <p>We also found openings for an <a href="https://careers.bungie.com/jobs/3375492/production-coordinator" rel="noopener noreferrer" target="_blank">Audio Production Coordinator</a> at Bungie (WA, US), <a href="https://jobs.zenimax.com/requisitions/view/2224" target="_blank" rel="noopener noreferrer">Voice Over Supervisor</a> at ZeniMax Online Studios (MD, US), <a href="https://remotegamejobs.com/jobs/players-attic-voice-over-artist-male-remote-job" target="_blank" rel="noopener noreferrer">Voice Over Artist (Male)</a> at Players Attic (Remote), <a href="https://remotegamejobs.com/jobs/players-attic-voice-over-artist-female-remote-job" target="_blank" rel="noopener noreferrer">Voice Over Artist (Female)</a> at Players Attic (Remote), <a href="https://t.co/ecDsWz0mso?amp=1" target="_blank" rel="noopener noreferrer">Associate Sound Designer</a> at Hexany Audio (CA, US), <a href="https://www.linkedin.com/jobs/view/2677470901" target="_blank" rel="noopener noreferrer">Producer</a> at NYT Opinion (NY, US), <a href="https://www.linkedin.com/jobs/view/2682811949" target="_blank" rel="noopener noreferrer">ML Audio Research Engineer</a> at Facebook (CA, US), <a href="https://boards.greenhouse.io/tencent/jobs/5302435002#:~:text=The%20Senior%2FPrincipal%20Technical%20Sound%20Designer%20is%20responsible%20for,overall%20quality%20level%20of%20audio%20in%20our%20games." target="_blank" rel="noopener noreferrer">Senior/Principal Technical Sound Designer</a> at TiMi Studios (WA, US / CA, US), <a href="https://www.tmiproject.org/podcast-position/" target="_blank" rel="noopener noreferrer">Podcast Producer</a> at TMI Project (Remote), <a href="https://remotegamejobs.com/jobs/maschinen-mensch-producer-remote-job" target="_blank" rel="noopener noreferrer">Producer</a> at Maschinen-Mensch (Remote), <a href="https://www.linkedin.com/jobs/view/2712148723" target="_blank" rel="noopener noreferrer">Games Producer</a> at Coolmath Games (NY, US), <a href="https://www.linkedin.com/jobs/view/2706578628" target="_blank" rel="noopener noreferrer">Audio Producer</a> at Nine (NSW, Australia), <a href="https://www.linkedin.com/jobs/view/2709552003" target="_blank" rel="noopener noreferrer">Audio Editor</a> at Diamond Podcasting (Remote / Netherlands), and <a href="https://jobs.jobvite.com/siriusxm/job/od6Qgfw9" target="_blank" rel="noopener noreferrer">Senior Audio Engineer</a> at Stitcher (CA, US).</p> <p>Bonus: <a href="https://www.facebook.com/groups/audiojobs/" target="_blank" rel="noopener noreferrer">The Audio Jobs</a> group also has opportunities for a <a href="https://l.facebook.com/l.php?u=https%3A%2F%2Fsoundlister.com%2Fnew-audio-job-for-a-junior-dubbing-mixer-at-dms%2F%3Ffbclid%3DIwAR2GaJO2kfp3WrlFq8qdl0ap-l-i1TsTNdKh2LRuF0itpJUbuWoxWTMcFoM&#038;h=AT0OYdLpXAp9GAtQ3MgYFS_ZHqIeZOYs_yqwB7F0-MbqYQxd3kBop8vqJ8lxv_nQs9YjcbirRywuWEJc-ptQEBK0mKZGHkzG9YNalB4UE8PMj69IKa5bLl2xMmdQwVVPdQ" target="_blank" rel="noopener noreferrer">Junior Dubbing Mixer</a> at DMS (England), <a href="https://www.thisamericanlife.org/fellowships?fbclid=IwAR1BiVb6eRySBP7-reRT1P_WpAdHAe_HinATOe7lt4fUdJTdN7JTb1iohcE" target="_blank" rel="noopener noreferrer">Fellow</a> at This American Life (Remote / NY, US), and <a href="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.nextstudios.com%2Fcareers%2Findex_en.html%3Ffbclid%3DIwAR1GNaqUzgNQL7QS6xvww3xKT6peEd4GdRN6hhSWe77jGBmwRVMTRWRY0YQ&#038;h=AT3X1I3P_SltheVQX5rchPzqtL6Tb1ZUfMCmB3KduWQRgATEKo8itgK-lMVTCPK7w0HjF-G49SOyISWGCpMEEhgWuLuGXBX51-Q3xCFPR1QPLymEfwof2jJEZ-5vttsKtQ" target="_blank" rel="noopener noreferrer">Game Audio Designer</a> at NExT Studios (SH, China). Happy job hunting!</p> </div> <hr><br> <strong>Highlight &#8211; sound stories this week:</strong> <br><br> &bull; <a href="https://www.asoundeffect.com/candyman-sound/" target="_blank" rel="noopener noreferrer">Get the in-depth story behind the sound of <em>Candyman</em> – and hear how Michael Babcock used sound as a storytelling tool</a>. <br><br> &bull; <a href="https://www.asoundeffect.com/sound-design-contest-2021/" target="_blank" rel="noopener noreferrer">Unleash your sonic creativity in this brand new sound design contest</a>. <br><br> &bull; <a href="https://www.asoundeffect.com/katla-sound/" target="_blank" rel="noopener noreferrer">Huldar Freyr Arnarson shares his natural approach to the supernatural sound of <em>Katla</em></a>. <br><br> &bull; <a href="https://www.asoundeffect.com/free-guy-sound/" target="_blank" rel="noopener noreferrer">Hear the story on how the sound for <em>Free Guy</em> was created, in this brand-new audio interview</a>. <br><br> <hr> <br> <div class="note"><strong><span style="font-size: 24px;">Sound Designer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> 8 Circuit Studios</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Remote</span><br> <div class="jobDesc"><strong>Job description</strong> <p>8 Circuit Studios is seeking a full scale sound designer with strong Unreal Engine experience to own the gameplay audio pipeline in our flagship working title in pre-alpha Early Access release, Project Genesis.</p> <p>You will utilize and locate libraries to stub-in audio, create new audio, set up and connect audio to events in Unreal Blueprint. Setup custom audio volumes in map levels to utilize dynamic reverb. Setup sound classes and custom attenuation. Setup and assign audio cues to ships, avatars, weapons, and AI creatures directly.</p> <strong>Responsibilities</strong> <ul> <li>Review the current state of audio in the game, propose and scope work necessary to meet product goals to stakeholders and execute proficiently.</li> <li>Sound design of game ready assets.</li> <li>Integration of game ready assets using middleware and/or custom audio tools.</li> <li>Tuning of in-game parameters.</li> <li>Optimize and extend audio tooling as needed.</li> <li>Maintain and extend documentation on systems.</li> <li>Self-manage audio task schedule updates and coordinate with production team.</li> <li>Able to take direction and incorporate feedback in a fast-paced production environment.</li> <li>Organize audio assets and name conventions.</li> </ul> <strong>Requirements</strong> <ul> <li>Shipped at least 1 video game title as an audio designer.</li> <li>Designed and implemented audio within Unreal Engine, Unity, or equivalent AAA engine.</li> <li>Strong understanding of audio engineering principles including signal flow, bitrate.</li> </ul> <strong>Experience:</strong> <ul> <li>Unreal Engine: 2 years (Required)</li> <li>Released Game Products: 1 year (Required)</li> </ul> <strong>Work Location:</strong> <ul> <li>Fully Remote</li> </ul> </div> <div class="btnFix"><a class="btnJobs" href="https://www.glassdoor.com/partner/jobListing.htm?pos=104&#038;ao=1136043&#038;s=58&#038;guid=0000017bcb46048092675b0820046dbf&#038;src=GD_JOB_AD&#038;t=SR&#038;vt=w&#038;ea=1&#038;cs=1_26dcef28&#038;cb=1631202970747&#038;jobListingId=1007233283993&#038;jrtk=2-0-1ff5kc1bi3o7h001-1ff5kc1ksn5fv800-d5a6a0600a603502" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://www.glassdoor.com/Job/" target="_blank" rel="noopener noreferrer">Glassdoor</a></div> </div> <div class="grayBreak"></div> <div class="note"><strong><span style="font-size: 24px;">Music Lead</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Space Ape Games</span><br> <span style="font-size: 16px;"><strong>Location:</strong> London, UK</span><br> <div class="jobDesc"><strong>Job description</strong> <p>We’re on the lookout for a Music Content Specialist / Music Supervisor to drive the musical direction of our recently launched hit music game <a href="http://www.beatstar.com/">Beatstar</a>.</p> <strong>About Beatstar</strong> <p>Beatstar is a unique mobile music rhythm game that lets you touch your music. It features hundreds of fully licensed original recordings from Doja Cat, Avicii and Lil Nas X, to classics like Lynyrd Skynrd’s “Sweet Home Alabama” or Run-DMC’s “It’s Tricky”. Imagine the best Coachella lineup ever: that’s Beatstar.</p> <p>The game launched globally in September and is on track to be one of the biggest mobile game releases of the year, and the largest reach of any music game ever. </p> <p>The team behind Beatstar has a deep pedigree with credits including many hit mobile games and classic music games such as Guitar Hero, Rock Band and DJ Hero. Space Ape’s advanced ‘HeartBeat’ engine creates a hugely satisfying player experience by shifting the audio and visual core of the game in real time to match the current song. HeartBeat handles any genre, empowering our “Beatmappers” to add dozens of songs each month to keep players engaged and unlock opportunities to collaborate with massive artists on marketing campaigns, and break new acts in partnership with our music and platform partners.</p> <p>Beatstar is a collaboration between Space Ape Games in London, and Supercell in San Francisco. The Space Ape team is responsible for development and operations of the game, whilst Supercell is responsible for marketing. </p> <p>If you haven’t experienced Beatstar for yourself, stop reading now. Go download it (for free) on Google Play or the App Store. If you’ve already mastered the game then read on to find out how you might help cement it’s position as the defining music game.</p> <strong>The Role</strong> <p>You will be responsible for the musical direction of the game.</p> <p>This is a broad remit that will require you to use your knowledge and help the team of talented designers and musicians make important decisions. Which audiences represent the best opportunities; in terms of market potential and licensing feasibility? Which countries should we focus on building local playlists for? Which up and coming artists resonate best with the players who already love Beastar? Which genres represent opportunities for us to expand into? Which artists should we focus our co-marketing budgets on?</p> <p>In game development, every opportunity has a cost and you’ll need to work closely with the game team to understand the tradeoffs and build consensus around the right music strategy for the game.</p> <p>The role also includes execution of that strategy. This means maintaining great relationships with the rights holders, platforms and artist management teams who we are already working with to vet and identify opportunities. It might also mean identifying new partners with specific regional or genre focus and negotiating licensing and co-marketing deals. And inevitably it will involve a lot of chasing down approvals from all the stakeholders, and a high level of organization and communication.</p> <strong>Requirements</strong> <ul> <li>You are passionate about music and keep up to date with the latest global music trends</li> <li>You are tech savvy and are comfortable interpreting data to make decisions</li> <li>You have excellent organisational skills and have experience using Microsoft Excel/Google Sheets</li> <li>You are proactive and thrive in a collaborative, fast paced, creative environment</li> <li>You have an understanding of music licensing and managing relationships with music partners</li> <li>You need not have worked in games/apps before but instinctively understand what makes games and freemium apps successful in today’s competitive mobile market</li> <li>You are confident engaging with senior management, marketing and business development teams in a variety of organizations, including music labels and management</li> </ul> <strong>Responsibilities</strong> <ul> <li>Curate playlists of songs for beatstar for various player cohorts. You should understand how to cater music for players from different countries, demographics, and with different music tastes.</li> <li>Own the end-to-end song approval process from researching rights holders to requesting and tracking approvals from labels and publishers as well as organising payments to rights holders. We’re talking about hundreds of songs here, perhaps thousands over the next few years.</li> <li>Review new music pitches and evaluate technical suitability of new tracks for Beatstar</li> <li>Support the marketing team with artist and music selection for adverts and promotional activity</li> <li>Maintain great working relationships with our Music Partners</li> </ul> <p>Salary is negotiable based on experience. Open to flexible / remote working arrangements for the right candidate.</p> </div> <div class="btnFix"><a class="btnJobs" href="https://spaceapegames.com/careers/development/music-lead-beatstar" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://twitter.com/SchoolGameAudio/status/1435327020267753475" target="_blank" rel="noopener noreferrer">School.VideoGameAudio.com @SchoolGameAudio</a></div> </div> <div class="grayBreak"></div> <div class="note"><strong><span style="font-size: 24px;">Senior Technical Audio Designer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Relic Entertainment</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Vancouver, BC, Canada</span><br> <div class="jobDesc"><strong>Job description</strong> <p>Relic Entertainment is a wholly owned studio of SEGA. We are an award-winning developer of genre-defining games like Homeworld, Dawn of War, Company of Heroes, and Age of Empires. We have delivered rich, thoughtful strategy games throughout our history and our vision is to continue making games that people love to play. </p> <p>We have an opportunity for a <strong>Senior Technical Audio Designer</strong> to join our studio in beautiful Vancouver. </p> <p>This is a full-time permanent position requiring English language proficiency. </p> <p>Salary: Approx. $105,000 &#8211; $125,000 CAD. Salary to be negotiated based on experience. </p> <p>The Senior Technical Audio Designer acts as a bridge between the audio designers and programmers. They are considered part of the Core Tech team and work closely with Project Sound Designers, Project Managers, Programmers, and the Technical Art team. Their main areas of responsibility include improving and centralizing audio workflows, tools, pipelines, asset integration, and optimization. The Senior Technical Audio Designer will also work within the overall vision and roadmap for Core Tech. </p> <strong>As a Senior Technical Audio Designer, you will &#8230;</strong> <ul> <li>Work with audio and production teams to design and implement tools, workflows and functionality for audio </li> <li>Work closely with the dev test team to identify pipelines and workflows that require automated and regular testing, and assist with debugging and testing </li> <li>Document new and existing tools and workflows </li> </ul> <strong>You are a great fit if you have &#8230;</strong> <ul> <li>Shipped multiple AAA titles in the role of a Technical Audio Designer, or equivalent Technical Art or Programming </li> <li>Previous experience in audio recording, editing, mastering, publishing, custom audio tool development, debugging, testing audio in a commercial environment </li> <li>Working knowledge of Wwise or comparable technology (FMOD, Proprietary) </li> <li>Experience working with commercial audio software (Protools, Reaper, Cubase, Logic Pro, etc.) and/or equipment </li> <li>Fundamental understanding of data pipelines as they apply to game development </li> <li>Knowledge of digital signal processing </li> <li>Scripting experience in Lua, Python, or similar and a fundamental understanding of programming concepts </li> </ul> <strong>It&#39;s a bonus if you have &#8230;</strong> <ul> <li>Experience with visual scripting languages such as Blueprint, Kismet, Max/MSP, etc </li> <li>Experience in developing and distributing custom development tools </li> <li>Worked with a game studio’s proprietary game engine </li> </ul> <strong>Are you game? We’d like to hear from you!</strong> </p> <p>Please apply through our careers page (<a href="http://www.relic.com">www.relic.com</a>) and we will be in touch shortly to let you know about next steps. </p> <strong>This is Relic</strong> </p> <p>We have a culture of kindness, transparency, and play. There is a lot of heart and passion at this studio – we get to work on projects we’re proud of and we work hard to be the best at what we do. We are curious, we strive for excellence, we build on each other’s ideas, and we celebrate each other’s great work. Relicans organize movie nights, game tournaments, life drawing, community and charity events, and more. Basically, we believe that good work starts with a community you’re excited to spend your day with, both in and out of the studio. </p> <p>Relic benefits include an extended benefits package, RRSP/DPSP matching program (subject to eligibility requirements), local discounts to gyms and restaurants in the area, and regular studio and community events. For designated roles, relocation and immigration assistance may be available. You will also become part of the SEGA family (in addition to Relic, this includes <a href="http://www.creative-assembly.com/">Creative Assembly</a>, <a href="http://www.sigames.com/">Sports Interactive</a>, <a href="http://www.hardlightstudio.com/%22%20/t%20%22_blank%22%20/">HARDlight Studio</a>, and <a href="http://www.amplitude-studios.com/">Amplitude Studios</a>), which gives us access to the resources to enable us to build on our legacy of innovation.</p> </div> <div class="btnFix"><a class="btnJobs" href="https://careers.sega.co.uk/careers/relic-entertainment/senior-technical-audio-designer" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://careers.sega.co.uk/careers/" target="_blank" rel="noopener noreferrer">Sega Careers</a></div> </div> <div class="grayBreak"></div> <div class="note"><strong><span style="font-size: 24px;">Studio Audio Director</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Bad Robot Games</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Santa Monica, CA, US</span><br> <div class="jobDesc"><strong>Job description</strong> <p>As the games division of Bad Robot Productions ( Lost, Cloverfield, Westworld, Star Wars, Star Trek ), we at Bad Robot Games are on a mission to continually reinvent how stories are played.</p> <p>We are a remote-first games company represented by a diverse team, which empowers us to make the kinds of games in which all players can see themselves. Working closely with our colleagues at Bad Robot Productions, our projects unite our extensive network of games, TV, and film industry talent to create original IPs, expansive worlds and tell new stories across all media platforms which are as fun to watch as they are to play.</p> <p>Bad Robot Games is looking for a Studio Audio Director who is creative, collaborative, and versatile, and excited about working on both brand new and established IP.</p> <p>Are you ready?</p> <strong>KEY RESPONSIBILITIES</strong> <ul> <li>Work with Game Directors to create memorable and iconic universes of sound for games< Audio Jobs Remote Audio Jobs Associate Sound Designer Audio Editor Audio Producer Audio Production Coordinator Fellow Game Audio Designer Games Producer Junior Dubbing Mixer ML Audio Research Engineer Music Lead Podcast Producer Producer Senior Audio Engineer Senior Technical Audio Designer Senior/Principal Technical Sound Designer Sound Designer Studio Audio Director Voice Over Artist (Female) Voice Over Artist (Male) Voice Over Supervisor Adriane Kuzminski 6 custom actions for podcast editing – Daniel Abendroth – REAPER for Podcasting https://reaperblog.net/2021/09/podcast-edit-actions/ The REAPER Blog urn:uuid:d30adbbb-4327-6972-5e28-efb69169725f Wed, 08 Sep 2021 17:31:44 +0200 <p>REAPER is fantastic software for music as well as editing podcasts. In this video, Daniel Abendroth shows his essential custom actions to make podcast editing a breeze in REAPER.</p> The post <a href="https://reaperblog.net/2021/09/podcast-edit-actions/">6 custom actions for podcast editing – Daniel Abendroth – REAPER for Podcasting</a> first appeared on <a href="https://reaperblog.net">The REAPER BLOG</a>. ACTIONS Audio Editing REAPER CUSTOMIZATION TUTORIAL VIDEO Admin The Chilling Sound of ‘Candyman’ – and how Michael Babcock sculpted the film’s unique sonic vocabulary: https://www.asoundeffect.com/candyman-sound/ A Sound Effect urn:uuid:7b038c98-43fa-5630-c605-354fea68748a Wed, 08 Sep 2021 15:08:13 +0200 <img width="640" height="335" src="https://cdna.asoundeffect.com/wp-content/uploads/2021/09/07201903/Candyman_sound-01.jpg" class="attachment-large size-large wp-post-image" alt="Candyman_sound-01" srcset="https://cdna.asoundeffect.com/wp-content/uploads/2021/09/07201903/Candyman_sound-01.jpg 825w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/07201903/Candyman_sound-01-300x157.jpg 300w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/07201903/Candyman_sound-01-768x402.jpg 768w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/07201903/Candyman_sound-01-125x65.jpg 125w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/07201903/Candyman_sound-01-75x39.jpg 75w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/07201903/Candyman_sound-01-220x115.jpg 220w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/07201903/Candyman_sound-01-500x262.jpg 500w" sizes="(max-width: 640px) 100vw, 640px" /><p>Get the in-depth story behind the sound of Candyman - and hear how Michael Babcock used sound as a storytelling tool:</p> <p>The post <a rel="nofollow" href="https://www.asoundeffect.com/candyman-sound/">The Chilling Sound of &#8216;Candyman&#8217; &#8211; and how Michael Babcock sculpted the film&#8217;s unique sonic vocabulary:</a> appeared first on <a rel="nofollow" href="https://www.asoundeffect.com">A Sound Effect</a>.</p><img src="http://feeds.feedburner.com/~r/ASoundEffect/~4/zNmMpL7enVc" height="1" width="1" alt=""/> Film sound ADR art art dealer backgrounds bees Burbank buzzing Cabrini-Green Candyman Chicago collaboration construction COVID film gentrification horror lights mirror mixing murder neon lights puppets racism remote Sanken CO-100K sound design sound effects terror vocabulary Warner Bros. Burbank Jennifer Walden New audio job for a Junior Dubbing Mixer at DMS: https://soundlister.com/new-audio-job-for-a-junior-dubbing-mixer-at-dms/ Soundlister.com urn:uuid:e1408f5b-f5f9-2115-6411-c3e0a521debb Wed, 08 Sep 2021 11:57:06 +0200 <p><img width="600" height="400" src="https://soundlister.com/wp-content/uploads/2021/09/aj_junior_dubbing_mixer-600x400.jpg" class="attachment-large size-large wp-post-image" alt="Junior Dubbing Mixer Audio Job" loading="lazy" style="float:left; margin:0 15px 15px 0;" />Learn more about this audio opportunity in London, UK:</p> <p>The post <a rel="nofollow" href="https://soundlister.com/new-audio-job-for-a-junior-dubbing-mixer-at-dms/">New audio job for a Junior Dubbing Mixer at DMS:</a> appeared first on <a rel="nofollow" href="https://soundlister.com">Soundlister.com</a>.</p> <img width="600" height="400" src="https://soundlister.com/wp-content/uploads/2021/09/aj_junior_dubbing_mixer-600x400.jpg" class="attachment-large size-large wp-post-image" alt="Junior Dubbing Mixer Audio Job" loading="lazy" style="float:left; margin:0 15px 15px 0;" />There&#8217;s a new opportunity for a Junior Dubbing Mixer at DMS in London, UK: <br> &nbsp; <br> <center><h3><a href="https://www.linkedin.com/jobs/view/2712164318/" rel="noopener noreferrer" target="_blank">Learn more about the audio job opportunity here</a></h3></center><br> <hr> <br> <br>&nbsp; <br> <center>Be the first to know about exciting new audio job posts: <a href="https://asoundeffect.us7.list-manage.com/subscribe?u=591aa926dac921217c05d95b6&#038;id=bf10d62189" target="_blank" rel="noopener noreferrer">Get the Audio Jobs newsletter here</a></center><br> <div class='ctx-subscribe-container ctx-personalization-container ctx_default_placement ctx-clearfix'></div><div class='ctx-social-container ctx_default_placement ctx-clearfix'></div><div class='ctx-module-container ctx_default_placement ctx-clearfix'></div><span class="ctx-article-root"><!-- --></span><p>The post <a rel="nofollow" href="https://soundlister.com/new-audio-job-for-a-junior-dubbing-mixer-at-dms/">New audio job for a Junior Dubbing Mixer at DMS:</a> appeared first on <a rel="nofollow" href="https://soundlister.com">Soundlister.com</a>.</p> Audio Jobs Junior Dubbing Mixer Asbjoern Andersen Behind the fun sound of ‘Free Guy’ – with Craig Henighan, Ryan Cole, & Paul Massey https://www.asoundeffect.com/free-guy-sound/ A Sound Effect urn:uuid:66800246-cd52-e69d-7055-293fa2e5b9b7 Wed, 08 Sep 2021 11:15:17 +0200 <img width="640" height="360" src="https://cdna.asoundeffect.com/wp-content/uploads/2021/09/08104435/free_guy_sound.jpg" class="attachment-large size-large wp-post-image" alt="Free Guy Sound" srcset="https://cdna.asoundeffect.com/wp-content/uploads/2021/09/08104435/free_guy_sound.jpg 825w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/08104435/free_guy_sound-300x169.jpg 300w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/08104435/free_guy_sound-768x432.jpg 768w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/08104435/free_guy_sound-125x70.jpg 125w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/08104435/free_guy_sound-75x42.jpg 75w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/08104435/free_guy_sound-220x124.jpg 220w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/08104435/free_guy_sound-500x281.jpg 500w" sizes="(max-width: 640px) 100vw, 640px" /><p>Hear the story on how the sound for Free Guy was created, in this brand-new audio interview:</p> <p>The post <a rel="nofollow" href="https://www.asoundeffect.com/free-guy-sound/">Behind the fun sound of &#8216;Free Guy&#8217; &#8211; with Craig Henighan, Ryan Cole, &#038; Paul Massey</a> appeared first on <a rel="nofollow" href="https://www.asoundeffect.com">A Sound Effect</a>.</p><img src="http://feeds.feedburner.com/~r/ASoundEffect/~4/WztBOQCPGII" height="1" width="1" alt=""/> Film sound Free Guy score Free Guy sound design Free Guy sound designer Free Guy sound effects Asbjoern Andersen 172 – The Sound of Free Guy https://tonebenderspodcast.com/172-the-sound-of-free-guy/ TonebendersPodcast.com urn:uuid:3b98a458-9bac-24e5-47b5-5c39fc54219d Wed, 08 Sep 2021 06:12:13 +0200 In this episode we talk with Craig Henighan (Supervising Sound Editor/SFX Re-Recording Mixer), Paul Massey (Dial/Music Re-Recording Mixer) and Ryan Cole (Dialog Supervisor) from the&#8230; ADR Case Study episodes Interview Timothy Muirhead How Custom Recordings Added Believability to Netflix’s ‘Katla’ Sci-fi Series https://www.asoundeffect.com/katla-sound/ A Sound Effect urn:uuid:bf38ea62-f3fb-0dc8-ae8d-9674449a7958 Tue, 07 Sep 2021 15:56:09 +0200 <img width="640" height="335" src="https://cdna.asoundeffect.com/wp-content/uploads/2021/09/02194349/Katla_sound-01.jpg" class="attachment-large size-large wp-post-image" alt="Katla_sound-01" srcset="https://cdna.asoundeffect.com/wp-content/uploads/2021/09/02194349/Katla_sound-01.jpg 825w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/02194349/Katla_sound-01-300x157.jpg 300w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/02194349/Katla_sound-01-768x402.jpg 768w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/02194349/Katla_sound-01-125x65.jpg 125w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/02194349/Katla_sound-01-75x39.jpg 75w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/02194349/Katla_sound-01-220x115.jpg 220w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/02194349/Katla_sound-01-500x262.jpg 500w" sizes="(max-width: 640px) 100vw, 640px" /><p>Sound supervisor/re-recording mixer Huldar Freyr Arnarson shares his natural approach to the supernatural sound of Katla:</p> <p>The post <a rel="nofollow" href="https://www.asoundeffect.com/katla-sound/">How Custom Recordings Added Believability to Netflix&#8217;s &#8216;Katla&#8217; Sci-fi Series</a> appeared first on <a rel="nofollow" href="https://www.asoundeffect.com">A Sound Effect</a>.</p><img src="http://feeds.feedburner.com/~r/ASoundEffect/~4/nUBon0s6ydo" height="1" width="1" alt=""/> Television sound ambiences birds car changling custom recording field recording Iceland Icelandic Katla Katla field recording Katla sound design Katla sound effects Katla sound recording library M/S netflix ocean production production sound realistic recording rumble series sound design sound effects sound library supernatural vehicles volcano Jennifer Walden 21 great new audio jobs at Sucker Punch, Remedy, Nest, KingIsle, EA Sports, Dolby, Ubisoft, Riot, IO Interactive, Beenox, Gearbox, Nearpod, SockMonkey, Respawn, Climate One, The Guitar Center Company, Brainrider, USA Today Network, and Together Labs https://soundlister.com/21-great-new-audio-jobs-at-sucker-punch-remedy-nest-kingisle-ea-sports-dolby-ubisoft-riot-io-interactive-beenox-gearbox-nearpod-sockmonkey-respawn-climate-one-the-guitar-center-company/ Soundlister.com urn:uuid:4611097f-f953-27d3-ab93-29a94a510676 Fri, 03 Sep 2021 14:12:01 +0200 <p><img width="600" height="314" src="https://soundlister.com/wp-content/uploads/2020/05/audiojobs_20_b-600x314.jpg" class="attachment-large size-large wp-post-image" alt="Audio jobs by Soundlister" loading="lazy" style="float:left; margin:0 15px 15px 0;" />Wanted: Sound Designer, Technical Audio Designer, Senior Audio Producer/Engineer, Principal Audio Programmer, Audio Software Engineer, Sound Design Intern, Audio Director, Audio Tools Programmer, Audio Designer, Associate Audio Producer, Producer, Technical Sound Designer, Audio Programmer, Audio Editor &#038; Producer, Audio Producer, Creative Audio Producer, Podcast Audio Producer, Audio Systems Engineer, and Game Producer</p> <p>The post <a rel="nofollow" href="https://soundlister.com/21-great-new-audio-jobs-at-sucker-punch-remedy-nest-kingisle-ea-sports-dolby-ubisoft-riot-io-interactive-beenox-gearbox-nearpod-sockmonkey-respawn-climate-one-the-guitar-center-company/">21 great new audio jobs at Sucker Punch, Remedy, Nest, KingIsle, EA Sports, Dolby, Ubisoft, Riot, IO Interactive, Beenox, Gearbox, Nearpod, SockMonkey, Respawn, Climate One, The Guitar Center Company, Brainrider, USA Today Network, and Together Labs</a> appeared first on <a rel="nofollow" href="https://soundlister.com">Soundlister.com</a>.</p> <img width="600" height="314" src="https://soundlister.com/wp-content/uploads/2020/05/audiojobs_20_b-600x314.jpg" class="attachment-large size-large wp-post-image" alt="Audio jobs by Soundlister" loading="lazy" style="float:left; margin:0 15px 15px 0;" /><div style="padding-bottom: 40px;"> <div class="frm_forms with_frm_style frm_style_job-submission-style" id="frm_form_21_container" > <form enctype="multipart/form-data" method="post" class="frm-show-form frm_pro_form " id="form_frd89" > <div class="frm_form_fields "> <fieldset> <legend class="frm_hidden">Job Subscription</legend> <div class="frm_fields_container"> <input type="hidden" name="frm_action" value="create" /> <input type="hidden" name="form_id" value="21" /> <input type="hidden" name="frm_hide_fields_21" id="frm_hide_fields_21" value="" /> <input type="hidden" name="form_key" value="frd89" /> <input type="hidden" name="item_meta[0]" value="" /> <input type="hidden" id="frm_submit_entry_21" name="frm_submit_entry_21" value="9244252166" /><input type="hidden" name="_wp_http_referer" value="/feed/" /><label for="frm_verify_21" class="frm_screen_reader frm_hidden">If you are human, leave this field blank.</label> <input type="text" class="frm_hidden frm_verify" id="frm_verify_21" name="frm_verify" value="" /> <p><center></p> <div id="frm_field_272_container" class="frm_form_field frm_html_container form-field"><center></p> <h3>Get exciting new audio job opportunities delivered straight to your inbox</h3> <p></center></div> <p></center></p> <div id="frm_field_271_container" class="frm_form_field form-field frm_none_container frm_first frm_half"> <label for="field_adbxe" class="frm_primary_label">Email Address <span class="frm_required"></span> </label> <input type="email" id="field_adbxe" name="item_meta[271]" value="" placeholder="Enter email address" data-invmsg="Email Address is invalid" /> </div> <input type="hidden" name="item_key" value="" /> <div class="frm_submit frm_half"> <input type="submit" value="Subscribe" class="frm_final_submit" /> <img class="frm_ajax_loading" src="https://soundlister.com/wp-content/plugins/formidable/images/ajax_loader.gif" alt="Sending"/> </div></div> </fieldset> </div> </form> </div> </div> <div style="padding-bottom: 20px;"><p>We came across interesting new jobs at Sucker Punch, Remedy Entertainment, and EA Sports &#8211; and they&#8217;re looking for a Sound Designer (WA, US), Technical Audio Designer (Finland), Senior Audio Producer/Engineer (England), and Principal Audio Programmer (England).</p> <p>We also found openings for a <a href="https://kingsisle.catsone.com/careers/68536-General/jobs/14496466-Senior-Sound-Designer" rel="noopener noreferrer" target="_blank">Senior Sound Designer</a> at KingIsle Entertainment (TX, US), <a href="https://jobs.smartrecruiters.com/Ubisoft2/743999758235737-audio-director-audio-services-f-m-d-" rel="noopener noreferrer" target="_blank">Audio Director</a> at Ubisoft (DE), <a href="https://www.linkedin.com/jobs/view/2581839998/" target="_blank" rel="noopener noreferrer">Audio Software Engineer</a> at Dolby Gaming Tools (CA, US), <a href="https://www.riotgames.com/en/j/3348651" target="_blank" rel="noopener noreferrer">Sound Design Intern</a> at Riot Games LA (CA, US), <a href="https://career.ioi.dk/ad/audio-tools-programmer/0bw63a" target="_blank" rel="noopener noreferrer">Audio Tools Programmer</a> at IO Interactive (Denmark/Sweden/Spain), <a href="https://careers.beenox.com/us/en/job/R006380/Concepteur-trice-Audio-mobile-Audio-Designer-mobile-Beenox" target="_blank" rel="noopener noreferrer">Audio Designer</a> at Beenox (QC, Canada), <a href="https://gearboxsoftware.bamboohr.com/jobs/view.php?id=358&#038;source=gearboxsoftware" target="_blank" rel="noopener noreferrer">Audio Designer</a> at Gearbox Québec (QC, Canada), <a href="https://www.linkedin.com/jobs/view/2696955209/" target="_blank" rel="noopener noreferrer">Associate Audio Producer</a> at Nearpod (Remote), <a href="https://www.gamesjobsdirect.com/details/producer/169696" target="_blank" rel="noopener noreferrer">Producer</a> at SockMonkey (England), <a href="https://gamesmith.com/job/21312?Gamesmith-Jobs-Producer---Apex-Legends,-Mobile" target="_blank" rel="noopener noreferrer">Producer</a> at Respawn (CA, US), <a href="https://www.linkedin.com/jobs/view/2664127067/" target="_blank" rel="noopener noreferrer">Audio Editor &#038; Producer</a> at Climate One (CA, US), <a href="https://www.linkedin.com/jobs/view/2665840955/" target="_blank" rel="noopener noreferrer">Audio Producer</a> at The Guitar Center Company (CA, US), <a href="https://www.linkedin.com/jobs/view/2680940953/" target="_blank" rel="noopener noreferrer">Creative Audio Producer</a> at Brainrider (Remote), <a href="https://www.linkedin.com/jobs/view/2702825036/" target="_blank" rel="noopener noreferrer">Podcast Audio Producer</a> at USA Today Network (AZ, US), <a href="https://www.linkedin.com/jobs/view/2515367117/" target="_blank" rel="noopener noreferrer">Audio Systems Engineer</a> at Nest (CA, US), and <a href="https://www.linkedin.com/jobs/view/2706189339/" target="_blank" rel="noopener noreferrer">Game Producer</a> at Together Labs (CA, US)</p> <p>Bonus: <a href="https://www.facebook.com/groups/audiojobs/" target="_blank" rel="noopener noreferrer">The Audio Jobs</a> group also has opportunities for a <a href="https://jobs.suckerpunch.com/careers/33358-General/jobs/14570392-AUDIO-Technical-Sound-Designer?host=jobs.suckerpunch.com&#038;fbclid=IwAR1f29J4dl0tzLXKkZZcrkDafN3uw4zIAOjpN4n_R9-bQmVflF6nptMOxD0" target="_blank" rel="noopener noreferrer">Technical Sound Designer</a> at Sucker Punch (WA, US) and <a href="https://jobs.suckerpunch.com/careers/33358-General/jobs/14040972-PROGRAMMING-Audio-Programmer?host=jobs.suckerpunch.com&#038;fbclid=IwAR1f29J4dl0tzLXKkZZcrkDafN3uw4zIAOjpN4n_R9-bQmVflF6nptMOxD0" target="_blank" rel="noopener noreferrer">Audio Programmer</a> at Sucker Punch (WA, US). Happy job hunting!</p> </div> <hr> <strong>Highlight &#8211; sound stories this week:</strong> <br><br> &bull; <a href="https://www.asoundeffect.com/the-ascent-game-audio/" target="_blank" rel="noopener noreferrer">Get the in-depth story behind <em>The Ascent</em>’s excellent game audio</a> <br><br> &bull; <a href="https://www.asoundeffect.com/sound-design-contest-2021/" target="_blank" rel="noopener noreferrer">Huge new Sound Design Contest! 4 chances to win excellent Spectravelers sound effects libraries, &#038; Soundly PRO subscriptions</a> <br><br> <hr> <br> <div class="note"><strong><span style="font-size: 24px;">Sound Designer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Sucker Punch</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Bellevue, WA</span><br> <div class="jobDesc"><strong>Job description</strong> <p>Sucker Punch seeks a supersonic Sound Designer! </p> <p>Are you a creative sound designer with a penchant to think outside any and all boxes when cultivating new sounds? Do you enjoy getting your fingernails dirty in audio tools or even scripting languages? Are you a self-motivated individual who takes initiative, communicates well, and loves what you do? Do you want to join a great team making great games AND have fun doing it? </p> <p>Sucker Punch is on the lookout for a top notch Sound Designer with outstanding design chops and (ideally) some technical know-how. If you have the qualifications and the drive, please send us a note including a little about yourself, a current resume, and a description of your favorite sound you’ve ever designed. </p> <strong>Responsibilities:</strong> <ul> <li>Design and implement original sound effects within a production schedule timeline</li> <li>Field and studio recording for aforementioned sound effects and our in-house sfx library</li> <li>Respond to direction from the Audio Director on audio aesthetics and sound design feedback</li> <li>Interface with teams cross-studio to ensure features and content are addressed</li> <li>Help improve internal tools, process and communication.</li> </ul> <strong>Qualifications:</strong> <ul> <li>2+ years experience in video game sound design</li> <li>Professional understanding of game audio aesthetics and implementation methods</li> <li>Excellent communication and organization skills</li> <li>Adult responsibility skills</li> <li>A desire to learn new tools and improve your skills</li> </ul> <strong>Preferred:</strong> <ul> <li>Experience with audio middleware (Wwise/FMOD/Unreal/etc.)</li> <li>Scripting experience</li> <li>Passable sense of humor</li> <li>Reaper proficiency</li> </ul> </div> <div class="btnFix"><a class="btnJobs" href="https://jobs.suckerpunch.com/careers/33358-General/jobs/14570389-AUDIO-Sound-Designer?host=jobs.suckerpunch.com&#038;fbclid=IwAR1f29J4dl0tzLXKkZZcrkDafN3uw4zIAOjpN4n_R9-bQmVflF6nptMOxD0" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://jobs.suckerpunch.com/careers/" target="_blank" rel="noopener noreferrer">Sucker Punch Careers</a></div> </div> <div class="grayBreak"></div> <div class="note"><strong><span style="font-size: 24px;">Technical Audio Designer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Remedy Entertainment</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Espoo, Finland</span><br> <div class="jobDesc"><strong>Job description</strong> <p>Remedy Entertainment, the creator of Control®, Quantum Break®, Max Payne®, Alan Wake® and Death Rally® and one of the leading independent game studios in the world is looking for a Technical Audio Designer to create high quality gaming experiences for the next generation of games.</p> <p>Are you passionate about creating memorable gaming experiences through a well-balanced mix of compelling narrative and intense action? </p> <p>As Technical Audio Designer at Remedy you will be responsible of ensuring that the audio fidelity, integration and audio pipeline are of the highest possible standard and serve the game vision. </p> <strong> Role and Responsibilities</strong> <ul> <li>In this role you will be working with the project audio team on integrating audio and audio systems for our games. </li> <li>Along with the audio team, you will also work together with other cross-functional teams on designing and implementing features, from the conception of a project to ensuring the technical integrity of the shipping titles. </li> <li>You will closely collaborate with other disciplines like level design, game design, VFX, animation, programming, to create an emotional and high-quality experience for the players. </li> </ul> <strong> Requirements and qualifications</strong> <ul> <li>You are experienced working with game engines and level editors like Unity, Unreal, CryEngine or internal editors, and you are familiar with software development processes. </li> <li>You’re skilled using high-level programming languages (Python, Lua, C#, etc.) and experienced with Middleware such as Wwise, FMOD, Elias. </li> <li>You are used to work with modern DAWs and sound editors such as Reaper and RX. As a designer, you worked already with audio programming languages like Pure Data, Max MSP, Reaktor, SuperCollider, etc. </li> <li>You thrive working in a team environment, sharing ideas and learning from others. You are used to collaborate with other development teams across different departments and you are able to communicate and present your ideas in a clear and coherent way. </li> <li>You can also work independently, being organized and able to document your work. </li> </ul> <strong> What is in it for you?</strong> <ul> <li>You get to work on awesome, unique videogames that the global audience is interested in at a studio where your input is valued. We try our hardest to keep our team sizes and the workload sensible, so your contributions feel valuable </li> <li>This position is based in Helsinki metropolitan area in Finland, where the quality of life is exceptional and cost of living is affordable. If you&#39;re not already in Finland, our relocation service is there every step of the way to take care of you. You can concentrate on work, while we’ll take care of everything else </li> <li>You will be offered competitive compensation with a bonus system </li> <li>We work hard, but at Remedy we believe in a great work life balance. Happy people work better. In Finland you get up to 5 weeks of paid vacation every year. This is on top of public holidays and other special occasions </li> </ul> <p>To <strong>apply</strong>, please fill in the application form with your CV (<strong>English</strong>), work references/portfolio and other information relevant to the position. This position will be filled as soon as suitable applicants are found.</p> </div> <div class="btnFix"><a class="btnJobs" href="https://jobs.lever.co/remedyentertainment/7fe865ef-2536-4c99-bc25-b0ffe725f07f" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://jobs.lever.co/remedyentertainment/" target="_blank" rel="noopener noreferrer">Valeria Rossi</a></div> </div> <div class="grayBreak"></div> <div class="note"><strong><span style="font-size: 24px;">Principal Audio Programmer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> EA Sports</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Southam, UK</span><br> <div class="jobDesc"><strong>Job description</strong><br> Creating world-class racing games is our passion and our award-winning audio team are at the pinnacle of creativity and technology. Our hunger for audio excellence feeds a high-octane, visceral and immersive game experience across our titles, delivering award-winning sound right to the cockpit of your car. <br><br> We are at the absolute cutting edge of audio technology, working with granular synthesis and reflections. This role will combine taking the lead and the hands-on responsibility to develop sound across multiple platforms and a range of new, redeveloped and existing IP so there is huge variety and scope to enjoy. <br><br> Our focus is on experiential audio, so alongside your expert knowledge of the technical building blocks you will be able to push the boundaries in delivering gameplay sound. You’ll be responsible for completion of multiple features of a project, and understand impact beyond immediate context and discipline. <p>Creating world-class racing games is our passion and our award-winning audio team are at the pinnacle of creativity and technology. Our hunger for audio excellence feeds a high-octane, visceral and immersive game experience across our titles, delivering award-winning sound right to the cockpit of your car. </p> <p>We are at the absolute cutting edge of audio technology, working with granular synthesis and reflections. This role will combine taking the lead and the hands-on responsibility to develop sound across multiple platforms and a range of new, redeveloped and existing IP so there is huge variety and scope to enjoy. </p> <p>Our focus is on experiential audio, so alongside your expert knowledge of the technical building blocks you will be able to push the boundaries in delivering gameplay sound. You’ll be responsible for completion of multiple features of a project, and understand impact beyond immediate context and discipline. </p> <p>As an established game-audio professional naturally you will be a highly competent C++ software developer and have extensive experience with audio middleware, preferably WWise. This is an award-winning and BAFTA nominated team working at the pinnacle of in-game audio standards in a highly communicative, dynamic World-class team. </p> <p>We’re thrilled to be able to present this career opportunity to the worthy games professionals with both the expertise and the desire for creating outstanding audio. </p> <strong>In return you will receive:</strong> <ul> <li>Competitive salary and an excellent package including bonus and share options</li> <li>Flexible working to suit your lifestyle</li> <li>Beautiful rural location</li> <li>Over 30 year’s experience in developing games and careers in the industry</li> <li>Exceptional peer support and knowledge-base where you can thrive</li> <li>Free onsite gym and bus between Leamington and Southam</li> <li>Subsidised canteen and on site pub!</li> </ul> As an established game-audio professional naturally you will be a highly competent C++ software developer and have extensive experience with audio middleware, preferably WWise. This is an award-winning and BAFTA nominated team working at the pinnacle of in-game audio standards in a highly communicative, dynamic World-class team. We’re thrilled to be able to present this career opportunity to the worthy games professionals with both the expertise and the desire for creating outstanding audio. **In return you will receive:-** &#8211; Competitive salary and an excellent package including bonus and share options &#8211; Flexible working to suit your lifestyle &#8211; Beautiful rural location &#8211; Over 30 year’s experience in developing games and careers in the industry &#8211; Exceptional peer support and knowledge-base where you can thrive &#8211; Free onsite gym and bus between Leamington and Southam &#8211; Subsidised canteen and on site pub! </div> <div class="btnFix"><a class="btnJobs" href="https://gamejobs.co/Principal-Audio-Programmer-at-Electronic-Arts" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://jobs.suckerpunch.com/careers/" target="_blank" rel="noopener noreferrer">EA Careers</a></div> </div> <div class="grayBreak"></div> <div style="padding-top: 20px; text-align: center;"> <h3>Want to showcase your audio skills – and be discovered by those who need them? Join 100s of other audio professionals and get a free profile on Soundlister – <a href="https://soundlister.com/register/">right here</a>!</h3> </div> <a href="https://soundlister.com/job-submission/?frm_action=edit&#038;entry=91608" class="btnNew">Edit</a><div class='ctx-subscribe-container ctx-personalization-container ctx_default_placement ctx-clearfix'></div><div class='ctx-social-container ctx_default_placement ctx-clearfix'></div><div class='ctx-module-container ctx_default_placement ctx-clearfix'></div><span class="ctx-article-root"><!-- --></span><p>The post <a rel="nofollow" href="https://soundlister.com/21-great-new-audio-jobs-at-sucker-punch-remedy-nest-kingisle-ea-sports-dolby-ubisoft-riot-io-interactive-beenox-gearbox-nearpod-sockmonkey-respawn-climate-one-the-guitar-center-company/">21 great new audio jobs at Sucker Punch, Remedy, Nest, KingIsle, EA Sports, Dolby, Ubisoft, Riot, IO Interactive, Beenox, Gearbox, Nearpod, SockMonkey, Respawn, Climate One, The Guitar Center Company, Brainrider, USA Today Network, and Together Labs</a> appeared first on <a rel="nofollow" href="https://soundlister.com">Soundlister.com</a>.</p> Audio Jobs Associate Audio Producer Audio Designer Audio Director Audio Editor & Producer Audio Producer Audio Programmer Audio Software Engineer Audio Systems Engineer Audio Tools Programmer Creative Audio Producer Game Producer Podcast Audio Producer Principal Audio Programmer Producer Senior Audio Producer/Engineer Senior Sound Designer Sound Design Intern Sound Designer Technical Audio Designer Technical Sound Designer Adriane Kuzminski Audio Post Production for a Narrative Podcast https://reaperblog.net/2021/09/narrative-podcast-design/ The REAPER Blog urn:uuid:c00f11ac-d749-450c-7a37-1c194b7aaa78 Thu, 02 Sep 2021 16:42:41 +0200 <p>Jon explains some of the things involved to create a fully sound designed narrative podcast in REAPER.</p> The post <a href="https://reaperblog.net/2021/09/narrative-podcast-design/">Audio Post Production for a Narrative Podcast</a> first appeared on <a href="https://reaperblog.net">The REAPER BLOG</a>. Audio Editing Audio Mixing Techniques TUTORIAL VIDEO Admin Huge new Sound Design Contest! 4 chances to win excellent Spectravelers sound effects libraries, & Soundly PRO subscriptions: https://www.asoundeffect.com/sound-design-contest-2021/ A Sound Effect urn:uuid:d380b007-39d8-b2f6-7180-d7f83c88cd63 Thu, 02 Sep 2021 13:51:28 +0200 <img width="640" height="335" src="https://cdna.asoundeffect.com/wp-content/uploads/2021/09/02102441/sound_design_contest_2021_.jpg" class="attachment-large size-large wp-post-image" alt="Sound Design Contest 2021" srcset="https://cdna.asoundeffect.com/wp-content/uploads/2021/09/02102441/sound_design_contest_2021_.jpg 825w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/02102441/sound_design_contest_2021_-300x157.jpg 300w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/02102441/sound_design_contest_2021_-768x402.jpg 768w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/02102441/sound_design_contest_2021_-125x65.jpg 125w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/02102441/sound_design_contest_2021_-75x39.jpg 75w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/02102441/sound_design_contest_2021_-220x115.jpg 220w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/02102441/sound_design_contest_2021_-500x262.jpg 500w" sizes="(max-width: 640px) 100vw, 640px" /><p>Unleash your sonic creativity in this brand new sound design contest:</p> <p>The post <a rel="nofollow" href="https://www.asoundeffect.com/sound-design-contest-2021/">Huge new Sound Design Contest! 4 chances to win excellent Spectravelers sound effects libraries, &#038; Soundly PRO subscriptions:</a> appeared first on <a rel="nofollow" href="https://www.asoundeffect.com">A Sound Effect</a>.</p><img src="http://feeds.feedburner.com/~r/ASoundEffect/~4/9t2u1QasmMs" height="1" width="1" alt=""/> A Sound Effect sound design sound design challenge sound design competition sound design contest sound effects challenge sound effects contest Spectravelers sound design competition Spectravelers sound design contest Asbjoern Andersen New Audio Job for a Sound Design Intern at Riot Games https://soundlister.com/new-audio-job-for-a-sound-design-intern-at-riot-games/ Soundlister.com urn:uuid:352900b0-3c10-0d7b-7086-424b7091aebb Thu, 02 Sep 2021 00:48:00 +0200 <p><img width="600" height="400" src="https://soundlister.com/wp-content/uploads/2021/09/aj_sound_design_intern-600x400.jpg" class="attachment-large size-large wp-post-image" alt="Sound Design Intern Audio Job" loading="lazy" style="float:left; margin:0 15px 15px 0;" />Learn more about this game audio opportunity at Riot Games here:</p> <p>The post <a rel="nofollow" href="https://soundlister.com/new-audio-job-for-a-sound-design-intern-at-riot-games/">New Audio Job for a Sound Design Intern at Riot Games</a> appeared first on <a rel="nofollow" href="https://soundlister.com">Soundlister.com</a>.</p> <img width="600" height="400" src="https://soundlister.com/wp-content/uploads/2021/09/aj_sound_design_intern-600x400.jpg" class="attachment-large size-large wp-post-image" alt="Sound Design Intern Audio Job" loading="lazy" style="float:left; margin:0 15px 15px 0;" />There&#8217;s a new opportunity for a Sound Design Intern at Riot Games (working on League of Legends or Legends of Runeterra) in LA, CA, US (via Emmanuel Lagumbay): <br> &nbsp; <br> <center><h3><a href="https://www.riotgames.com/en/work-with-us/job/3348651/sound-design-intern-los-angeles-usa" rel="noopener noreferrer" target="_blank">Learn more about the audio job opportunity here</a></h3></center><br> <hr> <br> <br>&nbsp; <br> <center>Be the first to know about exciting new audio job posts: <a href="https://asoundeffect.us7.list-manage.com/subscribe?u=591aa926dac921217c05d95b6&#038;id=bf10d62189" target="_blank" rel="noopener noreferrer">Get the Audio Jobs newsletter here</a></center><br> <div class='ctx-subscribe-container ctx-personalization-container ctx_default_placement ctx-clearfix'></div><div class='ctx-social-container ctx_default_placement ctx-clearfix'></div><div class='ctx-module-container ctx_default_placement ctx-clearfix'></div><span class="ctx-article-root"><!-- --></span><p>The post <a rel="nofollow" href="https://soundlister.com/new-audio-job-for-a-sound-design-intern-at-riot-games/">New Audio Job for a Sound Design Intern at Riot Games</a> appeared first on <a rel="nofollow" href="https://soundlister.com">Soundlister.com</a>.</p> Audio Jobs Asbjoern Andersen Creating The Ascent’s Cyberpunked Sound https://www.asoundeffect.com/the-ascent-game-audio/ A Sound Effect urn:uuid:2273f9c0-f20a-880b-c5c6-42ab4056530c Wed, 01 Sep 2021 15:50:38 +0200 <img width="640" height="335" src="https://cdna.asoundeffect.com/wp-content/uploads/2021/09/01043327/TheAscent_sound-01.jpg" class="attachment-large size-large wp-post-image" alt="TheAscent_sound-01" srcset="https://cdna.asoundeffect.com/wp-content/uploads/2021/09/01043327/TheAscent_sound-01.jpg 825w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/01043327/TheAscent_sound-01-300x157.jpg 300w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/01043327/TheAscent_sound-01-768x402.jpg 768w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/01043327/TheAscent_sound-01-125x65.jpg 125w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/01043327/TheAscent_sound-01-75x39.jpg 75w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/01043327/TheAscent_sound-01-220x115.jpg 220w, https://cdna.asoundeffect.com/wp-content/uploads/2021/09/01043327/TheAscent_sound-01-500x262.jpg 500w" sizes="(max-width: 640px) 100vw, 640px" /><p>The Sweet Justice sound team gives you the in-depth story behind The Ascent's excellent game audio:</p> <p>The post <a rel="nofollow" href="https://www.asoundeffect.com/the-ascent-game-audio/">Creating The Ascent&#8217;s Cyberpunked Sound</a> appeared first on <a rel="nofollow" href="https://www.asoundeffect.com">A Sound Effect</a>.</p><img src="http://feeds.feedburner.com/~r/ASoundEffect/~4/nKzPAzea4bA" height="1" width="1" alt=""/> Game audio ambience ballistic bespoke custom cyberpunk ducking emitters enemies energy Foley game hierarchy implementation indents Kilohearts mixing morph Shure sound sound design sound particles Soundminer Sweet Justice systems The Ascent The Ascent audio The Ascent game audio The Ascent game sound The Ascent sound designer The Ascent sound effects UE4 weapons world-building Wwise Jennifer Walden Figuring out: Ambisonics http://javierzumer.com/blog/2021/8/30/figuring-out-ambisonics Javier Zúmer - Sound Design urn:uuid:73a5c88e-ec86-2622-b316-0d8846a7d314 Mon, 30 Aug 2021 15:46:07 +0200 <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55b64320e4b03d72e247797a/1630316204391-1CHZRJK2ZHVS18BM4BU4/1200px-AmbisonicLogo.svg.png" data-image-dimensions="1200x1200" data-image-focal-point="0.5,0.5" alt="1200px-AmbisonicLogo.svg.png" data-load="false" data-image-id="612ca6ac40c6034d4155f7cd" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55b64320e4b03d72e247797a/1630316204391-1CHZRJK2ZHVS18BM4BU4/1200px-AmbisonicLogo.svg.png?format=1000w" /> </figure> <p class="">Here are my notes about the world of <strong>Ambisonics</strong>. This is a new area to me so, following this blog’s phylosophy, I will try to learn by explaining. Take this as an introduction to the subject.</p><h2><strong>The basic idea</strong></h2><p class="">We usually think about audio formats in terms of channels. <strong>Mono and stero</strong> being the most basic and used ones. If we open up the 2D space even more, we get <strong>surround audio like 5.1 and 7.1.</strong> Finally, the last step is to use the <strong>full 3D space</strong> and that’s where Ambisonics comes in.</p><p class="">The more complexity and channels we have, the harder is to make systems compatible between each other. In order to solve this, <strong>Ambisonics trascends the idea of channels</strong> and uses the concept of sound fields which represent <strong>planes of audio in 3D space.</strong></p><p class="">This then allows to keep the aural information in a <strong>“speaker arrangement agnostic format”</strong> that can be decoded into any amount of speakers at the time of reproduction.</p><h2><strong>M/S Format</strong></h2><p class="">These planes of audio are represented in a special format called <strong>B-Format</strong>. You can think of this format as a natural extension of the <strong>M/S format</strong> so let’s start with that.</p><p class="">To get a M/S recording, we first use a <strong>figure of eight microphone facing sideways</strong> to the source (this is the<strong> “side”</strong>). This microphone will pickup the stereo information. At the same time, we use a <strong>cardioid microphone</strong> facing the source (this is the <strong>“mid”</strong>).</p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55b64320e4b03d72e247797a/1630316139370-3VMCI80I6MDVELF1AW7R/MS+Mic+Array.jpg" data-image-dimensions="710x503" data-image-focal-point="0.5,0.5" alt="MS Mic Array.jpg" data-load="false" data-image-id="612ca66bdb3a916d0600565c" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55b64320e4b03d72e247797a/1630316139370-3VMCI80I6MDVELF1AW7R/MS+Mic+Array.jpg?format=1000w" /> </figure> <p class="">Once we want to decode these signals into stereo, we just need to <strong>sum mid and side to obtain the stereo left</strong> and then <strong>sum mid and the side with polarity reversed to obtain the right side</strong>. If you think about this, you realize that the “side” signal is basically a representation of the difference between left and right.</p><p class="">But why would we want to record things this way? Why not just record in stereo with a X/Y technique or similar? Recording using M/S has a few advantages. Firstly, we get automatic <strong>mono compatibility</strong> since we have the mid signal which we can use without fear of the phase cancellations that would happen if we sum the channles from an X/Y format. Additionally, since we can decode the M/S recording into stereo after the fact, <strong>we can control how wide we want the resulting stereo signal</strong> to be by just adjusting the balance between mid and side during decoding.</p><h2><strong>B-Format</strong></h2> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55b64320e4b03d72e247797a/1630321795451-MMV5GMEB6ZRC5RIH96OO/ntsf1+macro.png" data-image-dimensions="866x922" data-image-focal-point="0.5,0.5" alt="" data-load="false" data-image-id="612cbc829897572949e0143e" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55b64320e4b03d72e247797a/1630321795451-MMV5GMEB6ZRC5RIH96OO/ntsf1+macro.png?format=1000w" /> </figure> <p class="">Amisonics takes this concept and pushes to the next dimension, making it 3D by <strong>using additional channels to represent height and depth</strong>. B-format is then built with the following channels:</p><ul data-rte-list="default"><li><p class=""><strong>W:</strong> Contains the <strong>sound pressure information</strong>, similar to the mid signal in M/S. This is recorded with a omnidirectinal microphone.</p></li><li><p class=""><strong>X:</strong> Contains the <strong>front minus back pressure gradient</strong>. Recorded by a figure of eight microphone.</p></li><li><p class=""><strong>Y: </strong>Contains the <strong>left minus right pressure gradient,</strong> similr to the side signal in M/S. Recorded by a figure of eight microphone.</p></li><li><p class=""><strong>Z:</strong> Contains the <strong>top minus bottom pressure gradient</strong>. Recorded by a figure of eight microphone.</p></li></ul><p class="">Note: <strong>A-Format</strong> is how we would call the raw audio from an ambisonic recording, that is, the individual signals from each microphone, while B-Format is used when we have already combined all these signals into a unique set.</p><h2><strong>Ambisonic Orders</strong></h2> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55b64320e4b03d72e247797a/1630321870518-JQSY7TR2Q2N1Y1VHPU1F/Spherical_Harmonics_deg3.png" data-image-dimensions="300x171" data-image-focal-point="0.5,0.5" alt="The top row shows the W component, while the second one shows X, Y and Z. Additional rows show higher ambisonic orders for higher resolutions." data-load="false" data-image-id="612cbcce60ffc477bf484466" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55b64320e4b03d72e247797a/1630321870518-JQSY7TR2Q2N1Y1VHPU1F/Spherical_Harmonics_deg3.png?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class="">The top row shows the W component, while the second one shows X, Y and Z. Additional rows show higher ambisonic orders for higher resolutions.</p> </figcaption> </figure> <p class="">Using the B-format described above works but comes with some drawbacks. The o<strong>ptimal listener position would be quite small</strong> and results won’t be very natural outside it. Also, <strong>diagonal information is not very accurate</strong>, since it has to be inferred from the boundary between planes.</p><p class="">A solution to these issues is to<strong> increase resolution by adding more selective directonal components</strong> which instead of using traditional polar patterns would use other specific ones resulting in a signal set that contains denser aural information.</p><p class="">There is really no theoretical limit in how many additional microphones we can add to improve the resolution but of course there are clear prctical limits. For example, a third order ambisonics set, would use 16 tracks so is easy to see how hard drive space and microphone placement can quickly become a problem.</p><h2><strong>Decoding B-Format</strong></h2><p class="">Regardless of the number of ambisonics orders we use, the important thing to keep in mind is that <strong>the resulting recording will be not channel dependent.</strong> We can build the sonic information of any point in a 3D sphere by just knowing the angles to this point. </p><p class="">This allows us to create<strong> virtual microphones</strong> in this 3D space with which we can then <strong>match with any number of speakers</strong>. This is very powerful because once we have an ambisonics recording we can then <strong>play it on any speaker configuration preserving as much as the spatial information</strong> as the reproduction system allows.</p><p class="">If the final user is using headphones, a binaural signal would the result of the decoding while the same source files can be used to decode a 3D Dolby Atmos mix in cinemas.</p><p class="">Nowadays, you can find a <strong>big selection of ambisonic plugins for your DAW</strong> so you can play around with B-Format files including coding and decoding them in any other mutlichannel format you can imagine.</p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55b64320e4b03d72e247797a/1630324314474-B6RAB3792NAGECCCIX6U/plugins.png" data-image-dimensions="1852x1250" data-image-focal-point="0.5,0.5" alt="Ambisonics suite for Reaper https://www.ambisonictoolkit.net/documentation/reaper/" data-load="false" data-image-id="612cc65993aaf06002f4675d" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55b64320e4b03d72e247797a/1630324314474-B6RAB3792NAGECCCIX6U/plugins.png?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class="">Ambisonics suite for Reaper <a href="https://it.net/documentation/reaper/www.ambisonictoolk">https://www.ambisonictoolkit.net/documentation/reaper/</a></p> </figcaption> </figure> <h2><strong>Use in media</strong></h2><p class="">Ambisonics was created in the 70s but has never been used much in mainstream media. This is now changing with the advent of <strong>VR experiences where 3D audio makes a lot of sense</strong> since the user can move around the scene focusing on different areas of the soundscape.</p><p class="">In the area of cinematic experiences ambisonics achieves a similar result as <strong>Dolby atmos or Auro-3D</strong> but using different methods. <a href="http://javierzumer.com/blog/2018/5/30/figuring-out-dolby-atmos">See my article about atmos to know more about this.</a></p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55b64320e4b03d72e247797a/1630324433862-7VX7IR6KD8V4YSB1MZF9/resonance-audio-source-fmod.png" data-image-dimensions="691x199" data-image-focal-point="0.5,0.5" alt="Google’s Resonane Audio allows you ti use ambisonics in Fmod" data-load="false" data-image-id="612cc6d11491de5b73658c57" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55b64320e4b03d72e247797a/1630324433862-7VX7IR6KD8V4YSB1MZF9/resonance-audio-source-fmod.png?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class="">Google’s Resonane Audio allows you ti use ambisonics in Fmod</p> </figcaption> </figure> <p class="">Regarding <strong>videogames or just generally interactive audio, ambisonics is a great fit.</strong> You can implement B-Format files in middleware like<strong> Fmod or Wwise</strong> and also game engines like <strong>Unity.</strong> This gives you the most flexibility since the ambisonics format will be decoded in real time into whatever the user is using to reproduce audio and this decoding will react in real time to their position and direction which is particularly awesome for VR.</p><h2><strong>In closing</strong></h2><p class="">There is much more to learn about this so I hope i get the chance to work with Ambisonics soon. I’m sure there are many details to keep in mind once you are hands on working with this formats and will try to document what I learn on this blog as I go.</p> Figuring out Technical Javier Zumer New features in REAPER v6.35 https://reaperblog.net/2021/08/reaper-635-update/ The REAPER Blog urn:uuid:2b8b8e2b-0045-d606-6716-571ef65e4efc Sat, 28 Aug 2021 00:06:24 +0200 <p>learn about the latest features and changes in REAPER version 6.35</p> The post <a href="https://reaperblog.net/2021/08/reaper-635-update/">New features in REAPER v6.35</a> first appeared on <a href="https://reaperblog.net">The REAPER BLOG</a>. REAPER UPDATES TUTORIAL VIDEO Admin 20 great new audio jobs at Amplitude, Certain Affinity, People Can Fly, Source Sound, Amazon Games, Games Workshop, Respawn, Ableton, Tazman-Audio, Blackbird Interactive, PUBG, Dolby Labs, Jazz Saint Louis, Sony, and ProbablyMonsters https://soundlister.com/20-great-new-audio-jobs-at-amplitude-certain-affinity-people-can-fly-amazon-games-respawn-ableton-tazman-audio-blackbird-interactive-sound-source-bioware-pubg-san-ramon-pubg-dolby/ Soundlister.com urn:uuid:0e09bae0-0228-6247-c440-cfa45d525ad0 Fri, 27 Aug 2021 13:37:47 +0200 <p><img width="600" height="314" src="https://soundlister.com/wp-content/uploads/2020/05/audiojobs_20_b-600x314.jpg" class="attachment-large size-large wp-post-image" alt="Audio jobs by Soundlister" loading="lazy" style="float:left; margin:0 15px 15px 0;" />Wanted: Sound Designer, Senior Technical Audio Designer, Audio DevQA, Sound Designer, Audio Implementer, Music Implementer, Associate Sound Designer, C++ Audio Software Developer, Senior Audio Programmer, Lead Audio Designer, Sound Designer, Audio Programmer, Senior Audio Producer, 4 Temporary Audio Designers, Senior Sound Designer, Audio Lead, Associate Content Engineer, Audio/Video Engineer, Audio Software Engineer, and Shared Audio Manager</p> <p>The post <a rel="nofollow" href="https://soundlister.com/20-great-new-audio-jobs-at-amplitude-certain-affinity-people-can-fly-amazon-games-respawn-ableton-tazman-audio-blackbird-interactive-sound-source-bioware-pubg-san-ramon-pubg-dolby/">20 great new audio jobs at Amplitude, Certain Affinity, People Can Fly, Source Sound, Amazon Games, Games Workshop, Respawn, Ableton, Tazman-Audio, Blackbird Interactive, PUBG, Dolby Labs, Jazz Saint Louis, Sony, and ProbablyMonsters</a> appeared first on <a rel="nofollow" href="https://soundlister.com">Soundlister.com</a>.</p> <img width="600" height="314" src="https://soundlister.com/wp-content/uploads/2020/05/audiojobs_20_b-600x314.jpg" class="attachment-large size-large wp-post-image" alt="Audio jobs by Soundlister" loading="lazy" style="float:left; margin:0 15px 15px 0;" /><div style="padding-bottom: 40px;"> <div class="frm_forms with_frm_style frm_style_job-submission-style" id="frm_form_21_container" > <form enctype="multipart/form-data" method="post" class="frm-show-form frm_pro_form " id="form_frd89" > <div class="frm_form_fields "> <fieldset> <legend class="frm_hidden">Job Subscription</legend> <div class="frm_fields_container"> <input type="hidden" name="frm_action" value="create" /> <input type="hidden" name="form_id" value="21" /> <input type="hidden" name="frm_hide_fields_21" id="frm_hide_fields_21" value="" /> <input type="hidden" name="form_key" value="frd89" /> <input type="hidden" name="item_meta[0]" value="" /> <input type="hidden" id="frm_submit_entry_21" name="frm_submit_entry_21" value="d79fa9bf9c" /><input type="hidden" name="_wp_http_referer" value="/feed/" /><label for="frm_verify_21" class="frm_screen_reader frm_hidden">If you are human, leave this field blank.</label> <input type="text" class="frm_hidden frm_verify" id="frm_verify_21" name="frm_verify" value="" /> <p><center></p> <div id="frm_field_272_container" class="frm_form_field frm_html_container form-field"><center></p> <h3>Get exciting new audio job opportunities delivered straight to your inbox</h3> <p></center></div> <p></center></p> <div id="frm_field_271_container" class="frm_form_field form-field frm_none_container frm_first frm_half"> <label for="field_adbxe" class="frm_primary_label">Email Address <span class="frm_required"></span> </label> <input type="email" id="field_adbxe" name="item_meta[271]" value="" placeholder="Enter email address" data-invmsg="Email Address is invalid" /> </div> <input type="hidden" name="item_key" value="" /> <div class="frm_submit frm_half"> <input type="submit" value="Subscribe" class="frm_final_submit" /> <img class="frm_ajax_loading" src="https://soundlister.com/wp-content/plugins/formidable/images/ajax_loader.gif" alt="Sending"/> </div></div> </fieldset> </div> </form> </div> </div> <div style="padding-bottom: 20px;"><p>We came across interesting new jobs at Amplitude, Certain Affinity, People Can Fly, and Amazon Games &#8211; and they&#8217;re looking for a Sound Designer (France), Senior Technical Audio Designer (TX, US), Audio DevQA (Poland), and Sound Designer (WA, US).</p> <p>We also found openings for an <a href="https://www.respawn.com/careers/audio-implementer-temporary-star-wars-team" target="_blank" rel="noopener noreferrer">Audio Implementer</a> at Respawn (CA, US), <a href="https://www.respawn.com/careers/music-implementer-temporary-star-wars-team" target="_blank" rel="noopener noreferrer">Music Implementer</a> at Respawn (CA, US), <a href="https://www.respawn.com/careers/associate-sound-designer-temporary-star-wars-team" target="_blank" rel="noopener noreferrer">Associate Sound Designer</a> at Respawn (CA, US), <a href="https://www.ableton.com/en/jobs/apply/424959/" target="_blank" rel="noopener noreferrer">C++ Audio Software Developer</a> at Ableton (Germany), <a href="https://gamejobs.work/job/156118-senior-audio-programmer-100-remote-tazman-audio" target="_blank" rel="noopener noreferrer">Senior Audio Programmer</a> at Tazman-Audio (UK / Remote), <a href="https://jobs.lever.co/blackbirdinteractive/1a68db03-d9ca-4299-8aa3-f90ada23f208" target="_blank" rel="noopener noreferrer">Lead Audio Designer</a> at Blackbird Interactive (BC, Canada), <a href="https://jobs.smartrecruiters.com/PeopleCanFly/743999768651745-sound-designer" target="_blank" rel="noopener noreferrer">Sound Designer</a> at People Can Fly (IL, US), <a href="https://jobs.games-workshop.com/search-and-apply/audio-producer-engineer" rel="noopener noreferrer" target="_blank">Audio Producer/Engineer</a> at Games Workshop/Black Library (UK &#8211; position still open), <a href="https://jobs.smartrecruiters.com/PeopleCanFly/743999768691228-audio-programmer" target="_blank" rel="noopener noreferrer">Audio Programmer</a> at People Can Fly (Poland), and <a href="https://gamejobs.co/Shared-Audio-Manager-at-ProbablyMonsters" target="_blank" rel="noopener noreferrer">Shared Audio Manager</a> at ProbablyMonsters (WA, US).</p> <p>Bonus: <a href="https://www.facebook.com/groups/audiojobs/" target="_blank" rel="noopener noreferrer">The Audio Jobs</a> group also has opportunities for a <a href="https://www.facebook.com/SourceSoundInc/photos/a.1510438892591747/2634690533499905/" target="_blank" rel="noopener noreferrer">Senior Audio Producer</a> at Source Sound (CA, US), <a href="https://sds.com/careers?fbclid=IwAR2nayYcRhBqCTu-Z_awyMQ0GO1gEcmIzy3oG7Pz5yV9-VvTmciHtQ2NhpY" target="_blank" rel="noopener noreferrer">Senior Sound Designer</a> at PUBG San Ramon (CA, US), <a href="https://boards.greenhouse.io/pubgsanramon/jobs/4983512002" target="_blank" rel="noopener noreferrer">Audio Lead</a> at PUBG San Ramon (CA, US), <a href="https://www.facebook.com/Sellproequip/photos/a.117378203917032/138471168474402/" target="_blank" rel="noopener noreferrer">Associate Content Engineer</a> at Dolby Laboratories (MAH, India), <a href="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.indeed.com%2Fm%2Fviewjob%3Fjk%3Dca3c4186cf757fe5%26from%3Dappsharedroid%26fbclid%3DIwAR0vhLLToqm8D5Ml1j584tGjN1z_xhnKLY43ZSM30Ua8MvX6PVH3m8hIZUc&#038;h=AT1OD_Tbl1SjBWczy_AEujd6_DUzVjrBbc-o6HljiR_LZpTXM0Gcwii9f46U91Co4JW89YwddfH419AIGWOoXTmOsE9PUrTxUFHXKIWzwj7H8Nu1TQ71AwPK7-Nmyp6BzQ&#038;__tn__=H-R&#038;c[0]=AT3o2VMYmw6AZfmWmbLGmCm8FeyJ94G_yaMm9A_ENiytdSXRooPkFtshBtgSwaWUgAQxV5uhX2cGnf7JVB4XNKdVsKDyW1vHhkNz0c8EMo7gH8fmTQHGTxqG854TWY6szlz0xt0-hK-hS4j6D-92K-0_27cTTmTNHJq6PvvURpfwJsxqfPHuay18htrGYuAh1PgrZKdO8xupF9EV8A" target="_blank" rel="noopener noreferrer">Audio/Video Engineer</a> at Jazz Saint Louis (MO, US), and <a href="https://l.facebook.com/l.php?u=https%3A%2F%2Fboards.greenhouse.io%2Fsonyinteractiveentertainmentplaystation%2Fjobs%2F3397327%3Ffbclid%3DIwAR0TfIhHwj8WCVfl3IQoCgootHY80tLjsspxgVWPIQvKCSIwxEDP6WSpnEM&#038;h=AT1YcF-x5zVUSZPjqXj4zMJHPnt774Qchcd7x-U52oFv97GzY9Zs6a2ZyH33TKfJq_M4HFBB-8ka_W33o1FjEzgbnUecA_X1qpDIeUiCLqF-aJfJSVz2JB0bs-aD_Wk56A&#038;__tn__=H-R&#038;c[0]=AT31shYTW6U8eplHyN-8aiMP4x8pEa1WZAb5s7JL2b58Gp-5fxTOuSD_G8AIjLnAlpCQJxlG8sgRpyItCS2_kTw5hx_TG3A6fFDSh1c2DMEBa6B5V8_mjCtj0HHwjvTRao7bWB9ureg2IJllX5sFVy1GNZxPatIrm8-zelh1oDEW_1f0n7sWUzuizf5iJ8f2ZRikmcbEILTpOe7JZQ" target="_blank" rel="noopener noreferrer">Audio Software Engineer</a> at Sony San Diego (CA, US). Happy job hunting!</p> </div> <hr> <strong>Highlight &#8211; sound stories this week:</strong> <br><br> &bull; <a href="https://www.asoundeffect.com/ultimate-foley-editing-guide/" rel="noopener noreferrer" target="_blank">The Ultimate Beginner’s Guide to Foley Editing</a> <br><br> &bull; <a href="https://www.asoundeffect.com/audio-post-machine-learning-pole-position/" target="_blank" rel="noopener noreferrer">Hear about machine learning for audio post + Pole Position&#8217;s extraordinary sound effects libraries</a>. <br><br> <hr> <br> <div class="note"><strong><span style="font-size: 24px;">Sound Designer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Amplitude</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Paris, France</span><br> <div class="jobDesc"><strong>About the studio</strong> <p>Amplitude is a team of experienced, quality driven video game lovers and creators of the finest strategy games with the help of our players! Founded in 2011 and acquired by SEGA in 2016, we are a team of over 120 developers based in Paris with an international team hailing from all over the world. </p> <p>Our current titles in production include HUMANKIND, a historical strategy epic where you’ll be combining cultures as you lead your people from the Bronze to the Modern age; and Endless Dungeon, a squad-based rogue-lite tactical action game. </p> <p>We’re best known for our critically acclaimed Endless series, played by millions worldwide, including Endless Space, Endless Legend, Dungeon of the Endless, and Endless Space 2. </p> <p>Our close relationship with the community is a core feature of the studio’s philosophy. We’re proud of the way we create games together with our players via Games2Gether, our custom-built community platform that enables our community to play a key role in the creation of our games at every stage of development. </p> <strong>Job description</strong> </p> <p>We are looking for a Sound Designer for a fixed term contract (12 months) to create and implement sound effects on our next title.</p> More specifically, under the supervision of our Lead Audio Designer your main responsibilities will include: <ul> <li>Create engaging and detailed sound design for various elements of the game</li> <li>Implement sound design and other audio into the game engine</li> <li>Work on audio creative design in line with the team’s goals and vision of the title</li> <li>Find and fix audio-related bugs</li> </ul> <strong>Required experience</strong> <ul> <li>Bachelor&#39;s degree in a related field</li> <li>3+ years of experience in a similar or relevant position</li> <li>Ability to work effectively within a team and interact with a large variety of profiles</li> <li>Flexibility and adaptability </li> <li>Background in sound design for video games a plus</li> <li>Proficient with Wwise and Nuendo/Cubase</li> <li>Experience implementing sound into Unity</li> </ul> <strong>(Very) Welcome Bonuses!</strong> <ul> <li>A portfolio that demonstrates excellent sound design skills</li> <li>Experience in field recording</li> </ul> <strong>Additional information:</strong> </p> <ul> <li>Health insurance (Mutuelle) &#8211; 60% paid by Amplitude</li> <li>Transport subscription – 50 % paid by Amplitude</li> <li>Access to SEGA games portfolio</li> <li>Friendly atmosphere, team cohesion and stimulating work environment <img src="https://s.w.org/images/core/emoji/13.0.0/72x72/1f642.png" alt=" Audio Jobs Associate Content Engineer Associate Sound Designer Audio DevQA Audio Implementer Audio Lead Audio Programmer Audio Software Engineer Audio/Video Engineer C++ Audio Software Developer Lead Audio Designer Music Implementer Senior Audio Producer Senior Audio Programmer Senior Sound Designer Senior Technical Audio Designer Shared Audio Manager Sound Designer Temporary Audio Designer Adriane Kuzminski The Ultimate Beginner’s Guide to Foley Editing https://www.asoundeffect.com/ultimate-foley-editing-guide/ A Sound Effect urn:uuid:37ebe333-3281-926a-7574-b81e37b8a6ec Thu, 26 Aug 2021 13:07:51 +0200 <img width="640" height="334" src="https://cdna.asoundeffect.com/wp-content/uploads/2021/08/26123109/foley_sound_editing_guide.jpg" class="attachment-large size-large wp-post-image" alt="Foley Sound Editing Guide" srcset="https://cdna.asoundeffect.com/wp-content/uploads/2021/08/26123109/foley_sound_editing_guide.jpg 825w, https://cdna.asoundeffect.com/wp-content/uploads/2021/08/26123109/foley_sound_editing_guide-300x157.jpg 300w, https://cdna.asoundeffect.com/wp-content/uploads/2021/08/26123109/foley_sound_editing_guide-768x401.jpg 768w, https://cdna.asoundeffect.com/wp-content/uploads/2021/08/26123109/foley_sound_editing_guide-125x65.jpg 125w, https://cdna.asoundeffect.com/wp-content/uploads/2021/08/26123109/foley_sound_editing_guide-75x39.jpg 75w, https://cdna.asoundeffect.com/wp-content/uploads/2021/08/26123109/foley_sound_editing_guide-220x115.jpg 220w, https://cdna.asoundeffect.com/wp-content/uploads/2021/08/26123109/foley_sound_editing_guide-500x261.jpg 500w" sizes="(max-width: 640px) 100vw, 640px" /><p>Want to get Foley editing right? Check out this excellent guide by Yuri Pridachin:</p> <p>The post <a rel="nofollow" href="https://www.asoundeffect.com/ultimate-foley-editing-guide/">The Ultimate Beginner&#8217;s Guide to Foley Editing</a> appeared first on <a rel="nofollow" href="https://www.asoundeffect.com">A Sound Effect</a>.</p><img src="http://feeds.feedburner.com/~r/ASoundEffect/~4/_y1gz4JUqSU" height="1" width="1" alt=""/> How to use sound effects Sound design guides foley artist Foley Audio Foley Editing foley film sound foley sound effects Foley Stage Foley recording Asbjoern Andersen Replacing the tape in my 1979 Roland SPACE ECHO RE-150 https://reaperblog.net/2021/08/replacing-the-tape-in-my-1979-roland-space-echo-re-150/ The REAPER Blog urn:uuid:63a77ee0-05a6-f697-ce44-4aeff5f23ebf Wed, 25 Aug 2021 16:58:58 +0200 <p>Jon finds out what happens when you replace the tape in an old Roland Space Echo</p> The post <a href="https://reaperblog.net/2021/08/replacing-the-tape-in-my-1979-roland-space-echo-re-150/">Replacing the tape in my 1979 Roland SPACE ECHO RE-150</a> first appeared on <a href="https://reaperblog.net">The REAPER BLOG</a>. COOL HARDWARE VIDEO Admin 3 New Entry-level Audio Jobs at Respawn: Audio Implementer, Music Implementer & Associate Sound Designer https://soundlister.com/3-new-entry-level-audio-jobs-at-respawn-audio-implementer-music-implementer-associate-sound-designer/ Soundlister.com urn:uuid:f825e88b-eb93-ad1d-b4b6-fcb6fad8150f Wed, 25 Aug 2021 15:19:52 +0200 <p><img width="600" height="400" src="https://soundlister.com/wp-content/uploads/2021/08/aj_entry_level-600x400.jpg" class="attachment-large size-large wp-post-image" alt="Entry Level Audio Jobs" loading="lazy" style="float:left; margin:0 15px 15px 0;" />Learn more about these 3 new entry-level audio job openings at Respawn here (remote work is an option)</p> <p>The post <a rel="nofollow" href="https://soundlister.com/3-new-entry-level-audio-jobs-at-respawn-audio-implementer-music-implementer-associate-sound-designer/">3 New Entry-level Audio Jobs at Respawn: Audio Implementer, Music Implementer &#038; Associate Sound Designer</a> appeared first on <a rel="nofollow" href="https://soundlister.com">Soundlister.com</a>.</p> <img width="600" height="400" src="https://soundlister.com/wp-content/uploads/2021/08/aj_entry_level-600x400.jpg" class="attachment-large size-large wp-post-image" alt="Entry Level Audio Jobs" loading="lazy" style="float:left; margin:0 15px 15px 0;" />There are 3 new entry-level audio job openings at Respawn here (via Thomas Jaine / Matthew Florianz) &#8211; remote work is an option: <br> &nbsp; <br> → <a href="https://www.respawn.com/careers/audio-implementer-temporary-star-wars-team" rel="noopener noreferrer" target="_blank">Temporary Audio Implementer</a> <br> &nbsp; <br> → <a href="https://www.respawn.com/careers/music-implementer-temporary-star-wars-team" rel="noopener noreferrer" target="_blank">Temporary Music Implementer</a> <br> &nbsp; <br> → <a href="https://www.respawn.com/careers/associate-sound-designer-temporary-star-wars-team" rel="noopener noreferrer" target="_blank">Temporary Associate Sound Designer</a> <br> &nbsp; <br> <br>&nbsp; <br> <center>Be the first to know about exciting new audio job posts: <a href="https://asoundeffect.us7.list-manage.com/subscribe?u=591aa926dac921217c05d95b6&#038;id=bf10d62189" target="_blank" rel="noopener noreferrer">Get the Audio Jobs newsletter here</a></center><br> <div class='ctx-subscribe-container ctx-personalization-container ctx_default_placement ctx-clearfix'></div><div class='ctx-social-container ctx_default_placement ctx-clearfix'></div><div class='ctx-module-container ctx_default_placement ctx-clearfix'></div><span class="ctx-article-root"><!-- --></span><p>The post <a rel="nofollow" href="https://soundlister.com/3-new-entry-level-audio-jobs-at-respawn-audio-implementer-music-implementer-associate-sound-designer/">3 New Entry-level Audio Jobs at Respawn: Audio Implementer, Music Implementer &#038; Associate Sound Designer</a> appeared first on <a rel="nofollow" href="https://soundlister.com">Soundlister.com</a>.</p> Audio Jobs Remote Audio Jobs Asbjoern Andersen Working in Sound: Jakob Eisenbach on composing for the location-based VR experience ‘TIKAL: Night of the Blood Moon’: https://soundlister.com/working-in-sound-tikal-night-of-the-blood-moon/ Soundlister.com urn:uuid:1058402f-9a58-43cb-969c-1eb4c5776aa6 Tue, 24 Aug 2021 10:51:56 +0200 <p><img width="600" height="384" src="https://soundlister.com/wp-content/uploads/2021/08/tikal_score-600x384.jpg" class="attachment-large size-large wp-post-image" alt="Tikal VR Score" loading="lazy" style="float:left; margin:0 15px 15px 0;" />Composer Jakob Eisenbach shares the story on how he created the score for 'TIKAL: Night of the Blood Moon':</p> <p>The post <a rel="nofollow" href="https://soundlister.com/working-in-sound-tikal-night-of-the-blood-moon/">Working in Sound: Jakob Eisenbach on composing for the location-based VR experience &#8216;TIKAL: Night of the Blood Moon&#8217;:</a> appeared first on <a rel="nofollow" href="https://soundlister.com">Soundlister.com</a>.</p> <img width="600" height="384" src="https://soundlister.com/wp-content/uploads/2021/08/tikal_score-600x384.jpg" class="attachment-large size-large wp-post-image" alt="Tikal VR Score" loading="lazy" style="float:left; margin:0 15px 15px 0;" />What does it take to compose for a location-based VR experience? Composer Jakob Eisenbach shares the story on how he created the score for &#8216;TIKAL: Night of the Blood Moon&#8217;, performed by the Budapest Art Orchestra: <br>&nbsp; <iframe title="Making of TIKAL: Night of the Blood Moon Soundtrack" width="1080" height="608" src="https://www.youtube.com/embed/9DgVGkSmlOU?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <br>&nbsp; <hr> <br>&nbsp; <center>Watch the orchestra perform the &#8220;Chamber of Gods&#8221; / &#8220;Awakening The Demon&#8221; track from the score below:</center> <br>&nbsp; <iframe title="TIKAL: Night of the Blood Moon Soundtrack - &quot;Chamber of Gods&quot; / &quot;Awakening The Demon&quot;" width="1080" height="608" src="https://www.youtube.com/embed/Aserm1dz4KM?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <br>&nbsp; <br> <center>Be the first to know about exciting new audio job posts: <a href="https://asoundeffect.us7.list-manage.com/subscribe?u=591aa926dac921217c05d95b6&#038;id=bf10d62189" target="_blank" rel="noopener noreferrer">Get the Audio Jobs newsletter here</a></center><br> <div class='ctx-subscribe-container ctx-personalization-container ctx_default_placement ctx-clearfix'></div><div class='ctx-social-container ctx_default_placement ctx-clearfix'></div><div class='ctx-module-container ctx_default_placement ctx-clearfix'></div><span class="ctx-article-root"><!-- --></span><p>The post <a rel="nofollow" href="https://soundlister.com/working-in-sound-tikal-night-of-the-blood-moon/">Working in Sound: Jakob Eisenbach on composing for the location-based VR experience &#8216;TIKAL: Night of the Blood Moon&#8217;:</a> appeared first on <a rel="nofollow" href="https://soundlister.com">Soundlister.com</a>.</p> Audio Jobs Working In Sound Asbjoern Andersen Used Icon D Control – Current Listings https://resurface.audio/used-icon-d-control-current-listings/ Page Array – Resurface urn:uuid:c726859a-b652-5442-989e-9e29a09a9933 Mon, 23 Aug 2021 20:46:50 +0200 <p>Availability and Pricing updated 23 Aug 2021: Current worldwide listings for Icon D Control</p> <p>The post <a rel="nofollow" href="https://resurface.audio/used-icon-d-control-current-listings/">Used Icon D Control &#8211; Current Listings</a> appeared first on <a rel="nofollow" href="https://resurface.audio">Resurface</a>.</p> <hr class="wp-block-separator"/> <p style="text-align:center">Used Icon D Control Listings: Updated 23 August 2021</p> <hr class="wp-block-separator"/> <div class="wp-block-cover has-background-dim has-parallax" style="background-image:url(https://resurface.audio/wp-content/uploads/Hans.jpeg)"><div class="wp-block-cover__inner-container"> <p style="background-color:#7085a3;text-align:left" class="has-background has-medium-font-size">Icon D Control ES</p> <p>16 Fader | Los Angleles, USA | P.O.A.</p> <div class="wp-block-button is-style-squared"><a class="wp-block-button__link has-background" href="https://resurface.audio/directory/used-digidesign-icon-from-hans-zimmers-studio/" style="background-color:#939598">See Full Item Listing</a></div> </div></div> <blockquote class="wp-block-quote"><p><strong><em>Resurface Says</em></strong>: From the studio of legendary film composer Hans Zimmer, this Icon comes with a rich history and has been lovingly maintained.</p></blockquote> <hr class="wp-block-separator"/> <div class="wp-block-cover has-background-dim has-parallax" style="background-image:url(https://resurface.audio/wp-content/uploads/Sweden-D-COntrol.jpeg)"><div class="wp-block-cover__inner-container"> <p style="background-color:#7085a3;text-align:left" class="has-background has-medium-font-size">Icon D Control 16 Fader</p> <p>16 Fader | Sweden | EUR 4,995</p> <div class="wp-block-button is-style-squared"><a class="wp-block-button__link has-background" href="https://resurface.audio/directory/16-fader-blue-d-control-for-sale-great-price/" style="background-color:#939598">See Full Item Listing</a></div> </div></div> <blockquote class="wp-block-quote"><p><strong><em>Resurface Says</em></strong>: Sweden-based Icon D Control, very keenly priced at under 5k Euro.</p></blockquote> <hr class="wp-block-separator"/> <div class="wp-block-cover has-background-dim has-parallax" style="background-image:url(https://resurface.audio/wp-content/uploads/Euro-32-D-Control.jpeg)"><div class="wp-block-cover__inner-container"> <p style="background-color:#7085a3;text-align:left" class="has-background has-medium-font-size">Icon D Control ES 32 with Surround Panner</p> <p>32 Fader | Europe | EUR 11,000</p> <div class="wp-block-button is-style-squared"><a class="wp-block-button__link has-background" href="https://resurface.audio/directory/d-control-32-fader-for-sale/" style="background-color:#939598">See Full Item Listing</a></div> </div></div> <blockquote class="wp-block-quote"><p><strong><em>Resurface Says</em></strong>: High spec, well maintained ex-broadcast Icon consoles are in high demand, especially with the working surround panner module.</p></blockquote> <hr class="wp-block-separator"/> <div class="wp-block-cover has-background-dim has-parallax" style="background-image:url(https://resurface.audio/wp-content/uploads/Blue-32-with-panner-1.jpeg)"><div class="wp-block-cover__inner-container"> <p style="background-color:#7085a3;text-align:left" class="has-background has-medium-font-size">Icon D Control 32 with Surround Panner</p> <p>32 Fader | Belgium | EUR 9,950</p> <div class="wp-block-button is-style-squared"><a class="wp-block-button__link has-background" href="https://resurface.audio/directory/digidesign-avid-32-fader-d-control-blue-with-panner/" style="background-color:#939598">See Full Item Listing</a></div> </div></div> <blockquote class="wp-block-quote"><p><strong><em>Resurface Says</em></strong>: A well cared-for high spec Icon from a private studio &#8211; with working surround panner module.</p></blockquote> <hr class="wp-block-separator"/> <span class="rad_rapidology_bottom_trigger"></span><p>The post <a rel="nofollow" href="https://resurface.audio/used-icon-d-control-current-listings/">Used Icon D Control &#8211; Current Listings</a> appeared first on <a rel="nofollow" href="https://resurface.audio">Resurface</a>.</p> News Ben Nemes Used Icon D Command – Current Listings https://resurface.audio/used-icon-d-command-current-listings/ Page Array – Resurface urn:uuid:e65f093e-7c33-d42b-bc99-f5aba9713422 Mon, 23 Aug 2021 17:15:42 +0200 <p>Availability and Pricing updated 23 Aug 2021: Current worldwide listings for Icon D Command</p> <p>The post <a rel="nofollow" href="https://resurface.audio/used-icon-d-command-current-listings/">Used Icon D Command &#8211; Current Listings</a> appeared first on <a rel="nofollow" href="https://resurface.audio">Resurface</a>.</p> <hr class="wp-block-separator"/> <p style="text-align:center">Used Icon D Command Listings: Updated 23 August 2021</p> <hr class="wp-block-separator"/> <div class="wp-block-cover has-background-dim has-parallax" style="background-image:url(https://resurface.audio/wp-content/uploads/Blue-8-Paris.jpeg)"><div class="wp-block-cover__inner-container"> <p style="background-color:#7085a3;text-align:left" class="has-background has-medium-font-size">Used D Command Main</p> <p>8 Fader | Paris, France | EUR 1,000</p> <div class="wp-block-button is-style-squared"><a class="wp-block-button__link has-background" href="https://resurface.audio/directory/used-icon-d-command-main-unit/" style="background-color:#939598">See Full Item Listing</a></div> </div></div> <p></p> <blockquote class="wp-block-quote"><p><em><strong>Resurface says:</strong></em> Missing side cheeks make this D Command a low-cost console for integration with custom furniture or as a source of valuable critical spares</p></blockquote> <hr class="wp-block-separator"/> <div class="wp-block-cover has-background-dim has-parallax" style="background-image:url(https://resurface.audio/wp-content/uploads/7-1.png)"><div class="wp-block-cover__inner-container"> <p style="background-color:#7085a3;text-align:left" class="has-background has-medium-font-size">Used D Command 24</p> <p>24 Fader | Sligo, Ireland | EUR 4,000</p> <div class="wp-block-button is-style-squared"><a class="wp-block-button__link has-background" href="https://resurface.audio/directory/used-icon-d-command-24-fader-ireland/" style="background-color:#939598">See Full Item Listing</a></div> </div></div> <blockquote class="wp-block-quote"><p><em><strong>Resurface says:</strong></em> Popular spec for blue-series Icon D Command, available within the EU</p></blockquote> <hr class="wp-block-separator"/> <div class="wp-block-cover has-background-dim has-parallax" style="background-image:url(https://resurface.audio/wp-content/uploads/8-ES-Main.jpeg)"><div class="wp-block-cover__inner-container"> <p style="background-color:#7085a3;text-align:left" class="has-background has-medium-font-size">Ex-Broadcast D Command Main</p> <p>8 Fader | London, England | GBP 1,750</p> <div class="wp-block-button is-style-squared"><a class="wp-block-button__link has-background" href="https://resurface.audio/directory/d-command-es-8-fader-ex-broadcast/" style="background-color:#939598">See Full Item Listing</a></div> </div></div> <blockquote class="wp-block-quote"><p><em><strong>Resurface says:</strong></em> Two units available, low cost for a fully maintained and working Icon D Command ES</p></blockquote> <hr class="wp-block-separator"/> <div class="wp-block-cover has-background-dim has-parallax" style="background-image:url(https://resurface.audio/wp-content/uploads/IMG_20210216_122918.jpg)"><div class="wp-block-cover__inner-container"> <p style="background-color:#7085a3;text-align:left" class="has-background has-medium-font-size">D Command ES 24</p> <p>24 Fader | England | COMING SOON &#8211; ENQUIRE FOR DETAILS</p> <div class="wp-block-button is-style-squared"><a class="wp-block-button__link has-background" href="mailto:info@resurface.audio" style="background-color:#939598">Enquire for advance details</a></div> </div></div> <blockquote class="wp-block-quote"><p><em><strong>Resurface says:</strong></em> Multiple 24 Fader D Command ES consoles due on the market soon. Click on the button to email us with your enquiry.</p></blockquote> <hr class="wp-block-separator"/> <span class="rad_rapidology_bottom_trigger"></span><p>The post <a rel="nofollow" href="https://resurface.audio/used-icon-d-command-current-listings/">Used Icon D Command &#8211; Current Listings</a> appeared first on <a rel="nofollow" href="https://resurface.audio">Resurface</a>.</p> News Ben Nemes File storage and data management on expeditions https://mindful-audio.com/blog/file-storage-data-management-expeditions Blog - Mindful Audio urn:uuid:f7ee2e65-8c31-8255-f2df-57f30e3a78d6 Sun, 22 Aug 2021 12:31:09 +0200 File storage and data management can be a source of headaches even in the safe space of a studio. Add a few elements to the mix (humidity, head, being on the road, lack of access to electricity, insects, monkeys etc.) and it becomes a bit of a nightmare. Here are some of the most important aspects to consider. <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629626004022-ABER78WCL3I5OG9C5NVN/IMG_1673-1-1-1.jpg" data-image-dimensions="2500x1406" data-image-focal-point="0.5,0.5" alt="IMG_1673-1-1-1.jpg" data-load="false" data-image-id="61221e902437b6320b549fef" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629626004022-ABER78WCL3I5OG9C5NVN/IMG_1673-1-1-1.jpg?format=1000w" /> </figure> <p class="">File storage and data management can be a source of headaches even in the safe space of a studio. Add a few elements to the mix (humidity, heat, bees, being on the road, lack of access to electricity, monkeys etc.) &nbsp;and it becomes a bit of a nightmare. I’ve made many mistakes over the years and learned from most of them, but it’s always better to avoid silly errors altogether. I write this from the perspective of field recording and photo/videography but I think it applies to other fields such as conservation, scientific research, ecology etc. Here are some of the most important aspects to consider. </p><h1>Data management discipline</h1><p class="">If there’s one thing you’ll remember from this article, I hope it’s this: don’t be lazy about data management. No matter how tired, wet, mosquito-bitten, bee-stung, orangutan-chased you are, be diligent about your data management when you’re in the field. Get into the habit of copying everything from your memory cards and/or devices to your laptop and external drives once a day (unless you have serious reasons not to). </p><p class="">Once you’ve copied your data from your devices, make sure format your memory cards in the devices you’ll be using them in. I’ve missed several good recording opportunities because I was using SD cards with previous recordings on them. Deleting the data from the memory card isn’t usually enough since most devices have some sort of recycle bin system. Also, formatting in the field sounds like a good idea until you’re teetering on the edge of a crater as a thunderstorm is approaching and you’re trying to not fall in while setting up your rig. </p><h1>Media</h1><p class="">On any expedition I will bring along my laptop (2017 Macbook Pro) along with a small bag of card readers and cables. (While we’re on the topic of cables, double check what transfer speed yours are rated for, otherwise you’ll have a bottleneck situation.) I will also bring two 2TB portable SSDs, 10 SD cards and 10 microSD cards. I might also bring a second CF card for my Sound Devices 633 just in case the one in the device stops working. I keep the SD and microSD cards in a neat card case that’s water and shock resistant. SSDs are also much better at dealing with shocks and dust than traditional disk HDDs. They’re not cheap, but the sturdiness and much higher transfer speeds pay for themselves in the long term. </p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627398181-UCNPBLKKE8531DBEXO83/IMG_1830-1.jpg" data-image-dimensions="2500x1406" data-image-focal-point="0.5,0.5" alt="Data management in the Amazon rainforest" data-load="false" data-image-id="61222404f20b113b35673f57" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627398181-UCNPBLKKE8531DBEXO83/IMG_1830-1.jpg?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class="">Data management in the Amazon rainforest</p> </figcaption> </figure> <p class="">A quick word about memory card sizes. I like to record for days at a time at reasonably high specs. I also like to take high quality raw photos and 4k or 8k footage, sometimes in high FPS/slow motion. This adds up quickly and the last thing you want to do is to fumble around looking for replacement memory cards in the middle of action when you should be focusing on capturing it. I used to think smaller memory cards are great because they force me to unload the data often, but I’ve found out I don’t need that extra nudge once I got into the habit of doing it once a day. I now use 128GB or higher memory cards for audio and 256GB+ SD cards for photo/video. This way I can leave a rig out for a few days at a time without worry.</p><p class="">I’ve looked into no-laptop data management on expedition but I haven’t found a solution that seems reliable enough. There are a few devices on the market that promise automatic data transfer but I’ve seen mixed reviews and it would be very difficult for me to relinquish control over such an important part of my work to an automated process. I also like to listen to my recordings and to see my photos and videos on location, which is much easier done with a proper screen. I would much sooner record on new memory cards every time and keep them all than use a box that promises automatic copy without showing it to me. Bringing a laptop along offers many other benefits as long as you can keep it powered, but that’s a discussion for another article. Of course, there are pros and cons to bringing delicate bits of technology to the rainforest or desert, but that’s basically the job description!</p><p class="">It’s also worth considering where all the media lives on an expedition. I like to have 3 copies of everything, one on the laptop’s internal drive and one on each of the two SSDs. The laptop will stay in my backpack or in a secure location at base camp. One SSD will live in a suitcase or safe (if there is one) and the second one will always be with me. You can buy all your kit if you lose it (insurance is worth getting) but you’ll never make the same recordings, photos or videos again. If possible, all your storage media should be kept in shock-proof cases in submergible drybags. </p><iframe scrolling="no" src="https://w.soundcloud.com/player/?visual=true&amp;url=https%3A%2F%2Fapi.soundcloud.com%2Fplaylists%2F48188262&amp;show_artwork=true&amp;wmode=opaque" width="100%" frameborder="no" height="450"></iframe><h2>Workflow</h2><p class="">I like to organise data on my studio drives around a date-based structure. I have folders for every year, month and expedition. Within each expedition folder there is a subfolder for each device, and further down there are subfolders for each day. This workflow makes sense to me and it’s become second nature, although your mileage may of course vary. The important aspect here is to decide on a workflow that does the job for you before you leave and to avoid switching it mid-expedition. You may have to try a few options over time but eventually you’ll find the one that makes most sense. </p><p class="">Once I’ve copied all my data to my laptop’s drive at the end of the day, I then back it up on the two SSDs as mentioned by making exact copies of it. While I like to quickly check the media on location, I never delete anything. Listening to stuff on headphones or looking at photos on the small screen of a laptop in a rainforest will offer a limited experience and it’s easy to make bad decisions. I wait until I’m back in my studio listening on proper monitors and looking at a big screen before I decide to delete media. </p><p class="">I try to slate my recordings once I’ve set up my rigs and pressed record by speaking into the mics and stating things like time, location, weather, gear used and gain setting, interesting aspects etc. This usually gives me enough information once I’m back in the studio listening. I also take plenty of photos of the location and rig that I can refer to later. This means I don’t need to add metadata to my recordings in the field, which would probably become too tedious anyway. I might write notes on my phone or in a small notebook though.</p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627786141-2ECYSDCX8DBYA42NS61P/IMG_4125-1.jpg" data-image-dimensions="2500x3125" data-image-focal-point="0.5,0.5" alt="Formatting media quickly as a sandstorm approaches" data-load="false" data-image-id="6122258710d8862459903cb4" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627786141-2ECYSDCX8DBYA42NS61P/IMG_4125-1.jpg?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class="">Formatting media quickly as a sandstorm approaches</p> </figcaption> </figure> <p class="">Back in the studio it’s quite easy to copy everything on to my workstation drives since the folder structure is exactly the same. This also means I’ll know where to look when I need something specific without having to waste time sifting through endless mislabelled subfolders. This is when the fun of listening to endless hours of recordings starts. Read <a href="https://mindful-audio.com/blog/how-to-edit-master-field-recordings">this blog post</a> if you’re curious what my editing and mastering workflow is. </p><p class="">———————————</p><p class="">I hope you’ve found this blog post interesting and useful. It’s taken me several days to write but I think it was worth it given how often I receive these questions. Check out a few options to support me if you want to say thanks:</p><p class=""> - become a patron: <a href="https://www.patreon.com/georgevlad" target="_blank">https://www.patreon.com/georgevlad</a> <br> - buy my sound effects libraries: <a href="https://mindful-audio.com/sound-effects-libraries" target="_blank">https://mindful-audio.com/sound-effects-libraries</a> <br> - buy me a coffee: <a href="https://ko-fi.com/georgevlad" target="_blank">https://ko-fi.com/georgevlad</a> <br> - buy my soundscape albums: <a href="https://wildaesthesia.bandcamp.com" target="_blank">https://wildaesthesia.bandcamp.com</a></p> <span class="v6-visually-hidden">View fullsize</span> <iframe frameborder="0" height="710" scrolling="no" width="612" allowtransparency="true" src="https://www.instagram.com/p/CSZo0ilinWQ/embed/"></iframe> <a data-title="" data-description="I look forward to getting back on the road soon. #overland" data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627898197-UXETYQDEPINP6099Y918/image-asset.jpeg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > <span class="v6-visually-hidden">View fullsize</span> <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627898197-UXETYQDEPINP6099Y918/image-asset.jpeg" data-image-dimensions="999x999" data-image-focal-point="0.5,0.5" alt="I look forward to getting back on the road soon. #overland" data-load="false" data-image-id="612225f9a0586822a40ffb24" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627898197-UXETYQDEPINP6099Y918/image-asset.jpeg?format=1000w" /> </a> <a data-title="" data-description="Brown hyenas are the most endangered species of hyena, with small populations surviving in SW Africa. We found this old one scavenging on the Skeleton Coast, most likely looking for seal carcasses." data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627898650-EMZNI19A9W2P2KUW0V2Y/image-asset.jpeg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > <span class="v6-visually-hidden">View fullsize</span> <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627898650-EMZNI19A9W2P2KUW0V2Y/image-asset.jpeg" data-image-dimensions="1250x1562" data-image-focal-point="0.5,0.5" alt="Brown hyenas are the most endangered species of hyena, with small populations surviving in SW Africa. We found this old one scavenging on the Skeleton Coast, most likely looking for seal carcasses." data-load="false" data-image-id="612225f9a0586822a40ffb25" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627898650-EMZNI19A9W2P2KUW0V2Y/image-asset.jpeg?format=1000w" /> </a> <a data-title="" data-description="Fishing in the dead forest." data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627898965-CU3MOPVTCRQIJNSI5BDY/image-asset.jpeg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > <span class="v6-visually-hidden">View fullsize</span> <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627898965-CU3MOPVTCRQIJNSI5BDY/image-asset.jpeg" data-image-dimensions="999x1246" data-image-focal-point="0.5,0.5" alt="Fishing in the dead forest." data-load="false" data-image-id="612225f9a0586822a40ffb26" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627898965-CU3MOPVTCRQIJNSI5BDY/image-asset.jpeg?format=1000w" /> </a> <a data-title="" data-description="Summer." data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627899275-WXQW6Q9UQ1DOET601129/image-asset.jpeg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > <span class="v6-visually-hidden">View fullsize</span> <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627899275-WXQW6Q9UQ1DOET601129/image-asset.jpeg" data-image-dimensions="999x999" data-image-focal-point="0.5,0.5" alt="Summer." data-load="false" data-image-id="612225f9a0586822a40ffb27" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627899275-WXQW6Q9UQ1DOET601129/image-asset.jpeg?format=1000w" /> </a> <span class="v6-visually-hidden">View fullsize</span> <iframe frameborder="0" height="710" scrolling="no" width="612" allowtransparency="true" src="https://www.instagram.com/p/CRtPKzVCg9X/embed/"></iframe> <a data-title="" data-description="#fieldrecording adventures at sea." data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627900057-P8RH13U9QHYS5XXVKYUP/image-asset.jpeg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > <span class="v6-visually-hidden">View fullsize</span> <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627900057-P8RH13U9QHYS5XXVKYUP/image-asset.jpeg" data-image-dimensions="1440x1440" data-image-focal-point="0.5,0.5" alt="#fieldrecording adventures at sea." data-load="false" data-image-id="612225f9a0586822a40ffb29" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627900057-P8RH13U9QHYS5XXVKYUP/image-asset.jpeg?format=1000w" /> </a> <a data-title="" data-description="The sounds of #sailing - link in bio." data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627900416-MUDHC2MWYZ9IKX1HUJCV/image-asset.jpeg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > <span class="v6-visually-hidden">View fullsize</span> <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627900416-MUDHC2MWYZ9IKX1HUJCV/image-asset.jpeg" data-image-dimensions="899x899" data-image-focal-point="0.5,0.5" alt="The sounds of #sailing - link in bio." data-load="false" data-image-id="612225f9a0586822a40ffb2a" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627900416-MUDHC2MWYZ9IKX1HUJCV/image-asset.jpeg?format=1000w" /> </a> <a data-title="" data-description="Merlin patiently awaits our return as we explore a hidden cove on the Cornwall coast." data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627900840-SZLXXDSQC1DSTZP387JV/image-asset.jpeg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > <span class="v6-visually-hidden">View fullsize</span> <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627900840-SZLXXDSQC1DSTZP387JV/image-asset.jpeg" data-image-dimensions="1440x1800" data-image-focal-point="0.5,0.5" alt="Merlin patiently awaits our return as we explore a hidden cove on the Cornwall coast." data-load="false" data-image-id="612225f9a0586822a40ffb2b" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1629627900840-SZLXXDSQC1DSTZP387JV/image-asset.jpeg?format=1000w" /> </a> Field recording tips George Vlad File storage and data management on expeditions A Concert Underground http://www.soundarkstudios.com/blog/a-concert-underground BLOG - Sound Ark urn:uuid:0a541ef8-5434-6112-fd46-a92aada019c6 Fri, 20 Aug 2021 15:19:04 +0200 <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629449740125-XUD4Q2KONRK9HLY12DTI/Marble_Arch_Music_05+copy.jpg" data-image-dimensions="2000x1331" data-image-focal-point="0.5,0.5" alt="Going Underground! Cathal McConnell about to begin his performance at Marble Arch Caves. [c. Ronan McGrade Photography / Cuilcagh to Cleenish]" data-load="false" data-image-id="611f6df810096e12d7fe3795" data-type="image" src="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629449740125-XUD4Q2KONRK9HLY12DTI/Marble_Arch_Music_05+copy.jpg?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class=""><em>Going Underground! </em>Cathal McConnell about to begin his performance at Marble Arch Caves. [c. Ronan McGrade Photography / Cuilcagh to Cleenish]</p> </figcaption> </figure> <p class="">Two years and one pandemic ago I was approached to record a unique concert in County Fermanagh. Organised by the <a href="https://www.c2c.org.uk">Cuilcagh to Cleenish heritage project</a> to showcase the music and culture of these water-logged lands, <em>Going Underground!</em> took place in September 2019. The chosen venue was the atmospheric water-carved chambers of <a href="https://marblearchcaves.co.uk">Marble Arch Caves</a>, part of the wider UNESCO Global Geopark, our local nature gem here in Fermanagh and Cavan. The challenge involved recording several musical performances and spoken voice, at various locations along the cave system, with a free-moving audience, and a potentially flooded river - after all this is Ireland and rainfall is almost written in law. </p><p class="">Acoustically these natural halls are a delight, except for the one big elephant in the room, you might have guessed it: water. Masses and masses of water sink through the limestone from three different rivers into the cave system. When the flow is low, the noise of the water is akin to a trickle. When the flow is high however, it turns into white noise, our most pervasive enemy as sound recordists, as it covers the entire human audible range. And if the flow is very high some chambers flood and the caves close to the public. </p><p class="">The week of the concert we had copious amounts of rain, and there were talks of cancelling the concert. But we went ahead; after all, if it wasn’t for water none of this (none of us!) would be here. So we embraced it and what a night it was. My favourite aspect of the night, aside from the setting and the challenge it posed as a sound recordist, was to see so many community members, all gathered to enjoy a special evening listening to music; listening to their music. </p><p class="">There was also spoken word, tea, cake, and a wider sense of discovery as the audience moved in small groups around the different chambers, following the sounds. Here is Séamas McCanny setting the tone at the entrance gates: </p><iframe scrolling="no" src="https://w.soundcloud.com/player/?visual=true&amp;url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F681623258&amp;show_artwork=true&amp;wmode=opaque" width="100%" frameborder="no" height="400"></iframe><p class="">After Séamas’ dark stories, the crowds were then lead inside the cave in small groups to listen to a talented roster of musicians spanning all generations, including: Cathal McConnell, Shauneen Maguire, The Tumbling Paddies, <a href="https://www.ancientmusicireland.com">Ancient Music Ireland</a>, Mullaghy Flute band, The Owens Sisters and Tommy Owens and Eugene Dolan.</p> <a data-title="Cathal McConnell" data-description="&lt;p class=&quot;&quot; style=&quot;white-space:pre-wrap;&quot;&gt;Copyright: Ronan McGrade Photography / Cuilcagh to Cleenish (www.c2c.org.uk)&lt;/p&gt;" data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411454935-SPFW7XW4VLA5ZCS9DB1D/Marble_Arch_Music_07-2.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > <span class="v6-visually-hidden">View fullsize</span> <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411454935-SPFW7XW4VLA5ZCS9DB1D/Marble_Arch_Music_07-2.jpg" data-image-dimensions="800x500" data-image-focal-point="0.5,0.5" alt="Cathal McConnell" data-load="false" data-image-id="611ed87dedd4854ac19b6251" data-type="image" src="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411454935-SPFW7XW4VLA5ZCS9DB1D/Marble_Arch_Music_07-2.jpg?format=1000w" /><br> </a> Cathal McConnell <a data-title="Shauneen Maguire" data-description="&lt;p class=&quot;&quot; style=&quot;white-space:pre-wrap;&quot;&gt;Copyright: Ronan McGrade Photography / Cuilcagh to Cleenish (www.c2c.org.uk)&lt;/p&gt;" data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411450616-68EQ5BF7LQ5MS44R2VCL/Marble_Arch_Music_06-2.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > <span class="v6-visually-hidden">View fullsize</span> <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411450616-68EQ5BF7LQ5MS44R2VCL/Marble_Arch_Music_06-2.jpg" data-image-dimensions="800x500" data-image-focal-point="0.5,0.5" alt="Shauneen Maguire" data-load="false" data-image-id="611ed879199bf656fb96012f" data-type="image" src="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411450616-68EQ5BF7LQ5MS44R2VCL/Marble_Arch_Music_06-2.jpg?format=1000w" /><br> </a> Shauneen Maguire <a data-title="The Tumbling Paddies" data-description="&lt;p class=&quot;&quot; style=&quot;white-space:pre-wrap;&quot;&gt;Copyright: Ronan McGrade Photography / Cuilcagh to Cleenish (www.c2c.org.uk)&lt;/p&gt;" data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411451841-4DA7IS67JHMN77XFLH83/Marble_Arch_Music_02-1.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > <span class="v6-visually-hidden">View fullsize</span> <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411451841-4DA7IS67JHMN77XFLH83/Marble_Arch_Music_02-1.jpg" data-image-dimensions="800x500" data-image-focal-point="0.5,0.5" alt="The Tumbling Paddies" data-load="false" data-image-id="611ed87a0b518621073e3309" data-type="image" src="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411451841-4DA7IS67JHMN77XFLH83/Marble_Arch_Music_02-1.jpg?format=1000w" /><br> </a> The Tumbling Paddies <a data-title="The Tumbling Paddies" data-description="&lt;p class=&quot;&quot; style=&quot;white-space:pre-wrap;&quot;&gt;Copyright: Ronan McGrade Photography / Cuilcagh to Cleenish (www.c2c.org.uk)&lt;/p&gt;" data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411453956-93TLYJ78Z6DLJIJNXHRT/Marble_Arch_Music_08-2.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > <span class="v6-visually-hidden">View fullsize</span> <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411453956-93TLYJ78Z6DLJIJNXHRT/Marble_Arch_Music_08-2.jpg" data-image-dimensions="800x500" data-image-focal-point="0.5,0.5" alt="The Tumbling Paddies" data-load="false" data-image-id="611ed87c4caa660260331c6e" data-type="image" src="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411453956-93TLYJ78Z6DLJIJNXHRT/Marble_Arch_Music_08-2.jpg?format=1000w" /><br> </a> The Tumbling Paddies <a data-title="Ancient Music Ireland" data-description="&lt;p class=&quot;&quot; style=&quot;white-space:pre-wrap;&quot;&gt;Copyright: Ronan McGrade Photography / Cuilcagh to Cleenish (www.c2c.org.uk)&lt;/p&gt;" data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411576099-7QL1P90735RVMEZQJOUN/Marble_Arch_Music_38+copy.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > <span class="v6-visually-hidden">View fullsize</span> <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411576099-7QL1P90735RVMEZQJOUN/Marble_Arch_Music_38+copy.jpg" data-image-dimensions="2000x1331" data-image-focal-point="0.5,0.5" alt="Ancient Music Ireland" data-load="false" data-image-id="611ed8e1a134985a2575b6f9" data-type="image" src="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411576099-7QL1P90735RVMEZQJOUN/Marble_Arch_Music_38+copy.jpg?format=1000w" /><br> </a> Ancient Music Ireland <a data-title="Ancient Music Ireland" data-description="&lt;p class=&quot;&quot; style=&quot;white-space:pre-wrap;&quot;&gt;Copyright: Ronan McGrade Photography / Cuilcagh to Cleenish (www.c2c.org.uk)&lt;/p&gt;" data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411449465-6ENWVNJD7B72SV7TKWBY/Marble_Arch_Music_09-2.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > <span class="v6-visually-hidden">View fullsize</span> <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411449465-6ENWVNJD7B72SV7TKWBY/Marble_Arch_Music_09-2.jpg" data-image-dimensions="800x500" data-image-focal-point="0.5,0.5" alt="Ancient Music Ireland" data-load="false" data-image-id="611ed8771cded00f4dd217f7" data-type="image" src="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411449465-6ENWVNJD7B72SV7TKWBY/Marble_Arch_Music_09-2.jpg?format=1000w" /><br> </a> Ancient Music Ireland <a data-title="The Owens sisters" data-description="&lt;p class=&quot;&quot; style=&quot;white-space:pre-wrap;&quot;&gt;Copyright: Ronan McGrade Photography / Cuilcagh to Cleenish (www.c2c.org.uk)&lt;/p&gt;" data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411452970-7Z8AWCPLJMGXXBFDJH0M/Marble_Arch_Music_11-1.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > <span class="v6-visually-hidden">View fullsize</span> <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411452970-7Z8AWCPLJMGXXBFDJH0M/Marble_Arch_Music_11-1.jpg" data-image-dimensions="800x500" data-image-focal-point="0.5,0.5" alt="The Owens sisters" data-load="false" data-image-id="611ed87b8b99ba5709ea86f8" data-type="image" src="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411452970-7Z8AWCPLJMGXXBFDJH0M/Marble_Arch_Music_11-1.jpg?format=1000w" /><br> </a> The Owens sisters <a data-title="The Owens sisters" data-description="&lt;p class=&quot;&quot; style=&quot;white-space:pre-wrap;&quot;&gt;Copyright: Ronan McGrade Photography / Cuilcagh to Cleenish (www.c2c.org.uk)&lt;/p&gt;" data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411543156-AOVO4GFUIXKT653OQNJK/Marble_Arch_Music_57+copy.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > <span class="v6-visually-hidden">View fullsize</span> <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411543156-AOVO4GFUIXKT653OQNJK/Marble_Arch_Music_57+copy.jpg" data-image-dimensions="2000x1331" data-image-focal-point="0.5,0.5" alt="The Owens sisters" data-load="false" data-image-id="611ed8bb31ed4503f5b35eea" data-type="image" src="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411543156-AOVO4GFUIXKT653OQNJK/Marble_Arch_Music_57+copy.jpg?format=1000w" /><br> </a> The Owens sisters <a data-title="Mullaghy Flute Band" data-description="&lt;p class=&quot;&quot; style=&quot;white-space:pre-wrap;&quot;&gt;Copyright: Ronan McGrade Photography / Cuilcagh to Cleenish (www.c2c.org.uk)&lt;/p&gt;" data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411447894-R51XEQN3SIBLS1DGQICW/Marble_Arch_Music_10-2.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > <span class="v6-visually-hidden">View fullsize</span> <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411447894-R51XEQN3SIBLS1DGQICW/Marble_Arch_Music_10-2.jpg" data-image-dimensions="800x500" data-image-focal-point="0.5,0.5" alt="Mullaghy Flute Band" data-load="false" data-image-id="611ed8760f73612c22f82987" data-type="image" src="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411447894-R51XEQN3SIBLS1DGQICW/Marble_Arch_Music_10-2.jpg?format=1000w" /><br> </a> Mullaghy Flute Band <a data-title="Mullaghy Flute Band" data-description="&lt;p class=&quot;&quot; style=&quot;white-space:pre-wrap;&quot;&gt;Copyright: Ronan McGrade Photography / Cuilcagh to Cleenish (www.c2c.org.uk)&lt;/p&gt;" data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411566596-XAY2UKZGZKRWTVT196J2/Marble_Arch_Music_50+copy.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > <span class="v6-visually-hidden">View fullsize</span> <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411566596-XAY2UKZGZKRWTVT196J2/Marble_Arch_Music_50+copy.jpg" data-image-dimensions="2000x1415" data-image-focal-point="0.5,0.5" alt="Mullaghy Flute Band" data-load="false" data-image-id="611ed8dd6edcb62a95c52ae1" data-type="image" src="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411566596-XAY2UKZGZKRWTVT196J2/Marble_Arch_Music_50+copy.jpg?format=1000w" /><br> </a> Mullaghy Flute Band <a data-title="Séamas McCanny" data-description="&lt;p class=&quot;&quot; style=&quot;white-space:pre-wrap;&quot;&gt;Copyright: Ronan McGrade Photography / Cuilcagh to Cleenish (www.c2c.org.uk)&lt;/p&gt;" data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411596221-S96BRN5S7SGDACLDDRHH/Marble_Arch_Music_02+copy.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > <span class="v6-visually-hidden">View fullsize</span> <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411596221-S96BRN5S7SGDACLDDRHH/Marble_Arch_Music_02+copy.jpg" data-image-dimensions="2000x1333" data-image-focal-point="0.5,0.5" alt="Séamas McCanny" data-load="false" data-image-id="611ed8fbdbce106ccd1913b7" data-type="image" src="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411596221-S96BRN5S7SGDACLDDRHH/Marble_Arch_Music_02+copy.jpg?format=1000w" /><br> </a> Séamas McCanny <a data-title="Tommy Owens and Eugene Dolan" data-description="&lt;p class=&quot;&quot; style=&quot;white-space:pre-wrap;&quot;&gt;Copyright: Ronan McGrade Photography / Cuilcagh to Cleenish (www.c2c.org.uk)&lt;/p&gt;" data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411587999-VC5QWZL00A82YN6XHV7O/Marble_Arch_Music_66+copy.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fill " > <span class="v6-visually-hidden">View fullsize</span> <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411587999-VC5QWZL00A82YN6XHV7O/Marble_Arch_Music_66+copy.jpg" data-image-dimensions="2000x1331" data-image-focal-point="0.5,0.5" alt="Tommy Owens and Eugene Dolan" data-load="false" data-image-id="611ed8f4f3513a4855d07851" data-type="image" src="https://images.squarespace-cdn.com/content/v1/5261968ee4b06072c3521a8b/1629411587999-VC5QWZL00A82YN6XHV7O/Marble_Arch_Music_66+copy.jpg?format=1000w" /><br> </a> Tommy Owens and Eugene Dolan Music Field Recording Gear Angel Perez Grandi A Concert Underground 21 great new audio jobs at Netflix, Ubisoft, thatgamecompany, Apple, Unity, Kylotonn, Epidemic Sound, Wargaming, Obsidian, Blackbird Interactive, EA, 8 Circuit Studios, Rooster Teeth, Bethesda, Archiact, The Chinese Room, Walow, and WarnerMedia https://soundlister.com/21-great-new-audio-jobs-at-ubisoft-san-francisco-thatgamecompany-unity-vancouver-kylotonn-epidemic-sound-wargaming-blackbird-interactive-ea-tiburon-8-circuit-studios-rooster-teeth/ Soundlister.com urn:uuid:d2a14628-2697-0a30-d4bc-8591099f9ba3 Thu, 19 Aug 2021 15:04:52 +0200 <p><img width="600" height="314" src="https://soundlister.com/wp-content/uploads/2020/05/audiojobs_20_b-600x314.jpg" class="attachment-large size-large wp-post-image" alt="Audio jobs by Soundlister" loading="lazy" style="float:left; margin:0 15px 15px 0;" />Wanted: Technical Audio Designer, Audio Designer, Senior Audio Programmer, Senior Product Designer, Music Production, Audio Programmer, Audio Artist III, Audio Podcast Intern, Sound Designer, Audio Engineer, Entry Scheme, Music &#038; Audio Producer, Dialogue Editor, BSR Noise &#038; Vibration Engineer, Audio Tools SW Engineer, Supervising Sound Designer, and Post-Production Support Specialist</p> <p>The post <a rel="nofollow" href="https://soundlister.com/21-great-new-audio-jobs-at-ubisoft-san-francisco-thatgamecompany-unity-vancouver-kylotonn-epidemic-sound-wargaming-blackbird-interactive-ea-tiburon-8-circuit-studios-rooster-teeth/">21 great new audio jobs at Netflix, Ubisoft, thatgamecompany, Apple, Unity, Kylotonn, Epidemic Sound, Wargaming, Obsidian, Blackbird Interactive, EA, 8 Circuit Studios, Rooster Teeth, Bethesda, Archiact, The Chinese Room, Walow, and WarnerMedia</a> appeared first on <a rel="nofollow" href="https://soundlister.com">Soundlister.com</a>.</p> <img width="600" height="314" src="https://soundlister.com/wp-content/uploads/2020/05/audiojobs_20_b-600x314.jpg" class="attachment-large size-large wp-post-image" alt="Audio jobs by Soundlister" loading="lazy" style="float:left; margin:0 15px 15px 0;" /><div style="padding-bottom: 40px;"> <div class="frm_forms with_frm_style frm_style_job-submission-style" id="frm_form_21_container" > <form enctype="multipart/form-data" method="post" class="frm-show-form frm_pro_form " id="form_frd89" > <div class="frm_form_fields "> <fieldset> <legend class="frm_hidden">Job Subscription</legend> <div class="frm_fields_container"> <input type="hidden" name="frm_action" value="create" /> <input type="hidden" name="form_id" value="21" /> <input type="hidden" name="frm_hide_fields_21" id="frm_hide_fields_21" value="" /> <input type="hidden" name="form_key" value="frd89" /> <input type="hidden" name="item_meta[0]" value="" /> <input type="hidden" id="frm_submit_entry_21" name="frm_submit_entry_21" value="0ee475ed57" /><input type="hidden" name="_wp_http_referer" value="/feed/" /><label for="frm_verify_21" class="frm_screen_reader frm_hidden">If you are human, leave this field blank.</label> <input type="text" class="frm_hidden frm_verify" id="frm_verify_21" name="frm_verify" value="" /> <p><center></p> <div id="frm_field_272_container" class="frm_form_field frm_html_container form-field"><center></p> <h3>Get exciting new audio job opportunities delivered straight to your inbox</h3> <p></center></div> <p></center></p> <div id="frm_field_271_container" class="frm_form_field form-field frm_none_container frm_first frm_half"> <label for="field_adbxe" class="frm_primary_label">Email Address <span class="frm_required"></span> </label> <input type="email" id="field_adbxe" name="item_meta[271]" value="" placeholder="Enter email address" data-invmsg="Email Address is invalid" /> </div> <input type="hidden" name="item_key" value="" /> <div class="frm_submit frm_half"> <input type="submit" value="Subscribe" class="frm_final_submit" /> <img class="frm_ajax_loading" src="https://soundlister.com/wp-content/plugins/formidable/images/ajax_loader.gif" alt="Sending"/> </div></div> </fieldset> </div> </form> </div> </div> <div style="padding-bottom: 20px;"><p>We came across interesting new jobs at Ubisoft San Francisco, thatgamecompany, Unity Vancouver, and Kylotonn &#8211; and they&#8217;re looking for a Technical Audio Designer (CA, US), Audio Designer (CA, US), Senior Audio Programmer (BC, Canada), and Sound Designer (France).</p> <p>We also found openings for a <a href="https://epidemic-sound.teamtailor.com/jobs" target="_blank" rel="noopener noreferrer">Senior Product Designer, Music Production</a> at Epidemic Sound (Sweden), <a href="https://wargaming.com/en/careers/vacancy_1929670/" target="_blank" rel="noopener noreferrer">Sound Designer</a> at Wargaming (IL, US), <a href="https://jobs.lever.co/blackbirdinteractive/6381953a-d923-40ca-91e0-528dc15f16f7" target="_blank" rel="noopener noreferrer">Audio Programmer</a> at Blackbird Interactive (BC, Canada), <a href="https://ea.gr8people.com/jobs/167482/audio-artist-iii" target="_blank" rel="noopener noreferrer">Audio Artist III</a> at EA Tiburon (FL, US), <a href="https://www.indeed.com/viewjob?cmp=8-Circuit-Studios&#038;t=Sound+Designer&#038;jk=d5a6a0600a603502&#038;q=Sound+Designer&#038;vjs=3" target="_blank" rel="noopener noreferrer">Sound Designer</a> at 8 Circuit Studios (Remote), <a href="https://gamejobs.co/Broadcast-Audio-Podcast-Intern-at-Rooster-Teeth-5013" target="_blank" rel="noopener noreferrer">Audio Podcast Intern</a> at Rooster Teeth (TX, US), <a href="https://gamejobs.co/Sound-Designer-at-Zenimax-2910" target="_blank" rel="noopener noreferrer">Sound Designer</a> at Bethesda Game Studios (MD, US), <a href="https://www.linkedin.com/jobs/view/2616496108/" target="_blank" rel="noopener noreferrer">Senior Sound Designer</a> at The Chinese Room (England), <a href="https://remotegamejobs.com/jobs/archiact-interactive-ltd-audio-engineer-remote-job" target="_blank" rel="noopener noreferrer">Audio Engineer </a> at Archiact (Remote, Canada), <a href="https://www.thechineseroom.co.uk/the-chinese-room-entry-scheme/7cec316d-d608-430a-8178-9bf345bed434" target="_blank" rel="noopener noreferrer">Entry Scheme</a> at The Chinese Room (England), <a href="https://www.linkedin.com/jobs/view/2678749301/" target="_blank" rel="noopener noreferrer">Music &#038; Audio Producer </a> at Walow (Argentina), <a href="https://jobs.netflix.com/jobs/88936755?fbclid=IwAR1rTtGwggguUtC3TrsN2_T42z71sUiCxuH6P0vPS_s3wIiTAaqt5VKsmak" target="_blank" rel="noopener noreferrer">Dialogue Editor</a> at Netflix (CA, US), <a href="https://jobs.apple.com/en-us/details/200278453/bsr-noise-vibration-engineer?team=HRDWR" target="_blank" rel="noopener noreferrer">BSR Noise &#038; Vibration Engineer</a> at Apple (CA, US), <a href="https://jobs.apple.com/en-us/details/200253469/audio-tools-sw-engineer?team=HRDWR" target="_blank" rel="noopener noreferrer">Audio Tools SW Engineer</a> at Apple (CA, US), <a href="https://warnermediacareers.com/global/en/job/186609BR/Supervising-Sound-Designer-WM-Studios" target="_blank" rel="noopener noreferrer">Supervising Sound Designer</a> at WM Studios (GA, US), <a href="https://www.obsidian.net/careers/open-positions/audio/BX630cmtxu-audio-designer" rel="noopener noreferrer" target="_blank">Audio Designer</a> at Obsidian (CA, US), and <a href="https://warnermediacareers.com/global/en/job/184643BR/Post-Production-Support-Specialist" target="_blank" rel="noopener noreferrer">Post-Production Support Specialist</a> at WarnerMedia (Argentina).</p> <p>And be sure to check out <a href="https://www.facebook.com/groups/audiojobs/" target="_blank" rel="noopener noreferrer">The Audio Jobs</a> group for more opportunities! Happy job hunting!</p> </div> <hr> <strong>Highlight &#8211; sound stories this week:</strong> <br><br> &bull; <a href="https://www.asoundeffect.com/predator-hunting-grounds-sound/" target="_blank" rel="noopener noreferrer">Audio Director Steve Whetman takes you behind the bombastic sound for <em>Predator: Hunting Grounds</em></a>. <br><br> &bull; <a href="https://www.asoundeffect.com/game-audio-mastermind/" target="_blank" rel="noopener noreferrer">Ben Gallagher on how a mastermind group can help grow your game audio career</a>. <br><br> <hr> <br> <div class="note"><strong><span style="font-size: 24px;">Technical Audio Designer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Ubisoft San Francisco</span><br> <span style="font-size: 16px;"><strong>Location:</strong> San Francisco, CA, US</span><br> <div class="jobDesc"><strong>Job description</strong><br> <strong>WHAT YOU&#39;LL DO</strong> <p>We are looking for a highly talented, motivated, and experienced Technical Audio Designer for a new multiplatform AAA project based in our San Francisco studio.</p> <p>You will work on cutting-edge audio technology, expanding audio systems and integrating sound into gameplay to deliver exciting game experiences.</p> You will be a part of a collaboration-oriented team where you will have the opportunity to contribute in meaningful ways. <ul> <li>Design, implement, and debug audio systems for game development in our SF Studio</li> <li>Bridge the gap between audio designers and programmers to be the go between of the two discipline</li> <li>Collaborate with designers and programmers to develop systems/tools to allow audio designers to further realize their artistic aural vision</li> <li>Adopt and improve the existing audio development process</li> <li>Manage audio data budget, Wwise session organization, SoundBank structure and loading, and run-time audio optimizations </li> <li>Responsible for documenting audio systems and educating the content creators in audio best practices.</li> <li>Defining and managing loudness standards</li> </ul> <strong>WHAT YOU&#39;LL BRING</strong> <ul> <li>Proficient with Audiokinetic&#39;s Wwise</li> <li>Extensive knowledge of implementing audio in modern game engines</li> <li>Advanced knowledge of sound design, synthesis, &amp; audio manipulation</li> <li>Knowledge of and experience with building and maintaining modern audio systems in AAA titles</li> <li>Work efficiently with a high attention to detail</li> <li>Understanding of mix engineering process and loudness standards within the industry</li> </ul> <strong>WHAT YOU&#39;LL GET</strong> <ul> <li>Medical, dental, and vision coverage</li> <li>Employer HSA contribution (with enrollment in a HSA eligible medical plan)</li> <li>401k match</li> <li>Paid vacation, holiday and sick time</li> <li>Fitness, physical, and eSports challenge reimbursements</li> <li>Rocket Lawyer online legal service membership</li> <li>Paid parental leave</li> <li>Paid time off to volunteer</li> <li>Pawternity – paid time off to bond with a newly adopted pet</li> <li>Sabbatical leave available after 5 years of employment</li> <li>Generous discount on new Ubisoft games</li> </ul> <p>Ubisoft is a leading producer, publisher and distributor of interactive entertainment products worldwide and has grown considerably through a strong and diversified line-up of products and partnerships. Ubisoft has offices in 24 countries and sales in more than 50 countries around the globe. It is committed to delivering high-quality, cutting-edge video game titles to consumers. To learn more, please visit <a href="http://www.ubisoftgroup.com/">www.ubisoftgroup.com</a>.</p> </div> <div class="btnFix"><a class="btnJobs" href="https://jobs.smartrecruiters.com/Ubisoft2/743999766675901-technical-audio-designer" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://twitter.com/SchoolGameAudio/status/1428005856243761156" target="_blank" rel="noopener noreferrer">School.VideoGameAudio.com @SchoolGameAudio</a></div> </div> <div class="grayBreak"></div> <div class="note"><strong><span style="font-size: 24px;">Audio Designer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> thatgamecompany</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Santa Monica, CA, US</span><br> <div class="jobDesc"><strong>Job description</strong> <p>that<strong>game</strong>company is best recognized for creating award-winning, enriching, and meaningful game titles such as Journey, Flower, and flOw. Our mission is to develop timeless interactive entertainment that connects players worldwide through positive emotional experiences appealing to all ages. </p> <p>Our most recent game, Sky: Children of the Light (Sky), is a social adventure built around the values inherited from a powerful humanistic story. It is a live experience continuously evolving inside a global online theme park. We are looking for a dedicated audio designer for the ever-expanding world of Sky. This role creates and implements sound effects meeting technical and narrative requirements for Sky with our in-house audio, art, and design teams. From epic cinematics to subtle animation sound, all of the acoustic pieces are essential parts of immersion and player experience. Magic is waiting to happen with your imagination and creativity!</p> <strong>Must haves:</strong> <ul> <li>2-5 years of experience of working as professional audio in cross-platform and multiplayer game development</li> <li>Deep experience with at least one of common digital audio workstation (Cubase, Nuendo, Logic, Studio One, Live, Reaper, FL Studio, Pro Tools, Digital Performer, etc.)</li> <li>Extensive experience with virtual audio plug-ins and digital audio hardwares</li> <li>Experience in recording and editing of foley and/or dialogue</li> <li>Deep understanding of at least one of common audio sample editors (Sound Forge, Audition, Audacity, WaveLab, RX, etc.)</li> <li>Familiarity with at least one of common audio middleware (Fmod is preferred, or Wwise, Miles, ADX, Fabric, etc.)</li> <li>Excellent time management skills for assigned tasks and the ability to handle large workloads efficiently</li> <li>Flexibility and willingness to incorporate feedback into multiple iterations to achieve highest-quality results</li> <li>Possessing strong communication and collaboration skills</li> <li>Believes in thatgamecompany’s mission and vision</li> </ul> <strong>Good to haves:</strong> <ul> <li>A passion for Sky: Children of the Light as an experienced player</li> <li>Experience in mixing multi-channel audio formats</li> <li>Familiarity with at least one of common version control systems (PerForce is preferred, or GitHub, GitLab, SVN, etc.) </li> <li>Background in audio design, audio technology, audio production, music composition, interactive entertainment, computer science or acoustic engineering</li> <li>Proficiency in C/C++</li> <li>Excellent Mac skills and collaboration experience of cloud workspace like Favro and Jira</li> </ul> </div> <div class="btnFix"><a class="btnJobs" href="https://thatgamecompany.com/audio-designer/" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://thatgamecompany.com/careers/" target="_blank" rel="noopener noreferrer">thatgamecompany Careers</a></div> </div> <div class="grayBreak"></div> <div class="note"><strong><span style="font-size: 24px;">Senior Audio Programmer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Unity Vancouver</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Vancouver, BC, Canada</span><br> <div class="jobDesc"><strong>Job description</strong> <p>Are you interested in crafting world class, groundbreaking, interactive audio experiences on a large scale? If so, we are looking for a hardworking senior audio programmer to work in a highly qualified multi-functional team on a brand-new application Unity is developing. We are seeking a leader of their field who is passionate about live-events, sound, gaming, and community building. Someone who will help us deliver breathtaking audio content to market.</p> <p>More specifically, in the next 4-12 months, you will be defining, shaping, and supporting the delivery of a creative direction and working first version alongside hard working colleagues at the top of their game!</p> <p>Long term, you will work with the leadership team to define the vision of what the audio experience can become. This will include pushing the boundaries of what is possible using Unity and real-time 3D!</p> <strong>What you&#39;ll be doing</strong> <ul> <li>Research and experimenting with groundbreaking technologies, pioneering new techniques to match the constantly evolving demands of ours clients and the industry</li> <li>Crafting, implementing, and debugging audio systems for game development</li> <li>Develop and improve audio integration while supporting the team in their day-to-day job functions.</li> <li>Collaborate to develop systems/tools to allow audio designs to realize ambitious artistic goals.</li> <li>Responsible for documenting audio systems and defining audio standard methodologies.</li> </ul> <strong>What we&#39;re looking for</strong> <ul> <li>Proven engineering/programming background in C#</li> <li>Experience developing with Unity at a high level as well as intermediate skill with C# or another programming language.</li> <li>Experience developing audio systems</li> <li>BS in Computer Science or equivalent experience</li> <li>Previous experience as an audio or core engineer</li> </ul> <strong>You might also have</strong> <ul> <li>Production experience with developing headset AR/VR applications</li> <li>Console and PC development or equivalent experience (PS4, Xbox One, steam etc.)</li> <li>Experience with DSP and audio signal analysis</li> <li>A passion for games and/or music</li> </ul> <strong>Life at Unity</strong> <p>Unity (NYSE: U) is the world’s leading platform for creating and operating real-time 3D (RT3D) content. Creators, ranging from game developers to artists, architects, automotive designers, filmmakers, and others, use Unity to make their imaginations come to life. Unity’s platform provides a comprehensive set of software solutions to create, run and monetize interactive, real-time 2D and 3D content for mobile phones, tablets, PCs, consoles, and augmented and virtual reality devices.</p> <p>The company’s 1,800+ person research and development team keeps Unity at the forefront of development by working alongside partners to ensure optimized support for the latest releases and platforms. Apps developed by Unity creators were downloaded more than five billion times per month in 2020. For more information, please visit <a href="https://cts.businesswire.com/ct/CT?id=smartlink&amp;url=http%3A%2F%2Fwww.unity.com&amp;esheet=52388674&amp;newsitemid=20210302005160&amp;lan=en-US&amp;anchor=www.unity.com&amp;index=10&amp;md5=bacac0a4c5bb03de669515f23dbe7ab8">www.unity.com</a>.</p> <p><em>Unity is an equal opportunity employer committed to fostering an inclusive, innovative environment with the best employees. Therefore, we provide employment opportunities without regard to age, race, color, ancestry, national origin, religion, disability, sex, gender identity or expression, sexual orientation, or any other protected status in accordance with applicable law. If there are preparations or accommodations we can make to help ensure you have a comfortable and positive interview experience, please let us know.</em></p> <p><em>Headhunters and recruitment agencies may not submit resumes/CVs through this website or directly to managers. Unity does not accept unsolicited headhunter and agency resumes. Unity will not pay fees to any third-party agency or company that does not have a signed agreement with Unity.</em></p> </div> <div class="btnFix"><a class="btnJobs" href="https://careers.unity.com/position/senior-audio-programmer/3353080" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://careers.unity.com/find-position?text=audio" target="_blank" rel="noopener noreferrer">Unity Careers</a></div> </div> <div class="grayBreak"></div> <div class="note"><strong><span style="font-size: 24px;">Sound Designer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Kylotonn</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Paris, France</span><br> <div class="jobDesc"><strong>Job description</strong> <p>Dans le cadre du développement de nos jeux de racing, nous recherchons un(e) Sound Designer F/H/NB. Sous la direction du Directeur Audio, vous aurez pour principales missions : </p> <ul> <li>Participer au design des éléments sonores du jeu </li> <li>Structurer la production de nos bruitages, voix et ambiances </li> <li>Participer à l&#39;intégration des sons du jeu :</li> <ul> <li>Sons de voitures (éléments moteurs et mécaniques secondaires, surfaces et leur mix en fonction de la caméra de jeu) </li> <li>Sons d&#39;environnements et ambiances </li> <li>Sons d&#39;interface </li> <li>Musiques du jeu </li> <li>Voix </li> </ul> <li>Dialoguer avec les programmeurs moteur pour proposer des améliorations techniques et s&#39;assurer du respect des contraintes techniques et de performances </li> <li>Profiler les ressources audio intégrées afin de s&#39;assurer de la cohérence du mix et procéder aux tests et debug de l&#39;audio </li> <li>Etre critique sur le pipeline d&#39;intégration des sons et les outils utilisés </li> </ul> <strong>Profil du-de la candidat-e</strong> <ul> <li>Un minimum de 3 ans d&#39;expérience dans le sound design de jeu vidéo </li> <li>Une expertise dans les sons de moteur est essentielle </li> <li>Vous avez déjà produit un jeu et disposez d&#39;une bonne connaissance moteur (idéalement AAA) </li> <li>Une bonne connaissance du fonctionnement mécanique d&#39;une voiture est un plus déterminant </li> <li>Expérience de travail avec des outils d&#39;implémentation audio commerciaux ou propriétaires, en particulier Fmod </li> <li>Bonne connaissance de l&#39;équipement audio hardware et des techniques d&#39;enregistrement </li> <li>Autonomie et bonne capacité d&#39;organisation </li> <li>Bonne communication, aptitude à travailler en équipe de manière itérative </li> <li>Rigoureux, vous êtes créatif, analytique, et ouvert aux nouvelles techniques </li> <li>Maîtrise de l&#39;anglais </li> <li>Vous êtes passionné par les jeux vidéo, en particulier les jeux de racing </li> </ul> <strong>Informations supplémentaires </strong> <p>Poste basé à Paris ou à Lyon à pourvoir dès que possible (jours en télétravail possibles) </p> <p>Avantages : tickets restaurant, prime vacances, actions gratuites, matériel gaming à des tarifs avantageux, paniers de fruits, prise en charge à 50 % des abonnements de transport et de la mutuelle, aide à la mobilité, etc.. </p> <p>Ce poste est ouvert aux personnes ayant la reconnaissance de travailleurs handicapés. </p> <strong>A fournir</strong> <p>CV, lettre de motivation, références, site Web (si applicable)</p> </div> <div class="btnFix"><a class="btnJobs" href="https://www.kylotonn.com/carrieres/#AFJV-ESND102-20800" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://twitter.com/SchoolGameAudio/status/1428005856243761156" target="_blank" rel="noopener noreferrer">Kylotonn Careers</a></div> </div> <div class="grayBreak"></div> <div style="padding-top: 20px; text-align: center;"> <h3>Want to showcase your audio skills – and be discovered by those who need them? Join 100s of other audio professionals and get a free profile on Soundlister – <a href="https://soundlist Audio Jobs Audio Artist III Audio Designer Audio Engineer Audio Podcast Intern Audio Programmer Audio Tools SW Engineer BSR Noise & Vibration Engineer Dialogue Editor Entry Scheme Music & Audio Producer Music Production Post-Production Support Specialist Senior Audio Programmer Senior Product Designer Sound Designer Supervising Sound Designer Technical Audio Designer Adriane Kuzminski Loop Recording With Pre-Roll in REAPER https://reaperblog.net/2021/08/loop-rec-pre-roll/ The REAPER Blog urn:uuid:ca9f5f3f-1cdb-a25d-bf92-3df92e521854 Wed, 18 Aug 2021 17:47:13 +0200 <p>Normally REAPER will only use the pre-roll for the first lead-in to recording.<br /> Learn 2 workarounds to include pre and/or post-roll to every loop recording so you can hear the part in context.</p> The post <a href="https://reaperblog.net/2021/08/loop-rec-pre-roll/">Loop Recording With Pre-Roll in REAPER</a> first appeared on <a href="https://reaperblog.net">The REAPER BLOG</a>. Audio Recording Techniques TUTORIAL VIDEO Admin 171 – Billie Eilish The World’s A Little Blurry https://tonebenderspodcast.com/171-billie-eilish-the-worlds-a-little-blurry/ TonebendersPodcast.com urn:uuid:42215333-bb7d-ba27-0736-4a99aedc203d Wed, 18 Aug 2021 04:28:48 +0200 In this episode we talk with the team behind the music documentary Billie Eilish: The World&#8217;s A Little Blurry. Joining us are director RJ Cutler&#8230; Case Study episodes Interview Timothy Muirhead 170 – Nine Days With Mac Smith & Brandon Proctor https://tonebenderspodcast.com/170-nine-days-with-mac-smith-brandon-proctor/ TonebendersPodcast.com urn:uuid:970cb536-263f-515d-57d9-cd7835a30cc7 Sun, 15 Aug 2021 20:02:00 +0200 In this episode we talk with Supervising Sound Editor Mac Smith and Re-Recording Mixer Brandon Proctor, from the new film Nine Days. They tell us&#8230; Case Study episodes Interview Timothy Muirhead Connecting With Audiences as an Emerging Musician: A Guide https://www.thesoundarchitect.co.uk/connecting-with-audiences/ urn:uuid:4f0a83e0-a33f-37d6-18ae-4a13ab5633ce Fri, 13 Aug 2021 10:28:08 +0200 <a href="https://www.thesoundarchitect.co.uk/connecting-with-audiences/" title="Connecting With Audiences as an Emerging Musician: A Guide" rel="nofollow"><img width="2250" height="1113" src="https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/08/pexels-photo-4057060-e1628843326194.jpeg" class="webfeedsFeaturedVisual wp-post-image" alt="connecting music" loading="lazy" style="display: block; margin: auto; margin-bottom: 5px;max-width: 100%;" link_thumbnail="1" srcset="https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/08/pexels-photo-4057060-e1628843326194.jpeg 2250w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/08/pexels-photo-4057060-e1628843326194-300x148.jpeg 300w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/08/pexels-photo-4057060-e1628843326194-1024x507.jpeg 1024w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/08/pexels-photo-4057060-e1628843326194-768x380.jpeg 768w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/08/pexels-photo-4057060-e1628843326194-1536x760.jpeg 1536w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/08/pexels-photo-4057060-e1628843326194-2048x1013.jpeg 2048w" sizes="(max-width: 2250px) 100vw, 2250px" /></a><p><a rel="nofollow" href="https://www.thesoundarchitect.co.uk">The Sound Architect - All Audio, All For You</a></p> <p>It goes without saying, but as an emerging artist in any capacity, you want to do what you can to engage and converse with your audiences effectively. While it can initially seem a daunting prospect, there are ways that you can go about it. Suppose you are in a position where you are looking to...</p> <p>The post <a rel="nofollow" href="https://www.thesoundarchitect.co.uk/connecting-with-audiences/">Connecting With Audiences as an Emerging Musician: A Guide</a> appeared first on <a rel="nofollow" href="https://www.thesoundarchitect.co.uk">The Sound Architect</a>.</p> Blog artist audience communication connecting with audience music musician social media Sam Hughes 20 great new audio jobs at Rockstar, HARMAN, DICE, Level Ex, Ubisoft, Odyssey, Pipeworks, EA Create Audio, Riot, Insomniac, Criterion, Oculus, SoundNode, Clean Cuts, Riyaz, Lenovo, miHoYo, and Groove Jones https://soundlister.com/20-great-new-audio-jobs-at-rockstar-harman-dice-level-ex-ubisoft-odyssey-pipeworks-ea-create-audio-riot-insomniac-criterion-oculus-soundnode-clean-cuts-riyaz-lenovo-mihoyo-and-groove/ Soundlister.com urn:uuid:5bc7b0e8-e0c9-f3b2-5b3e-0e14e04e3f46 Thu, 12 Aug 2021 22:02:03 +0200 <p><img width="600" height="314" src="https://soundlister.com/wp-content/uploads/2020/05/audiojobs_20_b-600x314.jpg" class="attachment-large size-large wp-post-image" alt="Audio jobs by Soundlister" loading="lazy" style="float:left; margin:0 15px 15px 0;" />Wanted: Contract Audio Designer, Lead Audio, Associate Audio Editor, Senior Sound Designer, Audio Director, Senior Audio Artist I, Sound Design Manager, Audio Designer, Audio Engineer, Senior Dialogue Coordinator, In-House Location Sound Recordist &#038; Studio Engineer, Sound Designer, Audio Developer, Senior Audio Engineer, Technical Sound Designer, Audio Systems Tuning Engineer, and Audio Engineer</p> <p>The post <a rel="nofollow" href="https://soundlister.com/20-great-new-audio-jobs-at-rockstar-harman-dice-level-ex-ubisoft-odyssey-pipeworks-ea-create-audio-riot-insomniac-criterion-oculus-soundnode-clean-cuts-riyaz-lenovo-mihoyo-and-groove/">20 great new audio jobs at Rockstar, HARMAN, DICE, Level Ex, Ubisoft, Odyssey, Pipeworks, EA Create Audio, Riot, Insomniac, Criterion, Oculus, SoundNode, Clean Cuts, Riyaz, Lenovo, miHoYo, and Groove Jones</a> appeared first on <a rel="nofollow" href="https://soundlister.com">Soundlister.com</a>.</p> <img width="600" height="314" src="https://soundlister.com/wp-content/uploads/2020/05/audiojobs_20_b-600x314.jpg" class="attachment-large size-large wp-post-image" alt="Audio jobs by Soundlister" loading="lazy" style="float:left; margin:0 15px 15px 0;" /><div style="padding-bottom: 40px;"> <div class="frm_forms with_frm_style frm_style_job-submission-style" id="frm_form_21_container" > <form enctype="multipart/form-data" method="post" class="frm-show-form frm_pro_form " id="form_frd89" > <div class="frm_form_fields "> <fieldset> <legend class="frm_hidden">Job Subscription</legend> <div class="frm_fields_container"> <input type="hidden" name="frm_action" value="create" /> <input type="hidden" name="form_id" value="21" /> <input type="hidden" name="frm_hide_fields_21" id="frm_hide_fields_21" value="" /> <input type="hidden" name="form_key" value="frd89" /> <input type="hidden" name="item_meta[0]" value="" /> <input type="hidden" id="frm_submit_entry_21" name="frm_submit_entry_21" value="0906ad62e7" /><input type="hidden" name="_wp_http_referer" value="/feed/" /><label for="frm_verify_21" class="frm_screen_reader frm_hidden">If you are human, leave this field blank.</label> <input type="text" class="frm_hidden frm_verify" id="frm_verify_21" name="frm_verify" value="" /> <p><center></p> <div id="frm_field_272_container" class="frm_form_field frm_html_container form-field"><center></p> <h3>Get exciting new audio job opportunities delivered straight to your inbox</h3> <p></center></div> <p></center></p> <div id="frm_field_271_container" class="frm_form_field form-field frm_none_container frm_first frm_half"> <label for="field_adbxe" class="frm_primary_label">Email Address <span class="frm_required"></span> </label> <input type="email" id="field_adbxe" name="item_meta[271]" value="" placeholder="Enter email address" data-invmsg="Email Address is invalid" /> </div> <input type="hidden" name="item_key" value="" /> <div class="frm_submit frm_half"> <input type="submit" value="Subscribe" class="frm_final_submit" /> <img class="frm_ajax_loading" src="https://soundlister.com/wp-content/plugins/formidable/images/ajax_loader.gif" alt="Sending"/> </div></div> </fieldset> </div> </form> </div> </div> <div style="padding-bottom: 20px;"><p>We came across interesting new jobs at Level Ex, Ubisoft Paris, Rockstar New York, and Odyssey Interactive &#8211; and they&#8217;re looking for a Contract Audio Designer (Remote), Lead Audio for <em>Beyond Good &#038; Evil 2</em> (France), Associate Audio Editor (NY, US), and Senior Sound Designer (ON, Canada).</p> <p>We also found openings for an <a href="https://gamejobs.co/Audio-Director-at-Pipeworks" target="_blank" rel="noopener noreferrer">Audio Director</a> at Pipeworks (OR, US), <a href="https://ea.gr8people.com/jobs/167361/senior-audio-artist-i" target="_blank" rel="noopener noreferrer">Senior Audio Artist I</a> at EA Create Audio Montréal (QC, Canada), <a href="https://www.riotgames.com/en/j/2588429" target="_blank" rel="noopener noreferrer">Sound Design Manager</a> at Riot Games LA (CA, US), <a href="https://ea.gr8people.com/jobs/166198/audio-designer" target="_blank" rel="noopener noreferrer">Audio Designer</a> at EA Create Audio Shanghai (SH, China), <a href="https://ea.gr8people.com/jobs/167557/audio-engineer-c-dice" target="_blank" rel="noopener noreferrer">Audio Engineer</a> at DICE Stockholm (Sweden), <a href="https://boards.greenhouse.io/sonyinteractiveentertainmentplaystation/jobs/3356413" target="_blank" rel="noopener noreferrer">Senior Dialogue Coordinator</a> at Insomniac Games (CA, US), <a href="https://ea.gr8people.com/jobs/166202/audio-designer" target="_blank" rel="noopener noreferrer">Audio Designer</a> at Criterion Games (England), <a href="https://www.linkedin.com/jobs/view/2570408482" target="_blank" rel="noopener noreferrer">Audio Engineer</a> at Oculus Shanghai (SH, China), <a href="https://www.indeed.com/job/sound-designer-ae1bfc1f8bc1b1ff" target="_blank" rel="noopener noreferrer">Sound Designer</a> at Clean Cuts (Remote), <a href="https://www.linkedin.com/jobs/view/2676985720" target="_blank" rel="noopener noreferrer">Audio Developer</a> at Riyaz (KAR, India), <a href="https://www.linkedin.com/jobs/view/2675727836/" target="_blank" rel="noopener noreferrer">Senior Audio Engineer</a> at HARMAN International (SI, China), <a href="https://www.linkedin.com/jobs/view/2622999016" target="_blank" rel="noopener noreferrer">Senior Audio Engineer</a> at Lenovo Beijing (BJ, China), <a href="https://jobs.smartrecruiters.com/MiHoYoCoLtd/743999766289535-technical-sound-designer" target="_blank" rel="noopener noreferrer">Technical Sound Designer</a> at miHoYo (QC, Canada), <a href="https://www.oculus.com/careers/a1K2K0000031MaTUAU/" target="_blank" rel="noopener noreferrer">Audio Systems Tuning Engineer</a> at Oculus Audio Tech Team (CA, US), and <a href="https://www.linkedin.com/jobs/view/2680073643/" target="_blank" rel="noopener noreferrer">Audio Engineer</a> at Groove Jones (TX, US).</p> <p>Bonus: <a href="https://www.facebook.com/groups/audiojobs/" target="_blank" rel="noopener noreferrer">The Audio Jobs</a> group also has opportunities for an <a href="https://www.facebook.com/jobs/job-opening/206654518075187/?source=attached_post_group" target="_blank" rel="noopener noreferrer">In-House Location Sound Recordist &#038; Studio Engineer</a> at SoundNode (England). Happy job hunting!</p> </div> <hr> <strong>Highlight &#8211; sound stories this week:</strong> <br><br> &bull; <a href="https://www.asoundeffect.com/sound-effects-summer-sale/"><strong>Huge SFX Summer Sale! Get incredible sound effects deals + exclusive bonus sounds</strong></a><br><br> &bull; <a href="https://www.asoundeffect.com/game-audio-blind-accessibility/" target="_blank" rel="noopener noreferrer">A must-read guide by Máté Moldován on how to make your games blind accessible</a> <br><br> &bull; <a href="https://www.asoundeffect.com/sound-for-independent-film/" target="_blank" rel="noopener noreferrer">Tips, tricks &#038; insights from Tom Disher and Paul Zahnley on sound for independent films </a><br><br> &bull; <a href="https://www.asoundeffect.com/enrage-plugin-interview/" target="_blank" rel="noopener noreferrer">An in-depth story behind <em>Enrage</em> with Jan Obergfell-Bourmer, Axel Rohrbach, and Shawn Basey</a> <br><br> <hr> <br> <div class="note"><strong><span style="font-size: 24px;">Contract Audio Designer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Level Ex</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Remote</span><br> <div class="jobDesc"><strong>Job description</strong><br><br> <strong>Harnessing video game tech to advance the practice of medicine through play.</strong><br><br> <p><strong>Level Ex</strong> is a fast-growing games studio with a mission to advance the practice of medicine through play. We make video games…. for doctors. Our team of games industry veterans use the latest engine tech and art tools combined with game mechanics that span almost every consumer game genre &#8211; to capture the challenges of the practice of medicine as video games.</p> <p>Our games feature thrilling medical cases reimagined with the highest standards of design and deliberate game mechanics. They also employ state-of-the-art graphics, the latest art tools, and custom-built physics tech: including GPU-based fluids, tissues, and soft-body systems that look and react like the real deal.</p> <p>We attract top artists, engineers, designers, and others from prominent gaming franchises, like Mortal Kombat , League of Legends , Call of Duty , Walking Dead , and Star Wars . Our caliber of talent keeps us in the forefront of the industry: GDC ranked our game design talk #2 of 194 in 2019, and we earned 2nd place at <a href="https://www.youtube.com/watch?v=TKI_W5aRHh8">SIGGRAPH Real-Time Live! 2019</a> , sharing the stage with Epic, Unity, NVidia, Digital Domain, and others. Meet some of our incredible team here, and learn why you’ll enjoy our company and culture &#8211; <a href="https://www.youtube.com/watch?v=NWJU2F3L8pA">Video: Why Join Level Ex</a> ?</p> <p>We’re now looking for an experienced <strong>Audio Designer (Contractor)</strong> to work with us. You’ll be working closely with our Head of Audio to mix, edit, and record audio for our gamers and various interactive products.</p> <strong>What You’ll Be Doing With Us:</strong> <ul> <li>Collaborate with the Art Director and team leads to establish an audio style for each product.</li> <li>Record, mix, and modify sounds for buttons, interactables, and other elements in products</li> <li>Setup, establish and document audio production for products</li> <li>Work with engineering to establish an implementation pipeline.</li> <li>Ensure audio is of high quality and consistent on all device speakers and external headphones</li> <li>Provide audio support for trailers, podcasts, additional media.</li> <li>Maintain and update sound library with each product</li> </ul> <strong>Who We Want To Meet:</strong> <ul> <li>Knowledge and proficiencies in various DAW’s (Reaper, Cubase, Logic, Pro Tools, etc.)</li> <li>Experience implementing and mixing audio with Unity’s audio systems</li> <li>Music composition and sound design skills</li> <li>Experience in using different audio hardware to record and mix</li> <li>Degree in audio design/engineering</li> <li>Technical problem solving skills when implementing audio or debugging hardware problems</li> <li>Strong verbal and written communication skills</li> </ul> <strong>Bonus Points For:</strong> <ul> <li>Experience with Reaper specifically</li> <li>A degree in an audio-related field</li> <li>Experience in Perforce or other version control software</li> <li>Experience with scripting (C#, Java, etc.)</li> <li>Knowledge of synthesis and synthesizers</li> </ul> <strong>Interested?</strong> <p>Please send us your resume, an optional cover letter, along with an online link to your best audio work/samples .</p> <p>Level Ex is the collective sum of all our individual experiences, backgrounds, and influences and we pride ourselves in growing and learning together. We are an <strong>Equal Opportunity Employer</strong> committed to building an inclusive and diverse environment where everyone’s individuality is respected, and everyone has an Identity. Our commitment to inclusion across race, gender, age, religion, identity, and experience drives us forward every day.</p> <p>No Agency or Recruiter submissions will be accepted.</p> <p>Legal authorization to work in the U.S. is required. We will not sponsor individuals for employment visas, now or in the future, for this job.</p> </div> <div class="btnFix"><a class="btnJobs" href="https://gamejobs.co/Audio-Designer-Contractor-at-Level-Ex" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://www.levelex.com/careers" target="_blank" rel="noopener noreferrer">Level Ex Careers</a></div> </div> <div class="grayBreak"></div> <div class="note"><strong><span style="font-size: 24px;">Lead Audio (<em>Beyond Good &#038; Evil 2</em>)</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Ubisoft Paris</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Paris, France</span><br> <div class="jobDesc"><strong>Job description</strong> <strong>Description de l&#8217;entreprise</strong> <p>Les équipes d’Ubisoft sont animées par leur volonté d’enrichir la vie des joueurs avec des expériences de divertissement originales et mémorables. Elles donnent vie à des mondes, de véritables terrains de jeux où l’imagination peut s’exprimer librement, donnant naissance à des moments de surprise, de fun et d’aventure qui permettent aussi au joueur d’apprendre et se découvrir.</p> <p>Chez Ubisoft, vous avez l’opportunité de collaborer et d’évoluer avec des équipes passionnées et pionnières dans leur domaine, partout dans le monde. Vous progresserez dans un environnement bienveillant et inspirant dans lequel vous repousserez les limites de l’imaginaire et de la technologie pour créer les mondes qui passionneront nos joueurs.</p> <p>Dans le cadre de son développement, Ubisoft recherche pour son Studio de Production de Paris, où ont dernièrement été développés les titres «Ghost Recon : Breakpoint», «Mario + Rabbids : Kingdom Battle», « Just Dance 2021 » ou encore «Watch_Dogs : Legion» :</p> <p>Vous êtes prêt à relever de nouveaux challenges ?</p> <p>Vous souhaitez offrir de belles expériences aux joueurs et aux joueuses ? Venez nous rejoindre!</p> <strong>Description du poste</strong><br> Au sein des équipes du projet Beyond Good &amp; Evil 2 à Paris, vous prendrez la tête de l&#39;équipe Sound Design. En lien avec la direction audio (à Montpellier), vous serez la personne référente sur les problématiques audio sur les mandats du studio de Paris.<br><br> Vous missions s&#39;articuleront autour des axes suivants : <ul> <li>Etablir et détailler les besoins techniques de l&#39;équipe (tools, process) afin d&#39;assurer les meilleures conditions de travail en vue de l&#39;intégration du son. </li> <li>Concevoir, prototyper, intégrer et tester des assets audio pour nos mandats </li> <li>Encadrer l&#39;équipe audio de Paris et assurer sa progression </li> <li>Suivre les prochains recrutements </li> <li>Echanger avec les équipes de Montpellier. Vous contribuerez à raffiner la direction audio et serez force de proposition auprès du directeur audio </li> <li>Assurer la fluidité de la collaboration avec les autres équipes et les différents métiers du projet. Vous communiquerez et vous synchroniserez avec les autres managers et équipes du projet dans le suivi des livrables. </li> </ul> <strong>Qualifications</strong><br> Afin de prendre en main ce rôle, vous justifierez d&#39;une expérience significative en sound / audio design sur une ou plusieurs productions de jeux AA ou AAA. Une première expérience managériale sera appréciée <br><br> Par ailleurs vous vous reconnaissez dans les compétences suivantes : <ul> <li>Maîtrise d&#39;un ou plusieurs séquenceurs audio (idéalement ProTools) </li> <li>Maîtrise de Wwise</li> <li>Maîtrise de la prise de son et appétence pour le field recording </li> <li>Maîtrise de design sonore et mixage en multicanaux </li> </ul> <p>Etant donné qu&#39;il s&#39;agit d&#39;un projet Sci-Fi, la maîtrise des outils de design et de synthèse sonore (instruments virtuels, plugins, hardware) sera appréciée. De la même façon, une bonne connaissance des ambiances sera un plus. </p> <strong>Informations complémentaires</strong><br> Le poste est localisé à Montreuil <p>En tant qu’employeur, Ubisoft offre à tous les mêmes opportunités d’accès à l’emploi sans distinction de genre, ethnicité, religion, orientation sexuelle, statut social, handicap et d’âge. Ubisoft veille à développer un environnement de travail inclusif qui reflète la diversité de sa communauté de joueurs dans ses équipes.</p> <p>Toute information sera traitée de manière confidentielle conformément à la Loi sur l&#39;équité en matière d&#39;emploi.</p> </div> <div class="btnFix"><a class="btnJobs" href="https://jobs.smartrecruiters.com/Ubisoft2/743999765205348" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://careers.smartrecruiters.com/Ubisoft2/" target="_blank" rel="noopener noreferrer">Ubisoft Careers</a></div> </div> <div class="grayBreak"></div> <div class="note"><strong><span style="font-size: 24px;">Associate Audio Editor</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Rockstar New York</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Manhattan, NY, US</span><br> <div class="jobDesc"><strong>Job description</strong> <p>At Rockstar Games, we create world-class entertainment experiences.</p> <p>A career at Rockstar Games is about being part of a team working on some of the most creatively rewarding and ambitious projects to be found in any entertainment medium. You would be welcomed to a dedicated and inclusive environment where you can learn, and collaborate with some of the most talented people in the industry.</p> <p>Rockstar New York is looking for a highly motivated, organized Associate Audio Engineer who can work with a team on project exports, session setup, organization, and audio editing. The ideal candidate will have experience editing audio and working in Pro Tools, an understanding of audio and video file formats and extremely strong organizational skills. The position will be working directly within the audio team and working with a larger group of producers, animation and facial animation teams.</p> <strong>WHAT WE DO</strong> <ul> <li>The Rockstar Audio Production Team works with multiple departments on the Publishing and Development teams to record, edit, and track audio files of dialogue and sound effects for Rockstar’s games and marketing assets.</li> <li><p>We setup, record, and breakdown audio recording sessions both within our studios as well as externally with voice actors and performers.</li> </ul> <strong>RESPONSIBILITIES</strong> <ul> <li><p>Edit audio in Pro Tools (Dialogue and SFX).</li> <li>Manage, track, and classify exports from Pro Tools sessions. These include file formats such as AAFS, WAVES. BOUNCES, MIXES, EDLs.</li> <li>Edit and prep importing video renders and synching.</li> <li>Upload assets via perforce.</li> <li>Maintain and troubleshoot synchronization between audio, animation, and facial animation assets.</li> <li>Setup audio for recording sessions.</li> <li>Communicate with multiple departments to troubleshoot asset issues.</li> <li><p>Follow asset tracking through tracking software (Shotgun, Perforce and Excel).</li> </ul> <strong>QUALIFICATIONS</strong> <ul> <li>1-3 years experience with audio post-production.</li> <li>Proficient understanding and use of Protools DAW software.</li> <li>Understanding of asset file types and their uses and type (wave, bit depth, sample rate, video codecs, AAF, EDL).</li> <li>Interest in audio production a must.</li> <li>Understanding of audio recording signal flow and experience in VO recording sessions.</li> <li>Ability to work in both MAC OSX and windows environments.</li> <li><p>Passion for Rockstar and our games.</li> </ul> <strong>SKILLS</strong> <ul> <li><p>Excellent organization, communication, and interpersonal skills.</li> <li>Ability to prioritize assignments in order to anticipate and meet multiple deadlines.</li> <li>Strong problem solving and troubleshooting skills.</li> <li>Ability to learn new software quickly.</li> <li><p>Ability to stay calm and find solutions to new and complex problems.</li> </ul> <strong>HOW TO APPLY</strong> <p>Please apply with a resume and cover letter demonstrating how you meet the skills above. If we would like to move forward with your application, a Rockstar recruiter will reach out to you to explain next steps and guide you through the process.</p> <p>Rockstar is proud to be an equal opportunity employer, and we are committed to hiring, promoting, and compensating employees based on their qualifications and demonstrated ability to perform job responsibilities.</p> <p>If you’ve got the right skills for the job, we want to hear from you. We encourage applications from all suitable candidates regardless of age, disability, gender identity, sexual orientation, religion, belief, or race.</p> </div> <div class="btnFix"><a class="btnJobs" href="https://gamejobs.co/Associate-Audio-Editor-at-Rockstar" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://twitter.com/SchoolGameAudio/status/1425446920672120834" target="_blank" rel="noopener noreferrer">SoVGA.com @SchoolGameAudio</a></div> </div> <div class="grayBreak"></div> <div class="note"><strong><span style="font-size: 24px;">Senior Sound Designer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Odyssey Interactive</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Waterloo, ON, Canada</span><br> <div class="jobDesc"><strong>Job description</strong> <p>Do you love the idea of getting to define and execute on the audio strategy for a brand new game, and brand new IP and build it from the ground up? Do you have a flair for creativity, and a passion for solving audio challenges in all manner of areas in games (characters, spells, UI etc). We&#39;re looking for a senior+ sound designer to join our team to help us bring our world and characters to life!</p> <strong>Key Duties</strong> <ul> <li>Record, edit, and design sound effects for game characters, menus, new features, major systems, and other areas using industry standard methods and tools</li> <li>Inform and help build an audio pipeline using modern audio middleware and creation tools</li> <li>Collaborate with Designers, Artists, and Engineers to bring cohesive experiences to to life in game at our quality bar</li> </ul> <strong>Qualifications</strong> <ul> <li><p>5 years experience in a sound design position on a cross disciplinary team in games</li> <li>Professional experience with sound design of characters, spells, UI, notifications and other audio features</li> <li>Experience with modern sound design tools like DAWs, plugins, synths</li> <li>Experience with audio middleware like Wwise, FMOD, Miles</li> <li>Passion for multiplayer PvP games</li> </ul> <strong>Teamwork and other Qualifications</strong> <ul> <li>Effective working autonomously, we want you to feel comfortable allocating your time wisely, making good on your commitments</li> <li>Strong analytical skills that aid in the understanding and art Audio Jobs Associate Audio Editor Audio Designer Audio Developer Audio Director Audio Engineer Audio Systems Tuning Engineer Contract Audio Designer In-House Location Sound Recordist & Studio Engineer Lead Audio Senior Audio Artist I Senior Audio Engineer Senior Dialogue Coordinator Senior Sound Designer Sound Design Manager Sound Designer Technical Sound Designer Adriane Kuzminski New opportunity for a Sound Designer (remote) at Clean Cuts Interactive https://soundlister.com/new-opportunity-for-a-sound-designer-remote-at-clean-cuts-interactive/ Soundlister.com urn:uuid:e35d66a6-ac18-c014-b5d6-c9ed34a09a5c Wed, 11 Aug 2021 21:19:35 +0200 <p><img width="600" height="400" src="https://soundlister.com/wp-content/uploads/2021/08/aj_sound_designer_remote-600x400.jpg" class="attachment-large size-large wp-post-image" alt="Sound Designer job - remote" loading="lazy" style="float:left; margin:0 15px 15px 0;" />Learn more about this opportunity for a remote sound designer at Clean Cuts Interactive:</p> <p>The post <a rel="nofollow" href="https://soundlister.com/new-opportunity-for-a-sound-designer-remote-at-clean-cuts-interactive/">New opportunity for a Sound Designer (remote) at Clean Cuts Interactive</a> appeared first on <a rel="nofollow" href="https://soundlister.com">Soundlister.com</a>.</p> <img width="600" height="400" src="https://soundlister.com/wp-content/uploads/2021/08/aj_sound_designer_remote-600x400.jpg" class="attachment-large size-large wp-post-image" alt="Sound Designer job - remote" loading="lazy" style="float:left; margin:0 15px 15px 0;" />There&#8217;s a new opportunity for a remote sound designer at Clean Cuts Interactive (via Tom Dao): <br> &nbsp; <br> <center><h3><a href="https://www.indeed.com/job/sound-designer-ae1bfc1f8bc1b1ff" rel="noopener noreferrer" target="_blank">Learn more about the audio job opportunity here</a></h3></center><br> <hr> <br> <br>&nbsp; <br> <center>Be the first to know about exciting new audio job posts: <a href="https://asoundeffect.us7.list-manage.com/subscribe?u=591aa926dac921217c05d95b6&#038;id=bf10d62189" target="_blank" rel="noopener noreferrer">Get the Audio Jobs newsletter here</a></center><br> <div class='ctx-subscribe-container ctx-personalization-container ctx_default_placement ctx-clearfix'></div><div class='ctx-social-container ctx_default_placement ctx-clearfix'></div><div class='ctx-module-container ctx_default_placement ctx-clearfix'></div><span class="ctx-article-root"><!-- --></span><p>The post <a rel="nofollow" href="https://soundlister.com/new-opportunity-for-a-sound-designer-remote-at-clean-cuts-interactive/">New opportunity for a Sound Designer (remote) at Clean Cuts Interactive</a> appeared first on <a rel="nofollow" href="https://soundlister.com">Soundlister.com</a>.</p> Audio Jobs Remote Audio Jobs Sound Designer Asbjoern Andersen Icon D Command: Feeding The GOAT https://resurface.audio/icon-d-command-feeding-the-goat/ Page Array – Resurface urn:uuid:8c6fa039-2e43-6110-8f87-a04e3320f371 Wed, 11 Aug 2021 13:58:06 +0200 <p>Pound-for-pound, Icon D Command is arguably the best control surface ever created: In sporting terms, it’s the GOAT. </p> <p>The post <a rel="nofollow" href="https://resurface.audio/icon-d-command-feeding-the-goat/">Icon D Command: Feeding The GOAT &#x1f410;</a> appeared first on <a rel="nofollow" href="https://resurface.audio">Resurface</a>.</p> <div style="height:71px" aria-hidden="true" class="wp-block-spacer"></div> <p>Digidesign’s Icon D Command is ubiquitous. &nbsp;Many thousands were sold, because it&#8217;s great to use, delightfully simple to install and connect, and was priced squarely in the return-on-investment sweet spot for the busy commercial studio. Coming from an era when control surfaces were built to withstand daily punishment &#8211; it’s still going strong, it&#8217;s everywhere.</p> <p>Icon D Commands are still earning their keep around the world, and still changing hands regularly here on Resurface. Black or blue, 8 Fader or 24 &#8211; we’ve even seen 40 Fader and dual-op desks getting snapped up regularly. </p> <blockquote class="wp-block-quote"><p>Pound-for-pound, Icon D Command is arguably the best control surface ever created: &nbsp;In sporting terms, it’s the GOAT. </p></blockquote> <p>Launched in 2005 (two years before the first iPhone existed), many of those early Icon D Commands are still on active duty, all day every day, at 16 years old and counting. &nbsp;If well maintained, there’s nothing much that can go wrong beyond the usual wear-and-tear you’d expect of a machine with moving parts, faithfully racking up those billable studio hours.</p> <p>Aesthetically &#8211; and apologies for getting icky &#8211; it’s pretty much wipe-clean. &nbsp;The downside of being button-per-function and highly tactile is, well, all that&nbsp;<em>touching</em>. Thankfully, we’re all equipped with a dazzling array of sanitizing and cleaning products these days.&nbsp; <br></p> <div class="wp-block-image"><figure class="alignright is-resized"><img src="https://resurface.audio/wp-content/uploads/Faders-and-Knobs.jpg" alt="Icon D-Command" class="wp-image-15262" width="294" height="210" srcset="https://resurface.audio/wp-content/uploads/Faders-and-Knobs.jpg 2793w, https://resurface.audio/wp-content/uploads/Faders-and-Knobs-768x549.jpg 768w, https://resurface.audio/wp-content/uploads/Faders-and-Knobs-610x436.jpg 610w, https://resurface.audio/wp-content/uploads/Faders-and-Knobs-1200x859.jpg 1200w, https://resurface.audio/wp-content/uploads/Faders-and-Knobs-600x429.jpg 600w" sizes="(max-width: 294px) 85vw, 294px" /></figure></div> <p>In particular, the grimy fader caps and knob tops which get touched, pushed, ridden and twisted all day long, often by more than one person (and <em>who knows</em> where they’ve been) can simply be pulled off, washed in warm soapy water and placed back on. </p> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <h2>Fader Replacement</h2> <p>Being motorised, lubricated, precision moving parts; faders wear out over time. Much like light bulbs they are ultimately consumable items and can be easily swapped out for brand new ones. </p> <blockquote style="text-align:left" class="wp-block-quote"><p>How many Pro Tools users does it take to change a fader? Just one, with a little care and dexterity &#8211; and a 5/64th inch allen key. </p></blockquote> <p>Brand new faders for Icon D Command, with pre-made cables and connectors, can be ordered from Resurface and mailed worldwide. They’re plug-and-play &#8211; just <a rel="noreferrer noopener" aria-label=" (opens in a new tab)" href="mailto:info@resurface.audio" target="_blank">get in touch</a>. We&#8217;ve also created a handy 3 minute &#8216;how to&#8217; YouTube video. </p> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-embed-youtube aligncenter wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper"> <iframe title="Icon D Command Fader Replacement" width="840" height="473" src="https://www.youtube.com/embed/uk7dUX_-Z3Q?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> </div></figure> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <h2>Power Supplies</h2> <p>The only other components which will eventually die over time are the power supplies. &nbsp;So, if you have spares on hand in the event of PSU and fader failures, then you’ve got your studio downtime bases covered in the majority of scenarios.</p> <p>With that in mind, here is what you need to know about Icon D Command Power Supplies.</p> <p>There are three types of PSU in any Icon D Command. All three can be found in the 8 Fader Main unit, but only two appear in a 16 channel fader pack: One each for the faders and lights, plus one main &#8216;logic’ PSU in the Main Unit. </p> <p>All three are 3rd party items, made by Skynet, and so are widely available from an electrical wholesaler near you or online. Model numbers are in the graphic below.</p> <div class="wp-block-image"><figure class="aligncenter"><a href="https://resurface.audio/wp-content/uploads/D-Cmmand-PSUs-1.png" target="_blank" rel="noreferrer noopener"><img src="https://resurface.audio/wp-content/uploads/D-Cmmand-PSUs-1.png" alt="Icon D-Command" class="wp-image-15271" srcset="https://resurface.audio/wp-content/uploads/D-Cmmand-PSUs-1.png 1840w, https://resurface.audio/wp-content/uploads/D-Cmmand-PSUs-1-768x356.png 768w, https://resurface.audio/wp-content/uploads/D-Cmmand-PSUs-1-610x283.png 610w, https://resurface.audio/wp-content/uploads/D-Cmmand-PSUs-1-1200x556.png 1200w, https://resurface.audio/wp-content/uploads/D-Cmmand-PSUs-1-600x278.png 600w" sizes="(max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px" /></a></figure></div> <p> If you have a D Command power problem, first step is to establish which PSU is the culprit. &nbsp;Power of deduction tells us that if an Icon D Command Main Unit is switched on and nothing happens <em>at all</em>, nada. zip; &nbsp;then it’s likely to be (at least) the Logic PSU. &nbsp;Once that’s replaced, all will either be well, or you may then reveal a secondary PSU problem, previously hidden by a lack of Logic PSU power. </p> <p>Deduction again tells us that if, when switched on, the faders spring to attention with their familiar jump up-and-down routine, but there are no lights (or the common flickering-on-and-off symptom), then it’s the LED PSU, and vice-versa with the Fader PSU. </p> <p>Taking apart the D Command to replace PSU&#8217;s isn’t difficult, but &#8211; like the faders &#8211; it will involve some care, dexterity and a small screwdriver. </p> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <h2>The Used Icon D Command Market</h2> <p>Used Icon D Command consoles are changing hands regularly between professional studio buyers and sellers <a rel="noreferrer noopener" aria-label="here on Resurface (opens in a new tab)" href="http://www.resurface.audio/buy" target="_blank">here on Resurface</a>. </p> <blockquote class="wp-block-quote"><p>As with any used, niche item; availability is fluid and subject to constant change, but there is almost always something, somewhere listed on the site.</p></blockquote> <p>&#8230; and if not, there soon will be! Feel free to get in touch and let us know what you are looking for.</p> <p>Their popularity as a control surface to get-the-job-done is easy to understand; Particularly at the current price point for used examples, when compared to something like Avid&#8217;s S4. </p> <div class="wp-block-image"><figure class="aligncenter is-resized"><img src="https://resurface.audio/wp-content/uploads/D-Command-40-wrapped-300x300.png" alt="" class="wp-image-15724" width="800" height="305" srcset="https://resurface.audio/wp-content/uploads/D-Command-40-wrapped-768x292.png 768w, https://resurface.audio/wp-content/uploads/D-Command-40-wrapped-610x232.png 610w, https://resurface.audio/wp-content/uploads/D-Command-40-wrapped-1200x457.png 1200w, https://resurface.audio/wp-content/uploads/D-Command-40-wrapped-600x228.png 600w, https://resurface.audio/wp-content/uploads/D-Command-40-wrapped.png 894w" sizes="(max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 984px) 61vw, (max-width: 1362px) 45vw, 600px" /></figure></div> <p>A significant factor in Icon D Command&#8217;s ongoing appeal is that it&#8217;s straightforward to ship. Even a fully-expanded 40 Fader console can easily be boxed or wrapped on a standard pallet (pictured above), which DHL can collect and deliver .</p> <p>Once delivered, the ease of installation is another major plus factor. When powered up and connected by ethernet, Pro Tools will be able to communicate with the console directly (no EuCon required). Incorporate XMon if needed and there&#8217;s nothing more to do.</p> <blockquote class="wp-block-quote"><p>With studio businesses being temporarily rehoused during the pandemic, the ability to handle big mixes in a makeshift home studio environment came to the fore.</p></blockquote> <p>For many, the biggest question was how to provide that level of functionality, transported in a car, without specialist wiring infrastructure being available at the destination. </p> <p>Eliminate the need for a complex stand/frame installation or on-site technical backup, and spend very little for what may only be a short term fix, and it came as no surprise to Resurface that the answer &#8211; 15 years after being launched &#8211; was very often Icon D Command, the greatest of all time.</p> <div style="height:100px" aria-hidden="true" class="wp-block-spacer"></div> <span class="rad_rapidology_bottom_trigger"></span><p>The post <a rel="nofollow" href="https://resurface.audio/icon-d-command-feeding-the-goat/">Icon D Command: Feeding The GOAT &#x1f410;</a> appeared first on <a rel="nofollow" href="https://resurface.audio">Resurface</a>.</p> News Ben Nemes Recording Without Takes in REAPER https://reaperblog.net/2021/08/record-without-takes/ The REAPER Blog urn:uuid:9155e073-7474-ab6e-da8c-7949d2140d44 Mon, 09 Aug 2021 22:06:11 +0200 <p>There are many different ways to record in REAPER that work best in different situations. Knowing these different methods will make you a better recording engineer and operator of REAPER so you can better serve your clients.</p> The post <a href="https://reaperblog.net/2021/08/record-without-takes/">Recording Without Takes in REAPER</a> first appeared on <a href="https://reaperblog.net">The REAPER BLOG</a>. Audio Recording Techniques TUTORIAL VIDEO Admin Recording with Takes in REAPER https://reaperblog.net/2021/08/recording-with-takes/ The REAPER Blog urn:uuid:bea70a1d-aeb7-bba9-cbe5-3574a76ce197 Wed, 04 Aug 2021 20:55:52 +0200 <p>pproach. Learn about recording in REAPER using takes, loop recording, comping and much more.</p> The post <a href="https://reaperblog.net/2021/08/recording-with-takes/">Recording with Takes in REAPER</a> first appeared on <a href="https://reaperblog.net">The REAPER BLOG</a>. Audio Recording Techniques TUTORIAL VIDEO Admin Best microphones for recording nature and wildlife sounds https://mindful-audio.com/blog/best-microphones-recording-nature-wildlife-sounds Blog - Mindful Audio urn:uuid:cb7c33dc-f34a-c533-4102-ea18078c9297 Sun, 01 Aug 2021 19:36:28 +0200 What microphones should I get for nature and wildlife sound recording? I’ll try to offer a comprehensive and definitive answer even though I’m not a big fan of definitive statements. <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1627814342969-LXDDTC4TTNKE8IY0ZDMA/IMG_1800-1.jpg" data-image-dimensions="2500x1406" data-image-focal-point="0.5,0.5" alt="Field recording in the Amazon rainforest" data-load="false" data-image-id="610679c5b98b2c457c43d117" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1627814342969-LXDDTC4TTNKE8IY0ZDMA/IMG_1800-1.jpg?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class="">Field recording in the Amazon rainforest</p> </figcaption> </figure> <p class="">What microphones should I get for nature and wildlife sound recording? - is a question I receive on social media and via email every few days. I’ll try to offer a comprehensive and definitive answer even though I’m not a big fan of definitive statements. Take all this with a grain of salt and keep in mind I’ve only been able to test a limited selection of mics over time. Having said that, please listen to the examples I offer including the Youtube soundscapes as they’re illustrative of what you can achieve with these microphones. Also make sure you read my <a href="https://mindful-audio.com/blog/sound-devices-mixpre-ii-review" target="_blank">blog</a> <a href="https://mindful-audio.com/blog/zoom-f6-recorder-review" target="_blank">posts</a> on <a href="https://mindful-audio.com/blog/handheld-recorder-review" target="_blank">recorders</a> if you’re looking for more advice. Let’s get into some criteria now.</p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1627835783356-09A4NPQ17AKNLFTP9B66/DSC03836-1-2.jpg" data-image-dimensions="2500x1667" data-image-focal-point="0.4940535183349851,1.0" alt="Field recording in the Namib desert" data-load="false" data-image-id="6106cd83d6074113e6cde866" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1627835783356-09A4NPQ17AKNLFTP9B66/DSC03836-1-2.jpg?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class="">Field recording in the Namib desert</p> </figcaption> </figure> <h1>Distance to your subject</h1><p class="">Microphones aren’t magical. If you’re recording something that’s not close, you will pick up reflections and other sounds that are present in the environment. Microphone pickup pattern will help to some degree but it’s not the answer to everything. The most effective way to exclude other sounds and to record just a certain sound source is to reduce the distance between your microphone/s and it.</p><p class="">Of course, this won’t always be possible so you have to accept that some of the environment and space will bleed into your recordings. Unless you’re recording in an anechoic chamber, circumstances will never be perfect. This is the reality of field work and of sound recording in the field in particular.</p><p class="">If you’re recording a soundscape, your distance to the sound sources you’re picking up will vary considerably. It helps to move around and to listen from a variety of spots until you find a pleasant balance between foreground, mid and background sounds. I like to have a good balance in the stereo or surround field as well, so I set up my rigs roughly equal distances from potential sources of sound. </p><p class="">If you want to record wildlife, you need to get pretty close so that the calls you’re trying to pick up don’t get drowned out by noise or by other sounds present in the environment. The degree to which you want to (or can) single out your target sound will depend on how busy the soundscape is, how reflective the space is, how easy it is to get within close distance etc. </p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1627836168438-8MNNZ2NLFK97S103648G/A7303063-1-1.jpg" data-image-dimensions="2500x1667" data-image-focal-point="0.5,0.5" alt="Recording an active volcano with Lom mikroUsi improvised rig" data-load="false" data-image-id="6106cf06674c807164612baa" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1627836168438-8MNNZ2NLFK97S103648G/A7303063-1-1.jpg?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class="">Recording an active volcano with Lom mikroUsi improvised rig</p> </figcaption> </figure> <h1>Pickup pattern</h1><p class="">Regardless if I want to record complex soundscapes or focused wildlife calls, I like to use omni mics. I will spend extensive time observing and immersing myself into a landscape before I decide where to place my microphones. Knowing the area I’m in and the subjects I’m trying to record certainly helps, as does having more general knowledge in the fields of natural history, ornithology, zoology, acoustic ecology, animal behaviour etc. </p><p class="">The way I record with omnidirectional mics is I set them up in well thought out spots and then leave them there for hours or days at a time. This way wildlife and nature goes back to some kind of “normal” state after I’ve been there and disturbed it. The smaller the rig I’m using, the faster this happens and the more wildlife will ignore it. Of course, sometimes things go wrong and my equipment is destroyed in the process but that’s something I’ve learned to live with and figure into my expedition plans. </p><p class="">I’ve been able to make beautiful recordings of both soundscapes and close up wildlife this way. I’ve recorded an <a href="https://youtu.be/hwYJmGwQ6Mk" target="_blank">Eagle owl in the East African savanna</a> by spending many hours identifying its preferred perch and then setting up my rig at the bottom of it. I found a <a href="https://soundcloud.com/georgevlad/forest-elephants?in=georgevlad%2Fsets%2Fcongo-basin-rainforest-2018" target="_blank">mango grove in the Congo basin rainforest</a> where elephants would come to feed at night and set up my rig in a bush close by. I miked up a huge <a href="https://youtu.be/K8qNPMqECI0" target="_blank">Sociable weaver nest in Namibia and captured beautiful nest activity</a> including chicks begging for food and adults flying in and out for hours. The list can go on, and every time I do something like this I learn more and improve my technique.</p><p class="">Of course cardioid and super/hyper cardioid mics have their uses, but we’re getting into “good to have” territory. If you can only afford to buy or carry one pair of mics, I’d recommend getting omnis and learning how to use them well.</p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1627836481585-K970QJ4LI1G3B9ULUQGX/DSC04124-1.jpg" data-image-dimensions="2500x1667" data-image-focal-point="0.49008919722497524,1.0" alt="Recording sand dunes with the MKH8020s" data-load="false" data-image-id="6106d03fb98b2c457c47a991" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1627836481585-K970QJ4LI1G3B9ULUQGX/DSC04124-1.jpg?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class="">Recording sand dunes with the MKH8020s</p> </figcaption> </figure> <h1>Resistance to humidity and weather</h1><p class="">I’ve destroyed many a microphone by leaving them out in tropical downpours. I haven’t been able to ruin any mics by leaving them out in heat, cold, smoke or dust so far, but I’m optimistic about it. I’m also quite privileged to be able to afford trial and error when it comes to field recording equipment. The tests I put my mics through are quite serious and Iit takes many of them before I can fully trust a piece of kit.</p><p class="">Some microphones perform better than others in extreme humidity and weather. Sennheiser RF technology (which you can find in most <a href="https://en-uk.sennheiser.com/mkh-microphones" target="_blank">MKH series mics</a>) allows microphones to keep working in taxing conditions such as a steamy rainforest. I love my 8020s and 8040s and I’ve used them in countless situations where other mics would have stopped working or developed weird artefacts. They’re larger than lavalier mics though and they require much bulkier wind protection solutions. They’re also more difficult to hide and they’re more costly than lavs.</p><p class="">This year I’ve been experimenting with using the environment to record rain without getting the mics wet. While you can theoretically do that with any kind of microphones, lavaliers are much easier to fit in tight spaces or under small branches, and if it isn’t too windy a pair of <a href="https://www.bubblebeeindustries.com/products/the-windbubbles-single" target="_blank">Bubblebee Windbubbles</a> is going to be enough to protect them from gusts up to 5-6 mph. The Windbubbles also protect from humidity to some extent, as long as water isn’t constantly leaking on to the mics themselves. At any rate, I’ve managed to successfully record hours of serious rain with lav mics by positioning them cleverly under branches. This would have been much more difficult to achieve with larger mics, especially when wind protection is factored in.</p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1627836833671-45MKYW1FXCBLGZJLJ1MO/A7302433-1-3.jpg" data-image-dimensions="2500x1667" data-image-focal-point="0.5,0.5" alt="Sound Devices Mixpre and Lom mikroUsi Pro" data-load="false" data-image-id="6106d19b71685d416f1e5c40" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1627836833671-45MKYW1FXCBLGZJLJ1MO/A7302433-1-3.jpg?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class="">Sound Devices Mixpre and Lom mikroUsi Pro</p> </figcaption> </figure> <h1>Size</h1><p class="">This is probably not valid for everyone but in my case size is quite important. Recording with drop rigs means I have to consider how conspicuous my equipment is when I leave it out in the field for days. I’ve certainly left out my DMS and 8020 AB rigs in remote/wild places, but it took me hours to hide them well enough and even then wildlife still found them sometimes. It’s much easier to work with small mics that I can tape to branches. They attract less attention, they’re easier to hide and even if wildlife does find them, they seem less interesting than blimps for example.</p><p class="">Size also impacts how many rigs you can travel with, both by vehicle and on foot. Weight and volume add up quickly, and if you plan to get to remote parts of the world you’ll have to make tough choices. I always carry a pair or two of 8020s because I love their sound, but I also bring 5 to 10 pairs of lav mics on a trip since they’re so small. </p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1627837141490-YF40GFOJ5MPQZGQ72D5P/DSC02183-1+sm-1.jpg" data-image-dimensions="2500x1406" data-image-focal-point="0.5,0.5" alt="Volcano sound recording" data-load="false" data-image-id="6106d2d3a23b887eab860d50" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1627837141490-YF40GFOJ5MPQZGQ72D5P/DSC02183-1+sm-1.jpg?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class="">Volcano sound recording</p> </figcaption> </figure> <h1>Self noise and audio quality</h1><p class="">There’s a reason this isn’t at the top of the list. While of course it’s quite an important criterion, most mics I use these days offer decent audio quality and self noise. I also don’t care much for scientific measurements and official specs. It’s easy to become obsessed with differences of a few dB, but that rarely translates to noticeable improvements in audio quality. I prefer to take equipment out, use it thoroughly, compare it to my existing kit and then make a decision. </p><p class="">My favourite mics for self noise and audio quality are Sennheiser MKH series. What I don’t like about them is the fact that they exhibit high frequency noise, which becomes apparent when recording subtle ambience like temperate forests at night. It’s not a deal breaker for me but it’s definitely worth mentioning. </p><p class="">Lav mics like the <a href="https://micbooster.com/clippy-and-pluggy-microphones/98-clippy-stereo-em272-microphone.html" target="_blank">Clippy EM272</a> or <a href="https://store.lom.audio/products/mikrousi?variant=6174830002208" target="_blank">Lom mikroUsi</a> yield excellent recordings for their size and price, although not as good as what you can get with the Sennheiser mics I mentioned. This is also down to preamps and a <a href="https://amzn.to/3j9YAl1" target="_blank">Sony A10</a> will never be as good as a <a href="https://amzn.to/3icYBFI" target="_blank">Sound Devices</a> or <a href="https://amzn.to/3C6gWMH" target="_blank">Zoom F series</a> recorder.</p><p class="">Dynamic range is somewhat related to self noise, although things are a bit more complicated. MKH mics have excellent dynamic range - I’ve recorded anything from soft snow falling to aircraft engines with my 8040s. I’ve tried recording car engines with Clippy and mikroUsi mics and the capsules overloaded quite quickly. They’re great for subtle to medium loud sounds but they aren’t designed for seriously loud sources. Mics such as the DPA 4062 (or its newer equivalent) are much better suited for recording loud engines or explosions.</p><p class="">One other thing that pertains to audio quality is frequency response. MKH80xx mics pick up content up to 40-50 kHz, although the noise I mentioned earlier becomes noticeable over 30kHz. mikroUsi mics capture decent content above 30kHz, while Clippy mics tend to not pick up much content above 20kHz. This isn’t the most important aspect but it’s worth keeping in mind if you’re after HF content like high overtones or bats for example. </p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1627837205371-W4DWDLUZVBWZRG8W4LXL/DSC05827-1-2.jpg" data-image-dimensions="2500x1481" data-image-focal-point="0.5,0.5" alt="Recording the sounds of the savanna" data-load="false" data-image-id="6106d3131d21e85667877b86" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1627837205371-W4DWDLUZVBWZRG8W4LXL/DSC05827-1-2.jpg?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class="">Recording the sounds of the savanna</p> </figcaption> </figure> <h1>Price</h1><p class="">MKH series mics are not exactly affordable, especially when you factor in wind protection. I like using <a href="https://rycote.com/microphone-windshield-shock-mount/modular-windshield-kit/" target="_blank">Rycote WS9 blimps</a> with my 8020s (sometimes in quad AB setup) and Cinela Pianissimo with my DMS rig. It can get prohibitively expensive fast, but on the up side you will be capturing beautiful audio.</p><p class="">Small lavs like the Clippy or mikroUsi mics only cost a fraction of that, and wind protection for them is much more affordable (less effective too). It you’re just starting out these are a much better choice. They’re also more expendable, although that is quite relative depending on where you live and how much you can afford to pay for audio equipment.</p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1627837649643-8UQLXF2BDAGLRIQMIXKU/DSC00218-1.jpg" data-image-dimensions="2500x1406" data-image-focal-point="0.5,0.5" alt="Recording rain with mikroUsi mics" data-load="false" data-image-id="6106d4cea23b887eab862dc4" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1627837649643-8UQLXF2BDAGLRIQMIXKU/DSC00218-1.jpg?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class="">Recording rain with mikroUsi mics</p> </figcaption> </figure> <h1>What’s the answer though?!</h1><p class="">My answer is most of the time <strong>Lom mikroUsi</strong> (if you can get them) or <strong>Clippy EM272</strong>. Once you’ve outgrown these and can afford to upgrade, it’s worth looking at MKH8020s, MKH8040s, an 8060, a Telinga parabolic maybe. By that stage you know more or less what you need though and have likely tried a few of these already. </p><p class=""><strong>Lom mikroUsi (regular or Pro versions)</strong></p><p class="">Pros:</p><ul data-rte-list="default"><li><p class="">good self noise</p></li><li><p class="">works with plug-in power</p></li><li><p class="">good high frequency pickup</p></li><li><p class="">low price</p></li><li><p class="">small size and footprint</p></li><li><p class="">easy to protect against soft wind</p></li></ul><p class="">Cons:</p><ul data-rte-list="default"><li><p class="">overloads easily with loud sounds</p></li><li><p class="">doesn’t survive more than a couple of nights in a rainforest with Windbubbles on</p></li><li><p class="">rodents love to eat the cables</p></li><li><p class="">difficult to buy</p></li></ul><p class=""><strong>Clippy EM172 or 272</strong></p><p class="">Pros:</p><ul data-rte-list="default"><li><p class="">good self noise</p></li><li><p class="">works with plug-in power</p></li><li><p class="">low price</p></li><li><p class="">small size and footprint</p></li><li><p class="">easy to protect against soft wind</p></li><li><p class="">easier to buy than mikroUsi</p></li></ul><p class="">Cons:</p><ul data-rte-list="default"><li><p class="">overloads easily with loud sounds</p></li><li><p class="">doesn’t survive more than a couple of nights in a rainforest with Windbubbles on</p></li><li><p class="">rodents love to eat the cables</p></li><li><p class="">poor frequency response above 20kHz</p></li><li><p class="">slightly larger than mikroUsi</p></li></ul><p class=""><strong>Sennheiser MKH8020/8040</strong></p><p class="">Pros:</p><ul data-rte-list="default"><li><p class="">excellent self noise</p></li><li><p class="">excellent audio quality</p></li><li><p class="">excellent resistance to humidity and temperature extremes</p></li></ul><p class="">Cons:</p><ul data-rte-list="default"><li><p class="">expensive</p></li><li><p class="">requires large/expensive wind protection</p></li><li><p class="">bulky (compared to lav mics; still smaller than other microphones)</p></li><li><p class="">high frequency noise</p></li><li><p class="">requires 48v phantom power</p></li><li><p class="">have I mentioned e Field recording tips Field recording equipment George Vlad Best microphones for recording nature and wildlife sounds The Sound of It Takes Two https://www.thesoundarchitect.co.uk/tsap-s04e12/ urn:uuid:18a57be2-912e-5822-10f3-d67e56c881d9 Sat, 31 Jul 2021 15:46:06 +0200 <a href="https://www.thesoundarchitect.co.uk/tsap-s04e12/" title="The Sound of It Takes Two" rel="nofollow"><img width="1920" height="1080" src="https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/07/ITT_Key_Art_4K_web.jpg" class="webfeedsFeaturedVisual wp-post-image" alt="It takes two" loading="lazy" style="display: block; margin: auto; margin-bottom: 5px;max-width: 100%;" link_thumbnail="1" srcset="https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/07/ITT_Key_Art_4K_web.jpg 1920w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/07/ITT_Key_Art_4K_web-300x169.jpg 300w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/07/ITT_Key_Art_4K_web-1024x576.jpg 1024w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/07/ITT_Key_Art_4K_web-768x432.jpg 768w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/07/ITT_Key_Art_4K_web-1536x864.jpg 1536w" sizes="(max-width: 1920px) 100vw, 1920px" /></a><p><a rel="nofollow" href="https://www.thesoundarchitect.co.uk">The Sound Architect - All Audio, All For You</a></p> <p>(TSAP S04E12) Anne-Sophie Mongeau and Philip Eriksson join Sam, to chat about their amazing work on the acclaimed co-op title It Takes Two from Hazelight. They discuss the challenges of mixing and design for a split-screen game, handling the huge scope of the different levels with various forms of gameplay, the sound designer&#8217;s playground, aiming for...</p> <p>The post <a rel="nofollow" href="https://www.thesoundarchitect.co.uk/tsap-s04e12/">The Sound of It Takes Two</a> appeared first on <a rel="nofollow" href="https://www.thesoundarchitect.co.uk">The Sound Architect</a>.</p> Blog Game Audio Interviews Sam Hughes Sound Designers/Audio Professionals The Sound Architect Podcast anne-sophie mongeau co-op hazelight interview it takes two philip eriksson Podcast PS4 ps5 sound sound design the sound architect podcast tsap Sam Hughes Introduction to the FMOD API http://javierzumer.com/blog/2021/7/31/introduction-to-the-fmod-api Javier Zúmer - Sound Design urn:uuid:c457d164-15dd-b7ff-cd7c-d3f9534d2414 Sat, 31 Jul 2021 11:16:21 +0200 <p class="">These are some notes and pointers about using the <strong>FMOD AP</strong>I, particularly if you (like me) don’t have a lot of previous programming experence. I won’t tell you anything that is not already in the official documentation but take this a condensed reference to use when coding or just to get familiar with the API.</p><h2><strong>Getting started</strong></h2><p class="">You can find the <a href="https://www.fmod.com/resources/documentation-api?page=welcome.html&amp;version=2.02">official documentation</a> on the FMOD website. In case you don’t know, API stands for <strong>Application Programming Interface</strong> and is pretty much a bridge between two different computer environments like two different pieces of software. In this case, the FMOD API serves as the <strong>bridge between a game engine like Unity</strong> which scripts are written in C# <strong>and the FMOD engine</strong> itself.</p><p class="">The FMOD API can speak <strong>C, C#, C++ &amp; JavaScript</strong> although not all functions are available in all languages. I will give C# and Unity examples here but these can be easily translated into other languages and engines.</p><h2><strong>Do you even need to use the API?</strong></h2><p class="">It depends. Out of the box, FMOD can be used on Unity or Unreal without much code work. <strong>You will be able to load banks and play audio events with just the components</strong> that come with the plugin but as soon as you need to do more complex things, you will probably need to use the API, at least in a few areas.</p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55b64320e4b03d72e247797a/1627728110451-9OV6PSOR62U7TLNUF0NL/emitter.png" data-image-dimensions="564x223" data-image-focal-point="0.5,0.5" alt="emitter.png" data-load="false" data-image-id="610528ee75a93050b46b1773" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55b64320e4b03d72e247797a/1627728110451-9OV6PSOR62U7TLNUF0NL/emitter.png?format=1000w" /> </figure> <h2><strong>Studio vs Core API</strong></h2><p class="">Before diving in, you will see that FMOD differentiates between <strong>Studio &amp; Core API.</strong> Most likely, you will just use the Studio API since it talks to Fmod Studio making things much easier for us sound designers. </p><p class="">The <strong>Core API,</strong> on the other hand, is completely standalone, allowing to<strong> integrate the fmod engine in a game</strong> without even using Fmod Studio. This is aimed for more bespoke integrations and deeper functionality that in most cases is not really needed but it is good to know it is there as an option.</p><p class="">So for now on, I will focus on the Studio API since is the one I’ve used myself.</p><h2><strong>Studio API Structure</strong></h2><p class="">On a high level, the studio API uses a series of concepts and classes that we should famliarize ourselves with. The main “brain” is the class <strong>RuntimeManager</strong> which will create and initialize an <strong>Studio::System</strong> instance which, in turn, will be the class we will use to call engine wide functions like setting global parameters.</p><p class="">By default, you don’t need to do anything for this to work as the fmod implementation in Unity or Unreal will get his ready for you. <strong>Studio::Bank</strong> can be then used to operate on the different banks themselves while <strong>Studio::Bus</strong> and <strong>Studio::VCA</strong> will allow you to get and set data on the mixer elements.</p><p class="">The concept of events in FMOD Studio is mapped to an <strong>Studio::EventDescription</strong> so if you want to do anything related to individual events that is what you will use. But keep in mind that you can have many instances of an event, so the API allow us to affect each of these through <strong>Studio::EventInstance</strong>. To be able to do this, you will need to cache a reference to each instance you play if you want to have full control of them. Usually, we don’t need to cache <strong>one-shots</strong> instances since we don’t need to affect them once played.</p><p class="">Also, remember that <strong>snapshots</strong>, when played, are also considered event instances so you can have all the same functionality for them and I would personally recommend creating a dedicated snapshot manager to keep track of them.</p><p class="">With that basic structure out of the way, let’s see what the API offers.</p><h2><strong>Studio API: Types</strong></h2><p class="">FMOD defines a bunch of types which will be very useful to get information about the audio engine. This are just a few commonly used types but there are many more.</p> <thead> <tr> <th class="tg-rw8p">Function</th> <th class="tg-rw8p">Example</th> <th class="tg-rw8p">Description</th> </tr> </thead> <tbody> <tr> <td class="tg-0pky">Parameter Description</td> <td class="tg-0pky">FMOD.Studio.PARAMETER_DESCRIPTION</td> <td class="tg-0pky">Contains all the information in a parameter, including name min and max values, etc.. </td> </tr> <tr> <td class="tg-0pky">Loading State</td> <td class="tg-0pky">FMOD.Studio.LOADING_STATE</td> <td class="tg-0pky">Useful to know the loading state of different things, like banks and make sure we only use them when thay are loaded.</td> </tr> <tr> <td class="tg-0pky">Playback State</td> <td class="tg-0pky">FMOD.Studio.PLAYBACK_STATE;</td> <td class="tg-0pky">This one is SUPER useful so you can check if an event is playing, stopped, sustaining, etc...</td> </tr> <tr> <td class="tg-0pky">3D Atrributes</td> <td class="tg-0pky">FMOD.ATTRIBUTES_3D</td> <td class="tg-0pky">The 3D position of an event or listener. This is a struct of simple vectors so you may need to convert it to something more usable like a Vector3.</td> </tr> </tbody> </table><h2><br><strong>Studio API: System</strong></h2><p class="">These calls allow you to <a href="https://www.fmod.com/resources/documentation-api?page=studio-api-system.html&amp;version=2.02#studio_system_update">talk to fmod in a general way</a>, that would affect the whole fmod audio engine. Here are some of the most useful functions with some examples:</p> <table class="tg"> <thead> <tr> <th class="tg-rw8p">Function</th> <th class="tg-rw8p">Example</th> <th class="tg-rw8p">Description</th> </tr> </thead> <tbody> <tr> <td class="tg-0pky">Load Bank</td> <td class="tg-0pky">FMODUnity.RuntimeManager.LoadBank(bank, bool);</td> <td class="tg-0pky">Where "bank" is simply a string with the bank name. Make the bool true if you want to pre-load the sample data. I'm not sure why this can be done with just the RuntimeManager without using StudioSystem.</td> </tr> <tr> <td class="tg-0pky">Unload Bank</td> <td class="tg-0pky">FMODUnity.RuntimeManager.UnloadBank(bank);</td> <td class="tg-0pky"></td> </tr> <tr> <td class="tg-0pky">Get Bank</td> <td class="tg-0pky">FMODUnity.RuntimeManager.StudioSystem.getBank(path, out bank);</td> <td class="tg-0pky">Use this to grab a reference to a specific bank. "path" is the bank name (a string) and you will get a "Bank" struct type.</td> </tr> <tr> <td class="tg-0pky">Get Bank Count</td> <td class="tg-0pky">FMODUnity.RuntimeManager.StudioSystem.getBankCount(out int count);</td> <td class="tg-0pky">Get the number of banks already loaded.</td> </tr> <tr> <td class="tg-0pky">Get Bank List</td> <td class="tg-0pky">FMODUnity.RuntimeManager.StudioSystem.getBankList(out Bank[] array);</td> <td class="tg-0pky">Get an array of the type "Bank". Use with the one above if you need to get a reference to all loaded banks.</td> </tr> <tr> <td class="tg-0pky">Get Listener Attributes</td> <td class="tg-0pky">FMODUnity.RuntimeManager.StudioSystem.getListenerAttributes(int listener, out FMOD.ATTRIBUTES_3D attributes, out FMOD.VECTOR attenuationposition);</td> <td class="tg-0pky">Use this to get a reference to the listener position which can be useful to calculate distances to emitters. The default listener is in index 0. There is also a <span>set</span> version of this function..</td> </tr> <tr> <td class="tg-0lax">Get a Bus Reference</td> <td class="tg-0lax">FMODUnity.RuntimeManager.StudioSystem.getBus(path, out Bus bus);</td> <td class="tg-0lax">Get a bus reference so you can then use it. "path" is the bus string name. "bus:/" will always be the name of the master bus. You can also find a similar function for VCAs.</td> </tr> <tr> <td class="tg-0lax">Get an event description</td> <td class="tg-0lax">FMODUnity.RuntimeManager.StudioSystem.getEvent(path, out EventDescription _event);</td> <td class="tg-0lax">This is very handy if you want to do something with an specific event. As usual, "path" is the string name.</td> </tr> <tr> <td class="tg-0lax">Set a global parameter</td> <td class="tg-0lax">FMODUnity.RuntimeManager.StudioSystem.setParameterByName(name, value, ignoreseekspeed);</td> <td class="tg-0lax">Sets a value to a global parameter where "name" is a tring with the name of the parameter, "value" is a float and "ignoreseekspeed" is a bool.</td> </tr> </tbody> </table><h2><strong>Studio API: Bank</strong></h2><p class="">We won’t be able to do much until we have <a href="https://www.fmod.com/resources/documentation-api?page=studio-api-bank.html&amp;version=2.02">our banks loaded</a>. Keep in mind that the <strong>master bank always needs to be loaded</strong> as this contains mixer information like buses, vcas or snapshots. Other than that, all other banks can be loaded one by one as needed. I talked about how to get a reference to a particular bank above, let’s now see what you can do with that reference:</p> <table class="tg"> <thead> <tr> <th class="tg-rw8p">Function</th> <th class="tg-rw8p">Example</th> <th class="tg-rw8p">Description</th> </tr> </thead> <tbody> <tr> <td class="tg-0pky">Get loading state</td> <td class="tg-0pky">Studio.Bank.getLoadingState(out LOADING_STATE state);</td> <td class="tg-0pky">We can check if a bank has finished loading before doing anything with it.</td> </tr> <tr> <td class="tg-0pky">Load Sample data</td> <td class="tg-0pky">Studio.Bank.loadSampleData();</td> <td class="tg-0pky">This will load all the audio files themselves into memory before any audio is played. Use this if the events are very time sensitive or you want to trade CPU for memory. There is also an unload method.</td> </tr> <tr> <td class="tg-0pky">Unload bank</td> <td class="tg-0pky">Studio.Bank.unload();</td> <td class="tg-0pky">Use this if you are sure you don't need the events contained on this bank anymore so we can save some memory.</td> </tr> <tr> <td class="tg-0pky">Get the event count</td> <td class="tg-0pky">Studio.Bank.getEventCount(out int count);</td> <td class="tg-0pky">Check how many events the bank has.</td> </tr> <tr> <td class="tg-0lax">Get event list</td> <td class="tg-0lax">Studio.Bank.getEventList(out EventDescription[] array);</td> <td class="tg-0lax">Use with the above method to get an arrray of event descriptions in case you then want to do something with them.</td> </tr> </tbody> </table><h2><strong>Studio API: EventDescription</strong></h2><p class="">You can find here <a href="https://www.fmod.com/resources/documentation-api?page=studio-api-eventdescription.html&amp;version=2.02">all functions related</a> to each specific event set in FMOD Studio. Before you use this, remember that you need to grab a reference to the event description using the method described in the section above so<strong> you can only do this once the bank containing the event is fully loaded</strong>. Once you have it, you can get some very usefu information from it. Here are some examples:</p> <table class="tg"> <thead> <tr> <th class="tg-rw8p">Function</th> <th class="tg-rw8p">Example</th> <th class="tg-rw8p">Description</th> </tr> </thead> <tbody> <tr> <td class="tg-0pky">Create Instance</td> <td class="tg-0pky">FMOD.Studio.EventDescription.createInstance(out EventInstance instance);</td> <td class="tg-0pky">Use this to create an instance which you must do before you play the event. It can be a good idea to cache the instance for use later.</td> </tr> <tr> <td class="tg-0pky">Load Sample Data</td> <td class="tg-0pky">FMOD.Studio.EventDescription.loadSampleData();</td> <td class="tg-0pky">This is very handy if you want to load the sample data for an event before you play it. Particularly useful for time sensitive events.</td> </tr> <tr> <td class="tg-0pky">Is 3D</td> <td class="tg-0pky">FMOD.Studio.EventDescription.is3D(out bool is3D);</td> <td class="tg-0pky">Check if the event is 3D whcih would be determined by the event having an spatializer. Nice one if you create your own emitter or player.</td> </tr> <tr> <td class="tg-0pky">Is Valid</td> <td class="tg-0pky">FMOD.Studio.EventDescription.isValid();</td> <td class="tg-0pky">Use this one to make sure the event is not null and can be used.</td> </tr> <tr> <td class="tg-0lax">Is Snapshot</td> <td class="tg-0lax">FMOD.Studio.EventDescription.isSnapshot(out bool snaphot);</td> <td class="tg-0lax">Check if a particular description is a snaphot.</td> </tr> </tbody> </table><h2><strong>Studio API: EventInstance</strong></h2><p class="">As mentioned before, we need to <a href="https://www.fmod.com/resources/documentation-api?page=studio-api-eventinstance.html&amp;version=2.02">create an event instance</a> in order to be able to play it or just do anything with them. Once this is done, we can have full control of the instance. Here are some useful methods:</p> <table class="tg"> <thead> <tr> <th class="tg-rw8p">Function</th> <th class="tg-rw8p">Example</th> <th class="tg-rw8p">Description</th> </tr> </thead> <tbody> <tr> <td class="tg-0pky">Play Instance</td> <td class="tg-0pky">FMOD.Studio.EventInstance.start();</td> <td class="tg-0pky">Just play the instance. Basically, this will start the timeline, as set in fmod studio.</td> </tr> <tr> <td class="tg-0pky">Stop Instance</td> <td class="tg-0pky">FMOD.Studio.EventInstance.stop(FMOD.Studio.STOP_MODE);</td> <td class="tg-0pky">Stops an instance. As you can see, we need to pass a stop mode which will determine if we respect any fades set in studio.</td> </tr> <tr> <td class="tg-0pky">Release Instance</td> <td class="tg-0pky">FMOD.Studio.EventInstance.release();</td> <td class="tg-0pky">This will tell the fmod engine that this instance can be deleted from memory. Use this after stopping an instance if you don't need it anymore. Important to prevent memory leaks.</td> </tr> <tr> <td class="tg-0pky">Get playback state</td> <td class="tg-0pky">FMOD.Studio.EventInstance.getPlaybackState(out FMOD.Studio.PLAYBACK_STATE state)</td> <td class="tg-0pky">Use this to know the current state of the instance. Very useful if we want to check if the instance is playing before trying to stop it.</td> </tr> <tr> <td class="tg-0pky">Set 3D Attributes</td> <td class="tg-0pky">FMOD.Studio.EventInstance.set3DAttributes(RuntimeUtils.To3DAttributes(position));</td> <td class="tg-0pky">Sets the instance to a particular 3D position. Used to play audio in some specific place.</td> </tr> <tr> <td class="tg-0lax">Attach to game object</td> <td class="tg-0lax">RuntimeManager.AttachInstanceToGameObject(instance, gameObject.transform, rigidBody);</td> <td class="tg-0lax">Use this for 3D events if, instead of playing in an specific place, you want to attach the sound to a game object.</td> </tr> </tbody> </table><h2><strong>Studio API: Bus &amp; VCA</strong></h2><p class="">We can <strong>interact with the game’s mix</strong> by <a href="https://www.fmod.com/resources/documentation-api?page=studio-api-bus.html&amp;version=2.02">getting and setting values on buses and vcas</a>. Check the system section to see how we can get a reference of a particular bus or vca but basically, we would need to know its name (as it was names in FMOD studio) as a string value so it could be a good idea to keep a reference of these somewhere in your code.</p><p class="">Let’s see a few examples of things we can do with buses and vcas:</p> <table class="tg"> <thead> <tr> <th class="tg-rw8p">Function</th> <th class="tg-rw8p">Example</th> <th class="tg-rw8p">Description</th> </tr> </thead> <tbody> <tr> <td class="tg-0pky">Set Bus volume</td> <td class="tg-0pky">Studio.Bus.setVolume(float volume);</td> <td class="tg-0pky">Sets a particular volume for this bus. There is also a get method.</td> </tr> <tr> <td class="tg-0pky">Stop all events</td> <td class="tg-0pky">Studio.Bus.stopAllEvents(STOP_MODE mode);</td> <td class="tg-0pky">Stops all the events within a bus. Useful if you want to make sure all audio within a particular bus stops when unloading a level, for example. Notice that we need to pass the stop mode we wish to use.</td> </tr> <tr> <td class="tg-0pky">Pause all events</td> <td class="tg-0pky">Studio.Bus.setPaused(bool pause);</td> <td class="tg-0pky">This will pause or unpause all the events contained in a bus. Use this for pause menus, for example.</td> </tr> <tr> <td class="tg-0pky">Set VCA volume</td> <td class="tg-0pky">Studio.VCA.setVolume(float volume);</td> <td class="tg-0pky">Set volume on a VCA. Nice for the audio level settings.</td> </tr> </tbody> </table><h2><strong>In conclusion</strong></h2><p class="">I think if you understand how all the above work, that would be a very good start. Check out the <a href="https://www.fmod.com/resources/documentation-unity?page=examples-basic.html&amp;version=2.02">FMOD reference docs</a> for many useful examples and dont’ hesitate to drop me a line if you have any questions, I know some of this can be obscure until you use it for a while.</p> Javier Zumer Composer, Mark Crawford (The Social Dilemma, The Love Bugs) https://www.thesoundarchitect.co.uk/tsap-s04e11/ urn:uuid:5ad9b3e7-9950-e0c6-3cdc-8ac49a549402 Thu, 29 Jul 2021 15:22:28 +0200 <a href="https://www.thesoundarchitect.co.uk/tsap-s04e11/" title="Composer, Mark Crawford (The Social Dilemma, The Love Bugs)" rel="nofollow"><img width="1280" height="720" src="https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/07/maxresdefault.jpg" class="webfeedsFeaturedVisual wp-post-image" alt="the social dilemma logo" loading="lazy" style="display: block; margin: auto; margin-bottom: 5px;max-width: 100%;" link_thumbnail="1" srcset="https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/07/maxresdefault.jpg 1280w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/07/maxresdefault-300x169.jpg 300w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/07/maxresdefault-1024x576.jpg 1024w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/07/maxresdefault-768x432.jpg 768w" sizes="(max-width: 1280px) 100vw, 1280px" /></a><p><a rel="nofollow" href="https://www.thesoundarchitect.co.uk">The Sound Architect - All Audio, All For You</a></p> <p>(TSAP S04E11) Sam is joined by composer Mark Crawford, where they discuss his Emmy-nominated work on the acclaimed documentary, The Social Dilemma as well as his career so far, music writing process, working with Brandi Carlisle and Renée Elise Goldsberry for the cover of ‘I Put a Spell on You’ and more! Mark has also just...</p> <p>The post <a rel="nofollow" href="https://www.thesoundarchitect.co.uk/tsap-s04e11/">Composer, Mark Crawford (The Social Dilemma, The Love Bugs)</a> appeared first on <a rel="nofollow" href="https://www.thesoundarchitect.co.uk">The Sound Architect</a>.</p> Blog Composers Film Sound Interviews Sam Hughes The Sound Architect Podcast brandi carlisle composer interview mark crawford music netflix Podcast renee elise goldsberry the love bugs the social dilemma the sound architect podcast tsap Sam Hughes Video Tools Course 1.5 update https://reaperblog.net/2021/07/video-tools-course-1-5-update/ The REAPER Blog urn:uuid:b5dd1a8d-894f-ffa2-4503-48b09f8434b5 Sun, 25 Jul 2021 20:46:14 +0200 <p>The Video Tools course has been updated again with 2 new videos and 12 new presets for the Video Processor.</p> The post <a href="https://reaperblog.net/2021/07/video-tools-course-1-5-update/">Video Tools Course 1.5 update</a> first appeared on <a href="https://reaperblog.net">The REAPER BLOG</a>. Uncategorized Admin Super8 Looping In REAPER https://reaperblog.net/2021/07/super8-tutorial/ The REAPER Blog urn:uuid:c374419a-5587-fb7f-9945-183911db3c01 Fri, 23 Jul 2021 21:32:01 +0200 <p>Jon goes deeper into learning Super8 and shares what he's learned over the past week</p> The post <a href="https://reaperblog.net/2021/07/super8-tutorial/">Super8 Looping In REAPER</a> first appeared on <a href="https://reaperblog.net">The REAPER BLOG</a>. TUTORIAL VIDEO Admin Public Spaces France – SFX Library Release https://spacewalkaudio.co.uk/public-spaces-france-sfx-library-release/ Spacewalk Audio urn:uuid:7a2a6a46-0d0c-9279-3e66-5571479a0732 Fri, 23 Jul 2021 21:07:06 +0200 <p>I&#8217;m very pleased to present my new sound effect library &#8211; Public Spaces France. The library is a collection of urban ambiences that I captured whilst living in France, 2016 ...</p> <p>The post <a rel="nofollow" href="https://spacewalkaudio.co.uk/public-spaces-france-sfx-library-release/">Public Spaces France &#8211; SFX Library Release</a> appeared first on <a rel="nofollow" href="https://spacewalkaudio.co.uk">Spacewalk Audio</a>.</p> <p>I&#8217;m very pleased to present my new sound effect library &#8211; <a href="https://www.asoundeffect.com/sound-library/public-spaces-france/" target="_blank" rel="noreferrer noopener">Public Spaces France</a>. The library is a collection of urban ambiences that I captured whilst living in France, 2016 to 2018. </p> <p>The release is particularly special to me, as it holds testament to my development as a sound recordist, as I explored my new home through my microphones.</p> <figure class="wp-block-gallery columns-3 is-cropped"><ul class="blocks-gallery-grid"><li class="blocks-gallery-item"><figure><img loading="lazy" width="576" height="1024" src="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180409_163654-576x1024.jpg" alt="" data-id="1326" data-full-url="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180409_163654-scaled.jpg" data-link="https://spacewalkaudio.co.uk/20180409_163654/" class="wp-image-1326" srcset="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180409_163654-576x1024.jpg 576w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180409_163654-169x300.jpg 169w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180409_163654-768x1365.jpg 768w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180409_163654-864x1536.jpg 864w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180409_163654-1152x2048.jpg 1152w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180409_163654-100x178.jpg 100w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180409_163654-1200x2133.jpg 1200w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180409_163654-scaled.jpg 1440w" sizes="(max-width: 576px) 100vw, 576px" /></figure></li><li class="blocks-gallery-item"><figure><img loading="lazy" width="768" height="1024" src="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180723-20180723_160749-768x1024.jpg" alt="" data-id="1323" data-full-url="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180723-20180723_160749-scaled.jpg" data-link="https://spacewalkaudio.co.uk/20180723-20180723_160749/" class="wp-image-1323" srcset="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180723-20180723_160749-768x1024.jpg 768w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180723-20180723_160749-225x300.jpg 225w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180723-20180723_160749-1152x1536.jpg 1152w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180723-20180723_160749-1536x2048.jpg 1536w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180723-20180723_160749-100x133.jpg 100w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180723-20180723_160749-864x1152.jpg 864w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180723-20180723_160749-1200x1600.jpg 1200w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180723-20180723_160749-scaled.jpg 1920w" sizes="(max-width: 768px) 100vw, 768px" /></figure></li><li class="blocks-gallery-item"><figure><img loading="lazy" width="1024" height="768" src="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180905-20180905_142200-1024x768.jpg" alt="" data-id="1318" data-full-url="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180905-20180905_142200-scaled.jpg" data-link="https://spacewalkaudio.co.uk/20180905-20180905_142200/" class="wp-image-1318" srcset="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180905-20180905_142200-1024x768.jpg 1024w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180905-20180905_142200-300x225.jpg 300w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180905-20180905_142200-768x576.jpg 768w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180905-20180905_142200-1536x1152.jpg 1536w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180905-20180905_142200-2048x1536.jpg 2048w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180905-20180905_142200-100x75.jpg 100w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180905-20180905_142200-864x648.jpg 864w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180905-20180905_142200-1200x900.jpg 1200w" sizes="(max-width: 1024px) 100vw, 1024px" /></figure></li></ul></figure> <p></p> <p>In choosing recordings for this library, I turned to an early work, <a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-paris" target="_blank" rel="noreferrer noopener">60 Minute Cities: Paris</a>. I was amazed to hear the difference from my recordings today. </p> <p>At the time, I had been practicing the recording equivalent of street-photography. My goal was to tell a story with a single recording. My preferred technique was on-ear binaural stealth recording, so not to disrupt environments.</p> <p>Whilst this style lead to some cherished recordings, most are unreleasable. Changing perspectives, discernible music and conversation rendered the recordings unfit for a commercial library.</p> <p>One salvageable recordings is from the Panthéon monument. I recorded 10 minutes of incredible resonant space before the security spotted my binaural mics and advised me that listening to music was prohibited!</p> <figure class="wp-block-audio"><audio controls src="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/AMBRlgn_Panthéon-Temple-Reverberant-Tourist-Walla-and-Footsteps_Spacewalk-Audio-Snippet.m4a"></audio><figcaption>AMBRlgn_Panthéon Temple, Reverberant Tourist Walla and Footsteps_Spacewalk Audio (Snippet)</figcaption></figure> <figure class="wp-block-image size-large"><img loading="lazy" width="1024" height="768" src="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/Panthéon-Pexels-1024x768.jpg" alt="" class="wp-image-1300" srcset="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/Panthéon-Pexels-1024x768.jpg 1024w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/Panthéon-Pexels-300x225.jpg 300w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/Panthéon-Pexels-768x576.jpg 768w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/Panthéon-Pexels-1536x1152.jpg 1536w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/Panthéon-Pexels-2048x1536.jpg 2048w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/Panthéon-Pexels-100x75.jpg 100w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/Panthéon-Pexels-864x648.jpg 864w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/Panthéon-Pexels-1200x900.jpg 1200w" sizes="(max-width: 1024px) 100vw, 1024px" /></figure> <p>I left the UK in 2016, weeks after the Brexit referendum had taken place. I was privileged to exercise my freedom of movement and right to work within the EU, whilst it was still available to me. My time in France was life affirming and learning a new language developed me in ways I hadn&#8217;t previously known.</p> <p>After a few months in Paris, I took a road trip across the country. One highlight was the alpine town of Annecy. Bustling markets, mountain forests and traditional festivals were all captured in binaural over the course of a few days. Neither the traditional alphorn recitals, nor the market banter made it into the library. However a couple of clean recordings did still capture the vibe of this picturesque town.</p> <figure class="wp-block-audio"><audio controls src="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/AMBPubl_Old-Town-Alleyway-Morning-Activity_Spacewalk-Audio-Snippet.m4a"></audio><figcaption>AMBPubl_Old-Town Alleyway, Morning Activity_Spacewalk Audio (Snippet)</figcaption></figure> <figure class="wp-block-image size-large"><img loading="lazy" width="1024" height="576" src="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/Annecy-1024x576.jpg" alt="" class="wp-image-1302" srcset="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/Annecy-1024x576.jpg 1024w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/Annecy-300x169.jpg 300w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/Annecy-768x432.jpg 768w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/Annecy-1536x864.jpg 1536w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/Annecy-2048x1152.jpg 2048w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/Annecy-100x56.jpg 100w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/Annecy-864x486.jpg 864w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/Annecy-1200x675.jpg 1200w" sizes="(max-width: 1024px) 100vw, 1024px" /></figure> <p>The road trip lead me to the Occitanie capital, Toulouse, where I settled for the remainder of my time in France. Toulouse is a friendly, vibrant city with a large student population. Geographically it sits halfway between the Mediterranean and the Atlantic and is a stones throw from the Pyrenees mountain range. </p> <p>My recordings in Toulouse document the first time I began thinking more critically about my recording objectives. I began to separate curation for libraries from field recording art projects, such as the <a href="https://editions.campfr.com/release/7/benjamin-gale-les-gilets-jaunes" target="_blank" rel="noreferrer noopener">Gilets Jaunes protest recordings</a>.</p> <figure class="wp-block-image size-large"><img loading="lazy" width="1024" height="917" src="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180801-20180801_205709-1024x917.jpg" alt="" class="wp-image-1321" srcset="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180801-20180801_205709-1024x917.jpg 1024w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180801-20180801_205709-300x269.jpg 300w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180801-20180801_205709-768x688.jpg 768w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180801-20180801_205709-1536x1376.jpg 1536w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180801-20180801_205709-2048x1835.jpg 2048w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180801-20180801_205709-100x90.jpg 100w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180801-20180801_205709-864x774.jpg 864w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180801-20180801_205709-1200x1075.jpg 1200w" sizes="(max-width: 1024px) 100vw, 1024px" /></figure> <figure class="wp-block-audio"><audio controls src="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/AMBRest_Restraunt-Busy-Terrace-Light-Walla_Spacewalk-Audio-Snippet.m4a"></audio><figcaption>AMBRest_Restraunt Busy Terrace, Light Walla_Spacewalk Audio (Snippet)</figcaption></figure> <p>In the summer of 2018 I embarked on a project to capture day to day life in the city. I used a pair of DPA 4060s to record town squares, cobbled streets, food markets, cafes, parks and rooftops. </p> <p>I focused on the usefulness of the sound from an editor&#8217;s perspective. I captured locations from multiple positions at different times of day. The same town square could be a market at 8am, a péntanque pitch at 5pm, and a bar terrace at 10pm</p> <figure class="wp-block-image size-large"><img loading="lazy" width="1024" height="685" src="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/DSC_0361-1024x685.jpg" alt="" class="wp-image-1311" srcset="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/DSC_0361-1024x685.jpg 1024w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/DSC_0361-300x201.jpg 300w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/DSC_0361-768x514.jpg 768w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/DSC_0361-1536x1028.jpg 1536w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/DSC_0361-2048x1371.jpg 2048w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/DSC_0361-100x67.jpg 100w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/DSC_0361-864x578.jpg 864w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/DSC_0361-1200x803.jpg 1200w" sizes="(max-width: 1024px) 100vw, 1024px" /></figure> <figure class="wp-block-audio"><audio controls src="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/AMBPubl_Nightlife-Public-Square-Small-Bar-Terrace-Walla-Petanque_Spacewalk-Audio-Snippet.m4a"></audio><figcaption>AMBPubl_Nightlife, Public Square (Small), Bar Terrace Walla, Petanque_Spacewalk Audio (Snippet)</figcaption></figure> <p>In editing this library, my biggest challenge was cutting discernible dialog to create crowd recordings that are true &#8220;walla.&#8221; Finding the line between vocal noise and distinct voices has been a challenging exercise that I have learnt a lot from. Self discipline is required to remove sounds that aren&#8217;t up to standard, even when you subjectively value them.</p> <p>The end result is a high-quality offering that I am truly happy with. It reflects my progression as a recordist and my appreciation for French culture!</p> <figure class="wp-block-image size-large"><img loading="lazy" width="2560" height="1920" src="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180827-20180827_195844-scaled.jpg" alt="" class="wp-image-1308" srcset="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180827-20180827_195844-scaled.jpg 2560w, https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/20180827-20180827_195844-300x225.jpg 300w" sizes="(max-width: 2560px) 100vw, 2560px" /></figure> <figure class="wp-block-audio"><audio controls src="https://spacewalkaudio.co.uk/wp-content/uploads/2021/07/AMBPubl_Rooftop-City-Activity-Bells-and-Sirens_Spacewalk-Audio-Snippet.m4a"></audio><figcaption>AMBPubl_Rooftop City Activity, Bells and Sirens_Spacewalk Audio (Snippet)</figcaption></figure> <p>The library is available to purchase from <a href="https://www.asoundeffect.com/sound-library/public-spaces-france/" target="_blank" rel="noreferrer noopener">ASoundEffect,</a> initially at a discounted price of $36, along with my other library, &#8220;<a href="https://www.asoundeffect.com/sound-library/tunisia/" target="_blank" rel="noreferrer noopener">Tunisia</a>&#8220;</p> <p>The post <a rel="nofollow" href="https://spacewalkaudio.co.uk/public-spaces-france-sfx-library-release/">Public Spaces France &#8211; SFX Library Release</a> appeared first on <a rel="nofollow" href="https://spacewalkaudio.co.uk">Spacewalk Audio</a>.</p> Sound Effects Ben Gale Sound Devices Releases Industry-Leading Wireless Transmitter, the A20-Mini https://www.soundandpicture.com/2021/07/sound-devices-releases-industry-leading-wireless-transmitter-the-a20-mini/?utm_source=rss&utm_medium=rss&utm_campaign=sound-devices-releases-industry-leading-wireless-transmitter-the-a20-mini Sound – Sound & Picture urn:uuid:c5e16e8e-0923-b599-ada7-1aabe15a160c Tue, 20 Jul 2021 23:06:18 +0200 <p>Reedsburg, WI – Sound Devices is proud to announce the A20-Mini digital wireless microphone transmitter and its companion app, A20-Remote. The A20-Mini is Sound Devices’ first miniature transmitter and incorporates state-of-the-art features such as full remote control via the A20-Remote app, GainForward Architecture, internal 32-bit float recording, a worldwide tuning range of 470 MHz – 694 [...]</p> <p>The post <a rel="nofollow" href="https://www.soundandpicture.com/2021/07/sound-devices-releases-industry-leading-wireless-transmitter-the-a20-mini/">Sound Devices Releases Industry-Leading Wireless Transmitter, the A20-Mini</a> appeared first on <a rel="nofollow" href="https://www.soundandpicture.com">Sound &amp; Picture</a>.</p> Sound Wire A20-Mini gear Production Sound Mixing sound mixing S&amp;#38;P Staff Behind the Music of Sackboy: A Big Adventure https://www.thesoundarchitect.co.uk/tsap-s04e10/ urn:uuid:64a51738-8212-f85d-a16b-eba08f54e0da Tue, 20 Jul 2021 15:24:49 +0200 <a href="https://www.thesoundarchitect.co.uk/tsap-s04e10/" title="Behind the Music of Sackboy: A Big Adventure" rel="nofollow"><img width="3840" height="2160" src="https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/07/PS5Capture_AMZ_GloopDeLoop_CloseUp-1.png" class="webfeedsFeaturedVisual wp-post-image" alt="Sackboy" loading="lazy" style="display: block; margin: auto; margin-bottom: 5px;max-width: 100%;" link_thumbnail="1" srcset="https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/07/PS5Capture_AMZ_GloopDeLoop_CloseUp-1.png 3840w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/07/PS5Capture_AMZ_GloopDeLoop_CloseUp-1-300x169.png 300w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/07/PS5Capture_AMZ_GloopDeLoop_CloseUp-1-1024x576.png 1024w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/07/PS5Capture_AMZ_GloopDeLoop_CloseUp-1-768x432.png 768w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/07/PS5Capture_AMZ_GloopDeLoop_CloseUp-1-1536x864.png 1536w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/07/PS5Capture_AMZ_GloopDeLoop_CloseUp-1-2048x1152.png 2048w" sizes="(max-width: 3840px) 100vw, 3840px" /></a><p><a rel="nofollow" href="https://www.thesoundarchitect.co.uk">The Sound Architect - All Audio, All For You</a></p> <p>(TSAP S04E10) Sam is joined by Jay Waters (Audio Director and Composer, SUMO Digital) along with James E. Marshall (Music Supervisor), and Joe Thwaites (Principal Composer and Audio Lead) from Sony Creative Services Group to give insights into the highly impressive music choices and implementation for Sackboy: A Big Adventure.  They dive into the licensing...</p> <p>The post <a rel="nofollow" href="https://www.thesoundarchitect.co.uk/tsap-s04e10/">Behind the Music of Sackboy: A Big Adventure</a> appeared first on <a rel="nofollow" href="https://www.thesoundarchitect.co.uk">The Sound Architect</a>.</p> Blog Composers Game Audio Interviews Sam Hughes Sound Designers/Audio Professionals The Sound Architect Podcast interview James Marshall jay waters Joe Thwaites Podcast PS4 ps5 returnal sackboy Sony Sony CSG Sony Plyastation Europe sound design the sound architect podcast tsap Sam Hughes Tycho Teaches Live Looping with Super8 https://reaperblog.net/2021/07/tycho-super8/ The REAPER Blog urn:uuid:49225024-ffa9-247c-7887-a492cc412b6c Fri, 16 Jul 2021 17:15:45 +0200 <p>Jon talks with Scott Hansen AKA Tycho about using REAPER's Super 8 Looper for songwriting and live performances.</p> The post <a href="https://reaperblog.net/2021/07/tycho-super8/">Tycho Teaches Live Looping with Super8</a> first appeared on <a href="https://reaperblog.net">The REAPER BLOG</a>. INTERVIEW TUTORIAL VIDEO Admin 169 – Building a Backyard Studio Roundtable https://tonebenderspodcast.com/169-building-a-backyard-studio-roundtable/ TonebendersPodcast.com urn:uuid:0b1b2b19-6c80-13eb-0f6b-1b0de536ad73 Tue, 13 Jul 2021 17:58:29 +0200 Al Sirkett and Lucy Mitchell tell us about their experiences building new stand alone studio spaces in their backyards. They tell us everything they learned,&#8230; episodes Interview Roundtable Timothy Muirhead The FASTEST way to render assets in REAPER – LKC Render Blocks https://reaperblog.net/2021/07/render-blocks/ The REAPER Blog urn:uuid:e1d06072-2edd-c465-7fbe-fb7ee7437b3f Fri, 09 Jul 2021 16:28:56 +0200 <p>Render Blocks is a set of scripts allowing packing of sound assets into blocks, with labels, for easy manipulation, or instant exporting.<br /> In this video Jon talks to Render Blocks creator Nikola Lukic.</p> The post <a href="https://reaperblog.net/2021/07/render-blocks/">The FASTEST way to render assets in REAPER – LKC Render Blocks</a> first appeared on <a href="https://reaperblog.net">The REAPER BLOG</a>. INTERVIEW REASCRIPTS TUTORIAL VIDEO Admin