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/ Introducing ‘The Composer Success Series’ — feat. Charlie Clouser, Sherri Chung, & Cindy O’Connor https://www.asoundeffect.com/composer-success-series-charlie-clouser-sherri-chung-cindy-oconnor/ A Sound Effect urn:uuid:230aab34-7460-b68b-bf13-cfb12f01c563 Wed, 14 Apr 2021 13:58:19 +0200 <img width="640" height="388" src="https://cdna.asoundeffect.com/wp-content/uploads/2021/04/13092441/composer_success_series_b.jpg" class="attachment-large size-large wp-post-image" alt="Composer Success Series with Charlie Clouser, Sherri Chung, &amp; Cindy O’Connor" srcset="https://cdna.asoundeffect.com/wp-content/uploads/2021/04/13092441/composer_success_series_b.jpg 825w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/13092441/composer_success_series_b-300x182.jpg 300w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/13092441/composer_success_series_b-768x465.jpg 768w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/13092441/composer_success_series_b-125x76.jpg 125w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/13092441/composer_success_series_b-75x45.jpg 75w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/13092441/composer_success_series_b-220x133.jpg 220w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/13092441/composer_success_series_b-500x303.jpg 500w" sizes="(max-width: 640px) 100vw, 640px" /><p>Hear what it takes to get started and succeed in composing for the TV industry, from Charlie Clouser, Sherri Chung &#038; Cindy O'Connor:</p> <p>The post <a rel="nofollow" href="https://www.asoundeffect.com/composer-success-series-charlie-clouser-sherri-chung-cindy-oconnor/">Introducing &#8216;The Composer Success Series&#8217; &#8212; feat. Charlie Clouser, Sherri Chung, &amp; Cindy O&#8217;Connor</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/_OH3nEfNRuE" height="1" width="1" alt=""/> Music Cindy O'Connor composer Composer Charlie Clouser Composer Cindy O'Connor Composer Sherri Chung Composer Success Book Composer Success Guide Composer Success Series how to resources success The Composer Success Book The Composer Success Guide The Composer Success Series tips tricks workflow Jennifer Walden Introducing the Composer Success Series — feat. Charlie Clouser, Sherri Chung, & Cindy O’Connor https://www.asoundeffect.com/composer-success-series-charlie-clouser-sherri-chung-cindy-oconnor/ A Sound Effect urn:uuid:917cf516-4114-f296-f169-c43229f20fd0 Wed, 14 Apr 2021 13:58:19 +0200 <img width="640" height="388" src="https://cdna.asoundeffect.com/wp-content/uploads/2021/04/13092441/composer_success_series_b.jpg" class="attachment-large size-large wp-post-image" alt="Composer Success Series with Charlie Clouser, Sherri Chung, &amp; Cindy O’Connor" srcset="https://cdna.asoundeffect.com/wp-content/uploads/2021/04/13092441/composer_success_series_b.jpg 825w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/13092441/composer_success_series_b-300x182.jpg 300w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/13092441/composer_success_series_b-768x465.jpg 768w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/13092441/composer_success_series_b-125x76.jpg 125w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/13092441/composer_success_series_b-75x45.jpg 75w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/13092441/composer_success_series_b-220x133.jpg 220w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/13092441/composer_success_series_b-500x303.jpg 500w" sizes="(max-width: 640px) 100vw, 640px" /><p>Hear what it takes to get started and succeed in composing for the TV industry, from Charlie Clouser, Sherri Chung &#038; Cindy O'Connor:</p> <p>The post <a rel="nofollow" href="https://www.asoundeffect.com/composer-success-series-charlie-clouser-sherri-chung-cindy-oconnor/">Introducing the Composer Success Series &#8212; feat. Charlie Clouser, Sherri Chung, &amp; Cindy O&#8217;Connor</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/_OH3nEfNRuE" height="1" width="1" alt=""/> Music Cindy O'Connor composer Composer Charlie Clouser Composer Cindy O'Connor Composer Sherri Chung Composer Success Book Composer Success Guide Composer Success Series how to resources success The Composer Success Book The Composer Success Guide The Composer Success Series tips tricks workflow Jennifer Walden How I edit and master my field recordings https://mindful-audio.com/blog/how-to-edit-master-field-recordings Blog - Mindful Audio urn:uuid:20c78ac8-8722-026d-06c8-c3f0b3026e32 Tue, 13 Apr 2021 19:00:00 +0200 The studio side of field recording <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1618329144837-FULMBII1I9L2DTDPJIIP/ke17ZwdGBToddI8pDm48kPTrHXgsMrSIMwe6YW3w1AZ7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0k5fwC0WRNFJBIXiBeNI5fKTrY37saURwPBw8fO2esROAxn-RKSrlQamlL27g22X2A/DSC_0576-1-3.jpg" data-image-dimensions="2500x1406" data-image-focal-point="0.5,0.5" alt="The studio side of field recording" data-load="false" data-image-id="6075be36afe07406d1231a58" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1618329144837-FULMBII1I9L2DTDPJIIP/ke17ZwdGBToddI8pDm48kPTrHXgsMrSIMwe6YW3w1AZ7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0k5fwC0WRNFJBIXiBeNI5fKTrY37saURwPBw8fO2esROAxn-RKSrlQamlL27g22X2A/DSC_0576-1-3.jpg?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class="">The studio side of field recording</p> </figcaption> </figure> <p class="">I love talking about field recording, as you can gather from reading my blog or following me on social media. I’m deeply passionate about all aspects of the discipline and I also love to inspire others to pursue it. Something I haven’t talked much about is the editing and mastering side, probably because it isn’t as glamorous as teetering on the edge of a volcano or being chased by an orangutan in the rainforest. It may also be because I do my best to escape the studio whenever I can, and this would mean more time spent indoors. At any rate, with this blog post I’m trying to fix that.</p><p class="">Before I start, I have to preface this with an important point. If I mention gear or software, it’s because that’s what works for me. Same goes for workflows. It’s always very tempting to buy more kit or to chase the next magic bullet, but that isn’t what I’m trying to achieve. Instead, I suggest you take all this as data points and make your own judgments. Try to use what you already own and only If that doesn’t work, upgrade. I’m always happy to answer questions so feel free to comment below.</p><h1>In the field</h1> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1618329539276-SBT2LPHAMG3NG7TJWBEX/ke17ZwdGBToddI8pDm48kDHPSfPanjkWqhH6pl6g5ph7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0mwONMR1ELp49Lyc52iWr5dNb1QJw9casjKdtTg1_-y4jz4ptJBmI9gQmbjSQnNGng/Editing+field+recordings+on+expedition" data-image-dimensions="2500x1875" data-image-focal-point="0.5,0.5" alt="Editing field recordings on expedition" data-load="false" data-image-id="6075bfc01c5bea773f9a1564" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1618329539276-SBT2LPHAMG3NG7TJWBEX/ke17ZwdGBToddI8pDm48kDHPSfPanjkWqhH6pl6g5ph7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0mwONMR1ELp49Lyc52iWr5dNb1QJw9casjKdtTg1_-y4jz4ptJBmI9gQmbjSQnNGng/Editing+field+recordings+on+expedition?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class="">Editing field recordings on expedition</p> </figcaption> </figure> <p class="">My editing process starts in the field. Even before I press record, I give a lot of thought to what the final result will sound like and how it will be experienced. If I’m recording soundscapes, I want them to be as flexible as possible so I will record long takes: never less than 10 minutes, sometimes as long as 2 or 3 days. My reasoning here is simple – it’s better to have more options and it’s much easier to cut out parts of the recording than to somehow lengthen it. </p><p class="">Recording long takes gives me a lot of flexibility when I’m back in the studio. From the same recording session I can derive sound effects libraries, albums for listening, soundscapes for upload to Youtube, material for music composition, focused sound effects, environmental data etc. I make sure to slate each session at the start and at the end (if there’s any battery left when I collect the rigs) with the equipment I’m using, time of day, location, interesting information about the surroundings, etc.</p><p class="">I record soundscapes in stereo, quad or double Mid-Side. Of all these, DMS is the most flexible as it can be decoded to mono, stereo or surround. It doesn’t sound as immersive as a recording made with spaced omnis or omnis as “tree ears” (a technique that I’m very fond of along with Thomas Rex Beverly and Andy Martin), but the very compact rig and the fact that it can be decoded into so many formats makes up for it. AB or tree ears with omni mics is lovely and immersive to listen to, but is limited to stereo (unless you do quad tree ears). Sometimes it’s easier to tape two lav mics like the Lom mikroUsis to branches on a tree and to plug them into a minuscule recorder such as the Sony A10. A DMS rig would be much more conspicuous in these situations so the benefits of surround sound will be outweighed by the risk of having the equipment stolen or destroyed.</p><p class="">I prefer not to fiddle with the <strong>stereo image</strong> once I’ve made the recording. I spend a good amount of time deciding on where to record, and stereo or surround imaging is a big part of these decisions. I also think about distance to a certain subject or sound source at this stage, trying to have a nice balance between foreground, background, possible distant elements, reflections etc. This isn’t a straightforward task and requires a lot of listening, but it gets easier with practice and can make a big difference in the final recording.</p><p class="">I usually record <strong>24 bit 96 kHz</strong>. I will record at 192 kHz if I use mics that reach high into the frequency spectrum, if I’m recording sources that have a lot of high frequency content and/or if I need to pitch shift the recordings drastically in post. In some situations I also record in 32 bit. This allows for greater dynamic range than 24 bit, although it’s not a magical solution that will prevent just any recording from clipping. Outside these edge cases though, 24/96 is perfectly suited for my recording purposes and offers me enough flexibility while maintaining manageable file size and power consumption. </p><p class="">In the field I’m very deliberate about data management. This isn’t necessarily relevant to editing and mastering but it makes my studio work much easier if everything is neatly organised and labelled. I try to copy data over from recording media to my laptop and at least two SSDs at least once a day, if it’s possible. Sometimes I’m on a long hike in places like the rainforest so this won’t be easy, but I bring tens of SD cards (or whatever recording media my devices take). This way I can simply replace them after every session instead of using them continuously and risking losing more than one session if they fail. </p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1618330429400-VLPKM7V0A992EJCD3IW9/ke17ZwdGBToddI8pDm48kPTrHXgsMrSIMwe6YW3w1AZ7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0k5fwC0WRNFJBIXiBeNI5fKTrY37saURwPBw8fO2esROAxn-RKSrlQamlL27g22X2A/Field+recording+data+management" data-image-dimensions="2500x1406" data-image-focal-point="0.5,0.5" alt="Field recording data management" data-load="false" data-image-id="6075c33838126445076a594e" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1618330429400-VLPKM7V0A992EJCD3IW9/ke17ZwdGBToddI8pDm48kPTrHXgsMrSIMwe6YW3w1AZ7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0k5fwC0WRNFJBIXiBeNI5fKTrY37saURwPBw8fO2esROAxn-RKSrlQamlL27g22X2A/Field+recording+data+management?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class="">Field recording data management</p> </figcaption> </figure> <p class="">As soon as I get back to basecamp, I copy everything on to proper drives with redundancy in mind, even if sometimes this takes many hours and I’d much rather be relaxing or exploring the landscape. I pair this with charging batteries and testing equipment so I can be more efficient with my time. I also like to have very quick listens to my recordings when I do the data management part, to identify faults, places or things I’d like to record some more and to have a rough idea about what I’m capturing. </p><h1>In the studio</h1><p class="">I’ve been working with digital audio in one shape or another since 2003, and I started field recording many years later. This insight into the studio side of audio work has helped me avoid some mistakes and has informed my work in the field.</p><p class="">Regardless of purpose, I try to listen to most if not all the recordings I make. That’s not an easy task given the hundreds of hours of soundscapes that I capture on an expedition with multiple drop rigs. It’s not impossible either, especially as I love listening to natural sounds and I can do it while reading, doing my taxes, writing or performing other tasks. I listen to DMS recordings in Reaper as I can decode them to stereo or surround in real time, while still having access to a waveform and spectrogram view (the latter is a bit limited in Reaper though). I listen to stereo recordings in Izotope RX which offers a powerful spectrogram view. </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;callback=YUI.Env.JSONP.yui_3_17_2_1_1618329228403_27348&amp;wmode=opaque" width="100%" frameborder="no" height="450"></iframe><p class="">Before I listen to everything thoroughly though, I will have a few cursory listens and looks at the waveform/spectrogram. This way I can identify interesting events, useful parts or anything that I might want to go back to. When I come across something I want to explore more in detail, I drop a marker and name it something simple but easy to understand. For example, I would tag the start of the dawn chorus, a particular species, weather events, a particularly pleasant soundscape and so on.</p><p class="">Once I’m back in the studio and I’ve copied everything over to internal drives, had a few listens and know more or less what I’ve recorded, it’s time to focus on individual purposes. Sometimes these will overlap, so I try to keep track of everything in case I have to go back and export more parts.</p><p class="">Speaking of exporting, I never do destructive editing and I always keep a copy of the original recordings (plus the backup versions, of course). I make separate copies when working in waveform editors (Adobe Audition for example) and I export separate versions when I work in DAWs like Reaper. This way I keep the recordings as flexible as possible without making them better for a given purpose but possibly worse for others.</p><h1>Sound effects libraries</h1><p class="">One of the more important purposes for my field recordings has always been <a href="https://mindful-audio.com/sound-effects-libraries" target="_blank">sound effects libraries</a>. While this type of content isn’t used for research or scientific purposes, I like to keep it as transparent and unedited as possible. In places like the Congo basin rainforest, I was able to record for 48 hours without capturing <span>any</span> man-made sound. Those recordings are easy to edit and master compared to the soundscapes I got in the Amazon or in parts of Senegal. In these other locations, the amount of man-made noise was surprisingly high. Acoustic ecology and anthropophony are different topics worth discussing separately though. </p><p class=""><strong>Cutting</strong> parts of a long recording seems straightforward enough, but it might not be obvious where to start and end. I try to not break the natural flow of a soundscape by having cuts midway through a song phrase or mammal call, for example. </p><p class="">My libraries are mostly made up of tracks that are 5 to 10 minutes in length. Within these constraints there is a lot of leeway to include or exclude material. I try to cut or export audio with homogeneity in mind. If a bird sings prominently for 4 minutes, I will try to include that entire part instead of beginning or ending the file midway through the song. Similarly, if there’s a sudden change in the soundscape (e.g. a storm starts, wind stops completely or a very loud insect starts singing nearby), I will cut parts either before or after this event. There’s not much use in having two vastly different and disparate parts of a soundscape in the same file for library use.</p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1618331017390-JVCRVAIONXNPXOISJ068/ke17ZwdGBToddI8pDm48kDHPSfPanjkWqhH6pl6g5ph7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0mwONMR1ELp49Lyc52iWr5dNb1QJw9casjKdtTg1_-y4jz4ptJBmI9gQmbjSQnNGng/IMG_7229-1.jpg" data-image-dimensions="2500x1875" data-image-focal-point="0.5066964285714286,0.7857142857142857" alt="Setting up a drop rig in Borneo" data-load="false" data-image-id="6075c57f00d51b079bccc220" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1618331017390-JVCRVAIONXNPXOISJ068/ke17ZwdGBToddI8pDm48kDHPSfPanjkWqhH6pl6g5ph7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0mwONMR1ELp49Lyc52iWr5dNb1QJw9casjKdtTg1_-y4jz4ptJBmI9gQmbjSQnNGng/IMG_7229-1.jpg?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class="">Setting up a drop rig in Borneo</p> </figcaption> </figure> <p class="">Regardless how good I’ve become at setting <strong>gain levels</strong> (and I don’t think I’m that good), the loudness of a habitat changes over time. This inevitably results in parts of a long recording session that are too quiet. I avoid clipping by setting levels conservatively, using high quality, low noise equipment and sometimes using limiters or recording at 32 bit. </p><p class="">The first thing I look at when preparing a recording for use in a library is levels. I play it by ear and try to replicate the loudness I heard on location, so most of the time I don’t add a lot of dB of amplification. Sometimes I have to take the levels down a bit, which is generally better than raising them as it doesn’t raise the noise levels. </p><p class="">I never use lowpass filter functions on mics or recorders just so I can keep my recordings as flexible as possible. Some microphones pick up a lot of low end, like the Sennheiser MKH8020s for example. A lot of that low energy isn’t relevant or useful in an ambience sfx library and this is where <strong>EQ/filtering</strong> can be very useful. </p><p class="">I generally remove everything below 20 Hz and gently roll off content below 80 Hz or so. This varies depending on what I’m recording though. If there’s relevant content between 20 and 80 Hz (think thunder, a volcano, low frequency mammal calls, some bird calls etc) I will be more careful and won’t reduce it as much. The aim of EQ and/or filtering in this case is not to get rid of content, but rather to tame some frequencies so they don’t hog the dynamic range unnecessarily.</p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1618331101959-JFZU6RUMRX41W38CT70B/ke17ZwdGBToddI8pDm48kJ5a22CA6cnGPk0MICWiq4h7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z5QPOohDIaIeljMHgDF5CVlOqpeNLcJ80NK65_fV7S1UTyHg1UW0Z9qDDvIOCyLEa7WhUyB18-tTFCiT-EhnOhpy4esdQB3BRl8sZrbGldWOw/Sennheiser+Double+Mid+Side" data-image-dimensions="1638x2048" data-image-focal-point="0.5,0.5" alt="Sennheiser Double Mid Side in Gabon" data-load="false" data-image-id="6075c5dc3b4da31f1066a610" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1618331101959-JFZU6RUMRX41W38CT70B/ke17ZwdGBToddI8pDm48kJ5a22CA6cnGPk0MICWiq4h7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z5QPOohDIaIeljMHgDF5CVlOqpeNLcJ80NK65_fV7S1UTyHg1UW0Z9qDDvIOCyLEa7WhUyB18-tTFCiT-EhnOhpy4esdQB3BRl8sZrbGldWOw/Sennheiser+Double+Mid+Side?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class="">Sennheiser Double Mid Side in Gabon</p> </figcaption> </figure> <p class="">MKH series mics made by Sennheiser exhibit some high frequency noise, roughly above 30 kHz. That can be annoying when the soundscape is very subtle, as this noise is brought up when amplifying it. One way to remove some of this unwanted noise is by filtering it out. This will obviously filter out other relevant content in that range (bats, overtones of certain animal calls etc) so I only do it sparingly.</p><p class="">I also use EQs to filter out parts of some calls that can be excessively loud. Again, I feel like I have some freedom here since this content isn’t used for scientific purposes, and as long as I don’t completely change the sound of these places, I can make the recordings feel a bit more balanced and less grating. The usual culprits are insects, especially in tropical forests. Their calls can be deafening and need to be tamed before I include the recordings in a library. </p><p class=""><strong>Compression</strong> and <strong>limiting</strong> are a bit more controversial. I try not to mess with the dynamic range of a soundscape unless something is very much out of balance. Even then, I first try to find a different part of the recording where things are more even, and only as a last resort I will use gentle compression. I’m careful not to create so-called pumping effects and I try to avoid harsh, clipping-like noise in the louder parts of the recording. </p><p class=""><strong>Spectral editing</strong> can be useful in certain circumstances. This is not something I like to do though and only employ it when there’s no other option. For example, parts of the Borneo rainforest are surrounded by oil palm plantations. It’s an environmental tragedy worth talking about in a separate blog post, but its effects on the soundscape are pretty dire too. Maybe I’ll write about it sometime. </p><p class="">At any rate, going back to the soundscape in Borneo, I was surprised to see how much noise permeated from the plantations into the rainforest. Combustion engines seemed to carry for the longest distances, even if only between 20 and 80 Hz. There was a similar story in a mangrove forest on the Atlantic coast of Senegal. People would go fishing with motorboats before dawn and that ended up ruining a lot of recordings for me. There was no way to avoid capturing distant man-made sounds there.</p><p class="">In these cases, the only way to use the recordings without including the man-made sounds is to replace part of the soundscape with bits that aren’t marred by anthropophony. This isn’t 100% ideal, but it can work if there isn’t other relevant content that overlaps with the man-made sound I’m trying to replace. My approach to this is to splice in bits recorded in the same location with the same microphone so that I only have to replace the “dirty” part of the recording. Izotope RX has an especially useful tool that allows me to copy slices of the spectrum and then to paste them where needed.</p><p class="">Just to be clear, I only replace low frequencies (below 100Hz) this way, and only in situations where there’s no relevant content there (like a lion’s bellow, deadfall thuds, elephant rumbles etc). Trying to replace long parts higher up in the frequency spectrum will most of the time result in an unnatural and odd sounding recording so I just a Field recording tips George Vlad How I edit and master my field recordings 164 – Sound Design for Series Animation Roundtable Part 2 https://tonebenderspodcast.com/164-sound-design-for-series-animation-roundtable-part-2/ TonebendersPodcast.com urn:uuid:9a99b9da-5f13-a590-556d-89c57a5ffc8f Tue, 13 Apr 2021 17:54:31 +0200 We pick up where we left off in episode 163 with guests Kate Finan, Dominic Lawrence and Heather Olsen talking about doing sound design for&#8230; Case Study Design Techniques episodes Roundtable Timothy Muirhead ‘Noise’ is key in Chaos Walking – here’s how the sound team solved that huge creative challenge: https://www.asoundeffect.com/chaos-walking-sound/ A Sound Effect urn:uuid:f4bd09b4-907d-fd59-e3ea-6702babda178 Tue, 13 Apr 2021 09:43:39 +0200 <img width="640" height="360" src="https://cdna.asoundeffect.com/wp-content/uploads/2021/04/06190316/ChaosWalking_sound-01.jpg" class="attachment-large size-large wp-post-image" alt="ChaosWalking_sound-01" srcset="https://cdna.asoundeffect.com/wp-content/uploads/2021/04/06190316/ChaosWalking_sound-01.jpg 825w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/06190316/ChaosWalking_sound-01-300x169.jpg 300w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/06190316/ChaosWalking_sound-01-768x432.jpg 768w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/06190316/ChaosWalking_sound-01-125x70.jpg 125w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/06190316/ChaosWalking_sound-01-75x42.jpg 75w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/06190316/ChaosWalking_sound-01-220x124.jpg 220w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/06190316/ChaosWalking_sound-01-500x281.jpg 500w" sizes="(max-width: 640px) 100vw, 640px" /><p>Behind the year-long process of designing the 'noise' for Chaos Walking's dystopian sci-fi world:</p> <p>The post <a rel="nofollow" href="https://www.asoundeffect.com/chaos-walking-sound/">&#8216;Noise&#8217; is key in Chaos Walking &#8211; here&#8217;s how the sound team solved that huge creative challenge:</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/zJPtmkNjxhA" height="1" width="1" alt=""/> Film sound Altiverb Atmos chains Chaos Walking noise Chaos Walking sound delay dialogue Dolby doubling dub effects Envy foreign izotope layering movement noise organic panning processing reverb Spanner Stutter Edit thoughts Jennifer Walden New Features in REAPER 6.27 | per item channel mapping and more https://reaperblog.net/2021/04/627update/ The REAPER Blog urn:uuid:fe618690-cec3-55c9-5759-d587d98a57f9 Tue, 13 Apr 2021 00:56:38 +0200 <p>Catching up on features and changes from the past 3 update including changes to Razor Editing, appearance on Mac, and Channel Mapping.</p> The post <a href="https://reaperblog.net/2021/04/627update/">New Features in REAPER 6.27 | per item channel mapping and more</a> first appeared on <a href="https://reaperblog.net">The REAPER BLOG</a>. REAPER UPDATES TUTORIAL VIDEO Admin 22 great new audio jobs at Dolby, Striking Distance Studios/PUBG, BBC, Facebook, Probably Monsters, Ascendant, People Can Fly, Rockstar, Obsidian, Psyonix, Morning Brew, Radical Forge, Märklin, Piranha Games, Posao, Certain Affinity, Rebel Girls, GradBay, https://soundlister.com/22-great-new-audio-jobs-at-dolby-striking-distance-studios-pubg-bbc-facebook-probably-monsters-ascendant-people-can-fly-rockstar-obsidian-psyonix-morning-brew-radical-forge-marklin-piranh/ Soundlister.com urn:uuid:ff73ae05-d879-7ca0-ddf5-34a4d4df8232 Fri, 09 Apr 2021 10:56:53 +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: Audio Lead, Sound Designers, Senior Sound Designer, Music Marketing Manager, Audio Designer, Audio Producer, Director of Audio, Audio Engineers, Sound Designer II, Freelance ADR / VO Engineer, Advanced Technical Audio Designer, Podcast Producer, Sound Engineer, Lecturer in Video Game Sound Design, Live Music Assistant Producer, Audio and Acoustics Researcher, and Technical Audio Designer</p> <p>The post <a rel="nofollow" href="https://soundlister.com/22-great-new-audio-jobs-at-dolby-striking-distance-studios-pubg-bbc-facebook-probably-monsters-ascendant-people-can-fly-rockstar-obsidian-psyonix-morning-brew-radical-forge-marklin-piranh/">22 great new audio jobs at Dolby, Striking Distance Studios/PUBG, BBC, Facebook, Probably Monsters, Ascendant, People Can Fly, Rockstar, Obsidian, Psyonix, Morning Brew, Radical Forge, Märklin, Piranha Games, Posao, Certain Affinity, Rebel Girls, GradBay, LumiQ, Manchester Metro Uni, and Triotech</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="9e08a8ccdb" /><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 Striking Distance Studios/PUBG, Facebook, Probably Monsters, and Ascendant Studios &#8211; and they&#8217;re looking for an Audio Lead (CA, US), Sound Designer (WA, US), Senior Sound Designer (WA, US), and Senior Sound Designer (CA, US).</p> <p>We also found openings for a <a href="https://gamejobs.co/Sound-Designer-at-People-Can-Fly-7118" target="_blank" rel="noopener noreferrer">Sound Designer</a> at People Can Fly (NY, US), <a href="https://gamejobs.co/Music-Marketing-Manager-at-Rockstar" target="_blank" rel="noopener noreferrer">Music Marketing Manager</a> at Rockstar (NY, US), <a href="https://gamejobs.co/Audio-Designer-at-Obsidian-Entertainment-4851" target="_blank" rel="noopener noreferrer">Audio Designer</a> at Obsidian Entertainment (CA, US), <a href="https://gamejobs.co/Audio-Producer-Psyonix-at-Epic-Games-5551" target="_blank" rel="noopener noreferrer">Audio Producer</a> at Psyonix (CA, US), <a href="https://www.linkedin.com/jobs/view/2404355894/" target="_blank" rel="noopener noreferrer">Director of Audio</a> at Morning Brew (NY, US), <a href="https://www.linkedin.com/jobs/view/2492987371/" target="_blank" rel="noopener noreferrer">Audio Engineer</a> at Radical Forge (England), <a href="https://www.linkedin.com/jobs/view/2493359975/" target="_blank" rel="noopener noreferrer">Sound Designer</a> at Gebr. Märklin &#038; Cie. (Germany), <a href="https://www.linkedin.com/jobs/view/2484939702/" target="_blank" rel="noopener noreferrer">Podcast Producer</a> at Rebel Girls (CA, US), <a href="https://www.linkedin.com/jobs/view/2492904284/" target="_blank" rel="noopener noreferrer">Sound Engineer</a> at GradBay (England), <a href="https://www.linkedin.com/jobs/view/2492847434/" target="_blank" rel="noopener noreferrer">Audio Engineer</a> at LumiQ (ON, Canada), <a href="https://www.jobs.ac.uk/job/CEX512/lecturer-senior-lecturer-sound-design-video-games" target="_blank" rel="noopener noreferrer">Lecturer in Video Game Sound Design</a> at Manchester Metropolitan University (England), <a href="https://jobs.lever.co/trio-tech/e053735e-2107-49df-90b3-74eb51de6c00" target="_blank" rel="noopener noreferrer">Technical Audio Designer</a> at Triotech (QC, Canada), <a href="https://careers.dolby.com/job/Audio-Acoustics-Researcher/729723100/" rel="noopener noreferrer" target="_blank">Audio and Acoustics Researcher</a> at Dolby (US), <a href="https://careerssearch.bbc.co.uk/jobs/job/Live-Music-Assistant-Producer-Live-Music-Events-Pop-Hub/52897" rel="noopener noreferrer" target="_blank">Live Music Assistant Producer</a> at the BBC (London, UK), and <a href="https://secure.collage.co/jobs/piranhagames/20748" target="_blank" rel="noopener noreferrer">Sound Designer II</a> at Piranha Games (BC, Canada).</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%2Fposlovi.infostud.com%2Fposao%2FDizajner-zvuka%2FMondo-TV-Platform-doo%2F351456%3Ffbclid%3DIwAR2nkafY1m-LYNACrsMqnbSFF5UPMk_N3suAM3BeKdUaywK11pLnsHXaLmI&#038;h=AT1iRBsw4UVzhXeL7hkz8OGCdS3-AOtk04YMXqrC56_WrZAhLoHcF0A15A-BFvXw307ijhTZQrhU8iiAZYBTcuijmHFS_Ete56FQwP4vqDxrOYiX4kkxT6zWazLJ3vyxpQ&#038;__tn__=%2CmH-R&#038;c[0]=AT3iGN9y2EWdhpjSs1dYhApif37DtkMjCRvLA8eDso3GZPPkzSNL46gU2KKRuW_EfMAmo0Rbdxc4kXg6PWXWRZQkVkohWnKvWSrNEa_PqzWrIUz9axXPn_VGX_YLp8b9UXtYKiHuKoj9n5HQzVlmPTbA9tXM3mxbLflK5x6tlQpYC5K6BV8-0vzV5zLLiqlMx8GKTLCe1Y-m6iIl" target="_blank" rel="noopener noreferrer">Sound Designer</a> at Posao (Belgrade), <a href="https://www.facebook.com/groups/audiojobs/permalink/874387286626027/" target="_blank" rel="noopener noreferrer">Freelance ADR / VO Engineer</a> for a freelance gig (CA, US), and <a href="https://l.facebook.com/l.php?u=https%3A%2F%2Fjobs.jobvite.com%2Fcareers%2Fcertainaffinity%2Fjob%2FoDaSefwD%3Ffbclid%3DIwAR2WitxTRJMo4KhfzMGk3rBDfDVwuCs6PgUAuIGickJ9xpgH7iu5wATu26M&#038;h=AT1QXm5iZxphh9B_8eXEdqjFmTjeBNA4obUyKfzNwFy6Kt_GKU8XpD438fa59GoH-CiiUzoAovMEV2YXKaMBf16-4l0JkuHe7mz6HLlPiC1tB4f6j6qIcoIv5Fs0ptGNMQ&#038;__tn__=H-R&#038;c[0]=AT28Z-_58VXbTSRXo0F_LjS6WfoCRjXrTq6SiyS9EmLR0kr7nunItjguD94ODCajRRgP3KqkfebRAfB-CV2UlT1xBmK4Q_wYs0ZKL3Bscw1MLM2uS2qq52MZf1e-GfQOEBbNmqs-kw5N7OBxxZZaZ6PD-yqN1TagkZGqPufXcR9P1YY86ybbf8kuOklnJ9kVtXp35PaHsxXFonMq" target="_blank" rel="noopener noreferrer">Advanced Technical Audio Designer</a> at Certain Affinity (TX, US). Happy job hunting!</p> </div> <br> <hr> <strong>Highlighted sound stories this week:</strong><br> • <a href="https://www.asoundeffect.com/tenet-sound/" target="_blank" rel="noopener noreferrer">Behind the sound of <em>Tenet</em></a><br> • <a href="https://www.asoundeffect.com/tenet-wonder-woman-84-sound/" target="_blank" rel="noopener noreferrer">Two audio interviews with Oscar-winning sound supervisor Richard King</a><br> • <a href="https://www.asoundeffect.com/disney-theme-park-sound/" rel="noopener noreferrer" target="_blank">Behind the sonic magic for of the world&rsquo;s most popular theme park rides at Disney World</a><br> • <a href="https://www.asoundeffect.com/his-dark-materials-s2-sound/" rel="noopener noreferrer" target="_blank">Dillon Bennett and Eilam Hoffman on the sound of HBO&rsquo;s award-winning fantasy series His Dark Materials</a><br> <hr> <div class="note"><strong><span style="font-size: 24px;">Audio Lead</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Striking Distance Studios/PUBG</span><br> <span style="font-size: 16px;"><strong>Location:</strong> San Ramon, CA, US</span><br> <div class="jobDesc">Welcome to Striking Distance Studios!</strong> Striking Distance Studios continues to grow. We are looking for talented developers with experience working on large-scale, live service games to join us in our San Ramon studio.<br><br> <strong>What we need:</strong><br> Striking Distance Studios is looking for a creative and technical Audio Lead with the capability to design and implement assets, lead the audio efforts for an entire project, and specialize in key audio systems.<br><br> <strong>Responsibilities:</strong> <ul> <li>Engage in the prototyping of game mechanics, proof of concept and experimenting of features in engine and offline via linear sound design and interactive audio environments.</li> <li>Manage a team of audio designers, providing them with guidance and feedback on audio quality, consistency, and implementation</li> <li>Design next level audio content with foresight of implementation methodology for said content.</li> <li>Author, premix, and integrate audio assets within engine via WWISE and other audio middleware.</li> <li>Work within UE4 engine to further integrate authored and designed material.</li> <li>Work closely with various teams to achieve audio excellence across all disciplines.</li> <li>Engage with Audio Engineers to help refine \ align best practices with the aim of ultimately enhancing the product.</li> <li>Collaborate with Audio Director to execute and deliver upon audio feature sets, goals and ensure defined aesthetic is met throughout production.</li> <li>Engage in the planning and execution of complex recording sessions both in the field and on stage.</li> <li>Occasionally man or direct booth sessions if \ as needed.</li> <li>Edit, mix, and master audio materials.</li> </ul> <strong>Qualifications:</strong> <ul> <li>Excellent Sound Design aesthetic with a keen ear for detail. </li> <li>Capable of delivering on multiple styles and capacities.</li> <li>5+ years of experience in AAA game audio; </li> <li>1+ years’ experience leading a team including people management</li> <li>A minimum of two AAA titles shipped as Sound Designer</li> <li>WWISE and game scripting experience.</li> <li>Field and studio recording experience.</li> <li>Experienced in UE4 and scripting.</li> <li>Masterful within Pro Tools.</li> <li>Experienced with most industry standard plugin and toolsets (Waves, Izotope, etc…)</li> <li>Solid grasp of broadcast and mix specifications.</li> </ul> </div> <div class="btnFix"><a class="btnJobs" href="https://boards.greenhouse.io/pubgsanramon/jobs/4983512002" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://boards.greenhouse.io/pubgsanramon/jobs/" target="_blank" rel="noopener noreferrer">PUBG 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> Facebook</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Seattle, WA, US</span><br> <div class="jobDesc"><strong>Job description</strong> <p>Facebook&#39;s mission is to give people the power to build community and bring the world closer together. Through our family of apps and services, we&#39;re building a different kind of company that connects billions of people around the world, gives them ways to share what matters most to them, and helps bring people closer together. Whether we&#39;re creating new products or helping a small business expand its reach, people at Facebook are builders at heart. Our global teams are constantly iterating, solving problems, and working together to empower people around the world to build community and connect in meaningful ways. Together, we can help people build stronger communities &#8211; we&#39;re just getting started. </p> <p>As a Sound Designer at Facebook, you&#39;ll be a pivotal part of creating immersive VR experiences. Your skill with sound design and implementation will raise and define the bar for interactive sound. You will work closely with our different internal teams creating content for all of our products. </p> <strong>Responsibilities</strong> <ul> <li>You are, first and foremost, a Sound Designer who has made and will continue to create iconic sounds</li> <li>Expert with your tools of choice and possess both a keen aesthetic understanding of audio and a strong background in audio technology</li> <li>Create audio content for Facebook apps, VR, AR, and more</li> <li>Contribute to the future of sound design by working with and refining new technologies with our technology teams </li> </ul> <strong>Minimum Qualification </strong> <ul> <li>5+ years experience in audio production for interactive experiences</li> <li>Communication and teamwork skills</li> <li>Experience working with commercial audio middleware such as Wwise and FMOD</li> <li>Experience working with game engines such as Unreal, Unity, etc. and asset management/version control systems such as Perforce, Git, etc </li> </ul> <strong>Preferred Qualification </strong> <ul> <li>AR/VR sound design experience</li> <li>Mobile platform experience </li> </ul> <p>Facebook is proud to be an Equal Opportunity and Affirmative Action employer. We do not discriminate based upon race, religion, color, national origin, sex (including pregnancy, childbirth, or related medical conditions), sexual orientation, gender, gender identity, gender expression, transgender status, sexual stereotypes, age, status as a protected veteran, status as an individual with a disability, or other applicable legally protected characteristics. We also consider qualified applicants with criminal histories, consistent with applicable federal, state and local law. Facebook is committed to providing reasonable accommodations for candidates with disabilities in our recruiting process. If you need any assistance or accommodations due to a disability, please let us know at &#x61;&#x63;&#99;&#111;mm&#x6f;&#x64;&#x61;&#116;io&#x6e;&#x73;&#x2d;&#101;&#120;t&#x40;&#x66;&#x62;&#46;&#99;o&#x6d;.</p> </div> <div class="btnFix"><a class="btnJobs" href="https://www.linkedin.com/jobs/view/2466660753/" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://www.linkedin.com/jobs/" target="_blank" rel="noopener noreferrer">LinkedIn Jobs</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> Probably Monsters / Firewalk Studios</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Seattle, WA, US</span><br> <div class="jobDesc"><strong>Job description</strong> <p>Senior Sound Designer</p> <p><strong>ABOUT FIREWALK STUDIOS </strong><br>Our mission is to create industry-leading multiplayer games for players around the world. We are working on an unannounced and original next-generation AAA title. </p> <p><strong>THE ROLE </strong><br>Our studio is looking for a <strong>Senior Sound Designer</strong> who is incredibly passionate about games and bringing exceptional entertainment to millions of players. As our <strong>Senior Sound Designer</strong>, you will be responsible for creating and implementing world-class sound effects, helping our Audio Director and Game Director achieve their creative vision. </p> <strong> WHO YOU ARE</strong> <ul> <li>You are an exceptional sound designer that has a diverse portfolio of outstanding content.</li> <li>You have a refined audio aesthetic with a keen ear for detail and nuance.</li> <li>You strive to advance the art and science of game audio, taking audio experiences to the next level for gamers while finding ways to improve the workflow and pipeline for the audio team.</li> <li>You are both creative and technical, understanding that implementation and mixing play a crucial role in the overall quality of the audio experience.</li> <li>You are a team player who can collaborate across disciplines but can also work semi-autonomously with minimal supervision.</li> <li>You are passionate about gaming and strive to create amazing audio experiences for gamers.</li> </ul> <strong>WHAT YOUR DAY MIGHT LOOK LIKE</strong> <ul> <li>Designing and implementing sounds for cinematics and/or interactive content.</li> <li>Meeting with the Audio Director and/or Game Director to review your most recent work.</li> <li>Playtesting the game for both audio QA purposes and to give notes on the game as a whole.</li> <li>Working with a Gameplay Designer to make sure your sounds are supporting gameplay mechanics and feedback.</li> <li>Collaborating with both the Audio Programmer and the Audio Director to develop and refine our in-game audio systems and implementation pipeline.</li> <li>Field or foley recording to augment our proprietary SFX library.</li> </ul> <strong>QUALIFICATIONS</strong> <ul> <li>You have a proven ability to create visceral and immersive audio experiences in games.</li> <li>You have a deep knowledge of game audio implementation tools and technologies.</li> <li>You have significant field and studio recording experience.</li> <li>You have shipped multiple AAA quality games.</li> <li>You have at least 5+ years of professional sound design experience in linear and/or interactive entertainment.</li> </ul> <p><strong>ABOUT PROBABLYMONSTERS INC. </strong><br>ProbablyMonsters™ is a builder of sustainable game studios that creates and launches original AAA games through a people-first culture. Our mission is to unite, guide, and empower talented teams to create exceptional interactive experiences. In an industry where new AAA studios and developer-focused cultures are equally rare, ProbablyMonsters stands out by fostering both with excellence. We empower our family of studios to concentrate on game creation while our platform team focuses on providing early stage infrastructure and long-term support. This unique development model provides each of our teams the confidence, security, and stability to create and ship their games free of distractions. Our family of studios includes: narrative-driven Cauldron Studios™, multiplayer-focused Firewalk Studios™, and our third studio, not named yet, already working on a next-gen co-op RPG game. Learn more about our people, culture, and commitment to exceptional creativity at <a href="http://www.probablymonsters.com">probablymonsters.com</a></p> </div> <div class="btnFix"><a class="btnJobs" href="https://www.probablymonsters.com/job/#oOcrefwp" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://twitter.com/SchoolGameAudio/status/1379431215699087361" 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 Sound Designer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Ascendant Studios</span><br> <span style="font-size: 16px;"><strong>Location:</strong> San Rafael, CA, US</span><br> <div class="jobDesc"><strong>Job description</strong> <p>Ascendant Studios is looking for a senior audio designer with a wealth of experience and a superb imagination to help us create the audioscape of our new game universe. Our ideal candidate is a highly creative individual who can imagine sounds for things that do not exist in the real world and implement their own work within UE4.</p> <p>This is a full time position. We are all currently working remotely due to Covid-19, but once we return the position may either be based in our office in San Rafael, CA, or remain fully remote.</p> <p>Please include a link to a reel of your work when applying for this position. </p> <strong>Key Responsibilities</strong> <ul> <li>Work alongside the Lead Sound Designer to develop all aspects of audio for a new IP, including designing world-class sound effects for VFX, ambient backgrounds, foley, UI, etc. </li> <li>Work alongside and guide outsource partners for SFX and music creation. </li> <li>Work with other disciplines to make sure that audio department needs are met and audio is working and performant on various platforms. </li> <li>Implement new sound effects in engine for both real time gameplay and cinematics using Wwise and Unreal Engine 4. </li> <li>Collaborate with level designers and cinematic artists to create an engaging soundscape for both high octane action and emotive narrative moments.</li> <li>Help to record, mix, edit, and implement voice over audio. </li> <li>May occasionally direct voice actors. </li> </ul> <strong>Requirements</strong> <ul> <li>3+ years experience as an audio designer, AAA titles on modern consoles preferred </li> <li>Deep knowledge of sound design practices and audio theory. </li> <li>Expert proficiency with modern audio software and strong technical knowledge. </li> <li>Extremely creative &#8211; can come up with imaginative and intuitive sounds for things that do not exist in the real world to create a cohesive soundscape for a brand new universe. </li> <li>Previous experience working with external teams on sound, music, and voiceover. </li> <li>Proficient in music, ambient, effect, and voice over editing. </li> <li>Ability to work independently, problem solve on the fly, and collaborate efficiently across disciplines in a small, fast moving team. Great written and verbal communication skills.</li> <li>Excellent problem solving skills, ability to identify and resolve issues, and understanding of technical dependencies.</li> <li>Understanding requirements and limits for audio on current and last generation consoles as well as PC. Comfortable working with next gen technology.</li> </ul> <strong>Good to Have</strong> <ul> <li>Shipped title Audio Jobs Advanced Technical Audio Designer Audio and Acoustics Researcher Audio Designer Audio Engineer Audio Lead Audio Producer Director of Audio Freelance ADR / VO Engineer Lecturer in Video Game Sound Design Live Music Assistant Producer Music Marketing Manager Podcast Producer Senior Sound Designer Sound Designer Sound Designer II Sound Engineer Technical Audio Designer Adriane Kuzminski Richard King on Inventing Inverted Sounds for ‘Tenet’: https://www.asoundeffect.com/tenet-sound/ A Sound Effect urn:uuid:2ce6a9e8-9643-7914-bf58-8dc1fe2d8daf Fri, 09 Apr 2021 09:00:31 +0200 <img width="640" height="488" src="https://cdna.asoundeffect.com/wp-content/uploads/2021/03/30220301/Tenet-sound-01.jpg" class="attachment-large size-large wp-post-image" alt="Tenet-sound-01" srcset="https://cdna.asoundeffect.com/wp-content/uploads/2021/03/30220301/Tenet-sound-01.jpg 825w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/30220301/Tenet-sound-01-300x229.jpg 300w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/30220301/Tenet-sound-01-768x586.jpg 768w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/30220301/Tenet-sound-01-125x95.jpg 125w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/30220301/Tenet-sound-01-75x57.jpg 75w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/30220301/Tenet-sound-01-220x168.jpg 220w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/30220301/Tenet-sound-01-500x381.jpg 500w" sizes="(max-width: 640px) 100vw, 640px" /><p>Oscar-winning Supervising Sound Editor Richard King shares his approach to designing inverted sounds for 'Tenet':</p> <p>The post <a rel="nofollow" href="https://www.asoundeffect.com/tenet-sound/">Richard King on Inventing Inverted Sounds for &#8216;Tenet&#8217;:</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/s4pTAZCUfT4" height="1" width="1" alt=""/> Film sound ambience backward explosion Foley forward gunshot inverted reversed Tenet composer Tenet music Tenet score Tenet sound desiger Tenet sound design Tenet sound effects time Jennifer Walden How to easily backup REAPER settings with Automator (for MacOS) https://reaperblog.net/2021/04/backup_automator_2021/ The REAPER Blog urn:uuid:16cff643-0f45-b28e-c3ed-f0073183e3ed Thu, 08 Apr 2021 17:43:13 +0200 <p>How to use Automator to backup your REAPER settings (or anything) as a zip file and add to dropbox.</p> The post <a href="https://reaperblog.net/2021/04/backup_automator_2021/">How to easily backup REAPER settings with Automator (for MacOS)</a> first appeared on <a href="https://reaperblog.net">The REAPER BLOG</a>. Uncategorized Admin Behind the Sound of ‘Tenet’ and ‘Wonder Woman 1984’ – Richard King Special! – A Sound Effect Podcast 14: https://www.asoundeffect.com/tenet-wonder-woman-84-sound/ A Sound Effect urn:uuid:b95a8ffa-137f-bbed-1936-9ce5a0b55231 Thu, 08 Apr 2021 11:58:22 +0200 <img width="640" height="388" src="https://cdna.asoundeffect.com/wp-content/uploads/2021/04/07124539/richard_king_tenet_wonder_woman_84_special.jpg" class="attachment-large size-large wp-post-image" alt="Richard King Tenet Wonder Woman 84 special" srcset="https://cdna.asoundeffect.com/wp-content/uploads/2021/04/07124539/richard_king_tenet_wonder_woman_84_special.jpg 825w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/07124539/richard_king_tenet_wonder_woman_84_special-300x182.jpg 300w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/07124539/richard_king_tenet_wonder_woman_84_special-768x465.jpg 768w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/07124539/richard_king_tenet_wonder_woman_84_special-125x76.jpg 125w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/07124539/richard_king_tenet_wonder_woman_84_special-75x45.jpg 75w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/07124539/richard_king_tenet_wonder_woman_84_special-220x133.jpg 220w, https://cdna.asoundeffect.com/wp-content/uploads/2021/04/07124539/richard_king_tenet_wonder_woman_84_special-500x303.jpg 500w" sizes="(max-width: 640px) 100vw, 640px" /><p>Oscar-winning supervising sound editor and sound designer Richard King takes you behind the sound of Tenet and Wonder Woman 1984:</p> <p>The post <a rel="nofollow" href="https://www.asoundeffect.com/tenet-wonder-woman-84-sound/">Behind the Sound of &#8216;Tenet&#8217; and &#8216;Wonder Woman 1984&#8217; &#8211; Richard King Special! &#8211; A Sound Effect Podcast 14:</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/F-ECnk2vtfA" height="1" width="1" alt=""/> Film sound Richard King Tenet Richard King Wonder Woman Tenet sound Tenet sound design Wonder Woman 84 sound Asbjoern Andersen 163 – Sound Design for Series Animation Roundtable Part 1 https://tonebenderspodcast.com/163-sound-design-for-series-animation-roundtable-part-1/ TonebendersPodcast.com urn:uuid:67583d27-e92c-308f-5600-be23d04fe6f3 Wed, 07 Apr 2021 18:47:06 +0200 In this episode we welcome Heather Olsen (Gravity Falls, The Fairly OddParents), and Kate Finan (Muppet Babies, Invader ZIM: Enter the Florpus) from California, as&#8230; Case Study Design Techniques episodes Roundtable Timothy Muirhead How to install REAPER + Extensions on Apple M1 Mac | MacOS 11 Big Sur https://reaperblog.net/2021/04/reaper_m1_install/ The REAPER Blog urn:uuid:9823d989-588e-f80d-8346-9f3928f27cfb Sat, 03 Apr 2021 18:55:32 +0200 <p>How to install the apple silicon / ARM64 version of REAPER, SWS Extension, ReaPack Extension, and VLC.</p> The post <a href="https://reaperblog.net/2021/04/reaper_m1_install/">How to install REAPER + Extensions on Apple M1 Mac | MacOS 11 Big Sur</a> first appeared on <a href="https://reaperblog.net">The REAPER BLOG</a>. TUTORIAL VIDEO Admin 20 great new audio jobs at Elevate Labs, Bioware, Wargaming, Zynga Austin, Ubisoft, Remedy, Jobot, Vox, Iron Mountain, EA MCO, Amplify Voices, Sesame Workshop, Turner, Facebook, HarperAudio, Fox Sports, and Avid https://soundlister.com/20-great-new-audio-jobs-at-elevate-labs-bioware-wargaming-zynga-austin-ubisoft-remedy-jobot-vox-iron-mountain-ea-mco-amplify-voices-sesame-workshop-turner-facebook-harperaudio-fox-sport/ Soundlister.com urn:uuid:e01fb2ed-f01c-1487-38fe-f85b980e9e21 Fri, 02 Apr 2021 22:54:49 +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, Audio Designer, Franchise Audio Director (Star Wars), Junior Sound Designer, Lead Audio Designer, Senior Sound Designer, Junior Audio Designer, Audio Engineer, Podcast Audio Engineer, Audio Engineer, Music Internship, Audio Engineer, Podcast Producer, Senior Technical Producer, Production Design Prototyper - AI Voice, Audio Coordinator, Freelance A1 Audio Mixer, and Audio Application Specialist</p> <p>The post <a rel="nofollow" href="https://soundlister.com/20-great-new-audio-jobs-at-elevate-labs-bioware-wargaming-zynga-austin-ubisoft-remedy-jobot-vox-iron-mountain-ea-mco-amplify-voices-sesame-workshop-turner-facebook-harperaudio-fox-sport/">20 great new audio jobs at Elevate Labs, Bioware, Wargaming, Zynga Austin, Ubisoft, Remedy, Jobot, Vox, Iron Mountain, EA MCO, Amplify Voices, Sesame Workshop, Turner, Facebook, HarperAudio, Fox Sports, and Avid</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="c045024718" /><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 Elevate Labs, Bioware, Wargming, and Zynga Austin &#8211; and they&#8217;re looking for a Sound Designer (GA, US / Remote), Audio Designer (AL, Canada), Sound Designer (IL, US), and Franchise Audio Director (Star Wars) (TX, US).</p> <p>We also found openings for a <a href="https://gamejobs.co/Sound-Designer-at-Ubisoft-6141" target="_blank" rel="noopener noreferrer">Sound Designer</a> at Ubisoft Bucharest (Romania), <a href="https://gamejobs.co/Junior-Sound-Designer-at-Ubisoft-2414" target="_blank" rel="noopener noreferrer">Junior Sound Designer</a> at Ubisoft Bucharest (Romania), <a href="https://gamejobs.co/Lead-Audio-Designer-at-Remedy-Entertainment" target="_blank" rel="noopener noreferrer">Lead Audio Designer</a> at Remedy Entertainment (Finland), <a href="https://gamejobs.co/Senior-Sound-Designer-M-F-at-Ubisoft" target="_blank" rel="noopener noreferrer">Senior Sound Designer</a> at Ubisoft Ivory Tower (France), <a href="https://jobs.smartrecruiters.com/Ubisoft2/743999740072151-junior-audio-designer" target="_blank" rel="noopener noreferrer">Junior Audio Designer</a> at Ubisoft Singapore (Singapore), <a href="https://www.linkedin.com/jobs/view/2473905019" target="_blank" rel="noopener noreferrer">Audio Engineer</a> at Jobot (CA, US), <a href="https://www.linkedin.com/jobs/view/2481427780" target="_blank" rel="noopener noreferrer">Podcast Audio Engineer</a> at Vox Media (NY, US), and <a href="https://www.linkedin.com/jobs/view/2461179740" target="_blank" rel="noopener noreferrer">Audio Engineer</a> at Iron Mountain (England), <a href="https://ea.gr8people.com/jobs/165033/music-intern-summer-2021" target="_blank" rel="noopener noreferrer">Music Internship</a> at EA MCO (CA, US), <a href="https://www.linkedin.com/jobs/view/2470545209" target="_blank" rel="noopener noreferrer">Audio Engineer</a> at Amplify Voices (WA, US), <a href="https://careers.jobscore.com/careers/sesameworkshop/jobs/podcast-producer-aop0UKDECr67ymaKkMJvVy?jpid=c0hJNQJFWr65YtaKl5WgRu&#038;name=LinkedInLimited&#038;sid=69&#038;fbclid=IwAR2XvRy77FaRd-lt9nwwhh976ZP5qlOk-0QpiB6JNcxRtH1CY3g5fysN7-0" target="_blank" rel="noopener noreferrer">Podcast Producer</a> at Sesame Workshop (NY, US), <a href="https://careers.warnermediagroup.com/TGnewUI/Search/home/HomeWithPreLoad?PageType=JobDetails&#038;partnerid=391&#038;siteid=36&#038;jobId=870007&#038;Codes=NLIN&#038;fbclid=IwAR2gK8TmHUKQQhRw5oxhswGkeFbo-Zus-HMrXmOWRiAYrn98-6LGxWMcF-c#jobDetails=870007_36" target="_blank" rel="noopener noreferrer">Senior Technical Producer</a> at Turner Studios (Atlanta, GA, US), <a href="https://www.glassdoor.com/partner/jobListing.htm?pos=113&#038;ao=1136006&#038;s=58&#038;guid=000001788ef36c208018e09307af2e99&#038;src=GD_JOB_AD&#038;t=SR&#038;vt=w&#038;uido=F6D784A0A2C4DD9700D88A5944FDC832&#038;cs=1_21ce2303&#038;cb=1617306021052&#038;jobListingId=4049163354" target="_blank" rel="noopener noreferrer">Production Design Prototyper &#8211; AI Voice</a> at Facebook (CA, US), <a href="https://careers-harpercollins.icims.com/jobs/3642/job?utm_source=indeed_integration&#038;iis=Job+Board&#038;iisn=Indeed&#038;indeed-apply-token=73a2d2b2a8d6d5c0a62696875eaebd669103652d3f0c2cd5445d3e66b1592b0f&#038;fbclid=IwAR1l8WagpbB9y49-Zx6YxPQI4MZ_QqwX-3YrG5hCGkxrjDOOzi8wJZrgMkE&#038;mobile=false&#038;width=870&#038;height=500&#038;bga=true&#038;needsRedirect=false&#038;jan1offset=-300&#038;jun1offset=-240" target="_blank" rel="noopener noreferrer">Audio Coordinator</a> at HarperAudio (NY, US), <a href="https://foxcareers.com/Search/JobDetail/R50012953/freelance-a1-audio-mixer-fox-sports?utm_campaign=google_jobs_apply&#038;utm_source=google_jobs_apply&#038;utm_medium=organic&#038;fbclid=IwAR0oGg_dMBYPr3R3-eOTKsSqFV5LaL0oGYfZiIUG4cEMfX6cNm-ivruUuuo" target="_blank" rel="noopener noreferrer">Freelance A1 Audio Mixer</a> at Fox Sports (CA, US), and <a href="https://sjobs.brassring.com/TGnewUI/Search/home/HomeWithPreLoad?PageType=JobDetails&#038;partnerid=25199&#038;siteid=5202&#038;jobId=1538022&#038;fbclid=IwAR2X8Hp2SKvl4TzcsbPseK_QdWO64dvJCn1f6oMurmrTQ7csAFvVntHzQGA#jobDetails=1538022_5202" target="_blank" rel="noopener noreferrer">Audio Application Specialist</a> at Avid (England). <p>And be sure to check out the <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> Discover the sonic magic behind some of <a href="https://www.asoundeffect.com/disney-theme-park-sound/" target="_blank" rel="noopener noreferrer">the world’s most popular theme park rides at Disney World</a>. Dillon Bennett and Eilam Hoffman take you behind-the-sound of <a href="https://www.asoundeffect.com/his-dark-materials-s2-sound/" target="_blank" rel="noopener noreferrer">HBO’s award-winning fantasy series <em>His Dark Materials</em></a>. <hr> <br> <div class="note"><strong><span style="font-size: 24px;">Sound Designer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Elevate Labs</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Atlanta, GA, US / Remote</span><br> <div class="jobDesc"><strong>Job description</strong> <p><p>Elevate Labs is on a mission to improve people&#39;s minds.</p> <p>Since 2014, we’ve helped millions of people around the world learn and improve concrete cognitive skills in reading, writing, and math through Elevate, our first mobile app which has won Apple&#39;s App of the Year Award. With Balance, our second mobile app, we’ve personalized meditation to help more people reduce stress, improve sleep, sharpen focus, and much more. </p> <p>Elevate Labs is a fully distributed company of voracious learners and passionate doers, driven by our vision to help billions of people lead healthy, joyful, and productive lives.</p> <p>If our mission resonates with you, please consider applying!</p> <p><strong>About the role:</strong><br> The Sound Designer will report to the Senior Sound Designer and share responsibility and ownership of this budding area of the business, as audio-based content is becoming increasingly important across both of our apps.</p> <p>Our ideal candidate is a self-starter with high standards when it comes to quality, and they can deliver on those high standards while still working quickly. They&#39;re also adaptable, self-motivated, highly organized, and eager for continuous feedback as we seek to innovate in the audio learning space.</p> <strong>What you&#39;ll do here:</strong> <ul> <li>Handle post-production for meditation audio and new types of audio-based learning content, both in linear and interactive formats</li> <li>Organize audio files inside Dropbox, and keep meticulous records of file names and versions</li> <li>Continuously QA in-app audio and make minor adjustments to create a smoother listening experience</li> <li>Identify opportunities to add value with sound assets</li> <li>Work independently, but also collaborate with members of the content, design, engineering, and product teams</li> </ul> <strong>About you:</strong> <ul> <li>You have 3+ years of professional sound design experience, ideally working on a blend of interactive and linear projects.</li> <li>You are an expert with Pro Tools.</li> <li>You have knowledge of field, studio, and remote/Zoom recording.</li> <li>You have extensive knowledge of recording equipment and understand how to produce consistent results in different conditions.</li> <li>You have a general grasp of the entire production process and how sound and animation can interact.</li> <li>You have a great ear and are adept at choosing the best takes.</li> <li>You work well under deadlines.</li> <li>You&#39;re meticulous, organized, and resourceful.</li> <li>You communicate often and effectively with diverse stakeholders.</li> <li>You have a strong bias toward action.</li> </ul> <strong>Bonus:</strong> <ul> <li>Interest in educational technology, lifelong learning, and/or meditation</li> <li>Experience working on interactive mobile games or with mobile sound design</li> <li>Experience with linear storytelling and story assembly</li> <li>Experience with Descript or something similar</li> </ul> <strong>Benefits &amp; perks:</strong> <ul> <li>Fully remote environment</li> <li>Medical, dental, and vision insurance for you and your family</li> <li>401(k) plan</li> <li>Fully paid parental leave</li> <li>Competitive salary and equity</li> <li>Home office upgrade stipend</li> <li>Annual learning stipend</li> <li>Wellness/Fitness Subscription Box</li> </ul> <strong>Why work at Elevate Labs?</strong> <ul> <li>Do mission-driven work</li> <li>Skip the commute and enjoy the flexibility of working from home</li> <li>Develop your skills through a wide variety of challenging and impactful projects</li> <li>Accelerate your career through rapidly increasing levels of ownership</li> </ul> <p><strong>Our Commitment to Diversity, Equity, &amp; Inclusion:</strong><br> We believe that there is no single candidate profile that guarantees success in this role. Experience comes in different forms; many skills are transferable; and passion goes a long way. If your background is similar to the job description and you think you can excel in this role, please apply and tell us about yourself and the impact you could make at Elevate Labs.</p> <p>We also know that diversity of identity, experience, and thought leads to more creativity, better problem-solving, and wiser decisions, which is why we&#39;re dedicated to adding new perspectives to our team. We are an equal opportunity employer; committed to diversity and building an equitable and inclusive environment for people of all backgrounds and experiences, and we&#39;re taking steps to meet that commitment. We highly encourage members of traditionally underrepresented communities to apply, including women, people of color, LGBTQIA+ folks, veterans, and people with disabilities.</p> </div> <div class="btnFix"><a class="btnJobs" href="https://jobs.lever.co/elevatelabs/35de7305-86a1-47ec-9f86-93f0dcf49aba" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://jobs.lever.co/elevatelabs" target="_blank" rel="noopener noreferrer">Jobs at Lever</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> Bioware</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Edmonton, AL, Canada</span><br> <div class="jobDesc"><strong>Job description</strong> <p>At BioWare, our mission is to create worlds of adventure, conflict, and companionship that inspire you to become the hero of your story. Our teams drive innovation using cutting-edge tech and tools such as the Frostbite engine and collaborate with thousands of world-class developers across EA’s network of studios. We are passionate about games and their potential as a creative medium to reach and inspire people through emotion, artistry, and engaging storytelling. If you share this passion, this is an amazing opportunity to help shape the next generation of gaming.</p> <p>You are an experienced sound designer and gamer who has a unique commitment to making worlds come alive. You are a story-teller who believes that immersion is enhanced by a detailed, contextual soundtrack. You flourish when you are a part of a highly motivated team that collaborates in a trustworthy, creative environment. You strive to improve and better understand your craft and possess an overwhelming drive to create a world-class audio experience.</p> <strong>Responsibilities:</strong> <ul> <li>Design, create and deliver an innovative sound design that helps create amazing worlds for our players.</li> <li>Imagine, build, and implement your audio designs to deliver immersive, meaningful aesthetic behaviours.</li> <li>Embrace the established BioWare audio model of teamwork throughout the development process.</li> </ul> <strong>Qualifications:</strong> <ul> <li>At least 2 years industry experience – has created sound, and/or music, hands-on for at least one AAA console titles.</li> <li>Proven experience with and a strong understanding of the entire audio process, including sound effects, voice-over, music, and middleware implementation.</li> <li>Proficient command of sound design &amp; mixing with a variety of techniques, processes, and tools – able to competently produce any kind of audio required for a given task.</li> <li>Familiarity with Wwise, Fmod, or similar authoring environment &#8211; a grasp of programming fundamentals as they apply to scripting dynamic audio is a bonus.</li> <li>Field Recording experience – a passion for unique, inspired recordings with knowledge of recording gear, microphones, and techniques.</li> <li>Strong problem-solving skills – able to accurately assess issues and formulate creative solutions, whether design or technical.</li> <li>Excellent communication skills – showing humility in exposing roadblocks or requesting assistance.</li> <li>Great team attitude – open to collaboration and sharing &#8211; you are receptive to changes and direction in this dynamic atmosphere.</li> <li>A passion for video games and understanding of the role that audio plays in the player experience.</li> </ul> <p>About EA At Electronic Arts, we exist to Inspire the World to Play. We create extraordinary new game experiences for our millions of players everywhere by bringing together talented people that combine creativity, innovation, and passion. We know that our strength lies in the diversity of our people. We immerse our employees into an inclusive culture, and provide opportunities for learning and leading that allow them to do the most impactful and rewarding work of their careers. We put our people first. We provide comprehensive benefit packages with a focus on health and wellbeing to support your needs and help you balance your career and personal life. We provide access to dynamic and collaborative work environments, opportunities to connect and contribute through our Employee Resource Groups, and support for a balanced life with paid time off and maternity and paternity leave, plus free video games and so much more! Electronic Arts is an equal opportunity employer. All employment decisions are made without regard to race, color, national origin, ancestry, sex, gender, gender identity or expression, sexual orientation, age, genetic information, religion, disability, medical condition, pregnancy, marital status, family status, veteran status, or any other characteristic protected by law. Electronic Arts also makes workplace accommodations for qualified individuals with disabilities as required by applicable law.</p> </div> <div class="btnFix"><a class="btnJobs" href="https://ea.gr8people.com/jobs/165011/audio-designer" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://twitter.com/SchoolGameAudio/status/1376919895376605187" 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;">Sound Designer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Wargming</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Chicago, IL, US</span><br> <div class="jobDesc"><strong>Job description</strong> <p>Wargaming is looking for a passionate Sound Designer to join our Chicago studio. Our environment is a combination of casual creativity and functional productivity with an emphasis on games, solid design and engineering, and creative and inspiring art.</p> <p>One of the most satisfying aspects of life at Wargaming is seeing your work flourish in the expanding world of Wargaming tittles and interacting with the millions of fans around the world who recognize your achievements.</p> <strong>Reports To</strong><br> Audio Director<br><br> <strong>What you will do?</strong> <ul> <li>Author industry-best audio and technical sound systems for use in-game.</li> <li>Collaborate directly with Audio Director to develop, plan, and execute cutting edge audio features.</li> <li>Iterate and improve audio systems and mix to continually deliver legendary audio to our players.</li> <li>Participate in field recordings, foley sessions, audio development summits, and other audio excursions.</li> <li>Collaborate with rest of development team, acting as an exemplary representative of the WG global audio team at-large.</li> </ul> <strong>What we are looking for?</strong> <ul> <li>Development experience with console games in the capacity of audio designer (min 1 shipped title)</li> <li>Experience with Wwise and/or FMOD designer</li> <li>Expertise with DAW and Wave editing software (Nuendo/Cubase, Ableton Live, Reaper, Pro Tools, Soundforge, Wavelab, etc.)</li> <li>Working knowledge of game development cycles, proficiency with both proprietary and standard game development tools.</li> <li>Proficiency using a variety of source control schemes.</li> <li>Passion for audio production and sound design in all types of media.</li> <li>Working knowledge of software engineering and scripting languages.</li> <li>Experience in large-scale Foley and Field Recording.</li> <li>5+ years experience in AAA game development / pro audio / post production.</li> <li>Musical talent.</li> </ul> <strong>About Us</strong><br> Wargaming is an award-winning online game developer and publisher headquartered in Nicosia, Cyprus. Delivering legendary games since 1998, Wargaming has grown to become one of the leaders in the free-to-play MMO gaming industry with 4500+ employees and more than 20 offices globally. Over 200 million players enjoy Wargaming’s titles across all major gaming platforms, including the massively popular World of Tanks and World of Warships. <p>Working in our company means always having interesting challenges and gaining valuable experience while working with top-class experts.</p> <p>Take your place among our passionate and experienced team and bring out the best in yourself at Wargaming!</p> </div> <div class="btnFix"><a class="btnJobs" href="https://gamejobs.co/Sound-Designer-at-Wargaming" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://gamejobs.co/" target="_blank" rel="noopener noreferrer">GameJobs.co</a></div> </div> <div class="grayBreak"></div> <div class="note"><strong><span style="font-size: 24px;">Franchise Audio Director (Star Wars)</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Zynga Austin</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Austin, TX, US</span><br> <div class="jobDesc"><strong>Job description</strong> <p>Zynga is proud to announce the opening of a brand-new game development studio in Austin, TX. The studio will partner with NaturalMotion, a Zynga-subsidiary, to develop a premiere mobile action game set in the <em>Star Wars</em> universe. The new Austin studio will collaborate closely with BossAlien, a division of NaturalMotion, and an award-winning games developer based out of Brighton, England.</p> <p>If this sounds like you, we want to hear from you! Your passion and experience for building original games will be instrumental as w Audio Jobs Audio Application Specialist Audio Coordinator Audio Designer Audio Engineer Franchise Audio Director (Star Wars) Freelance A1 Audio Mixer Junior Audio Designer Junior Sound Designer Lead Audio Designer Music Internship Podcast Audio Engineer Podcast Producer Production Design Prototyper - AI Voice Senior Sound Designer Senior Technical Producer Sound Designer Adriane Kuzminski Congaree National Park: Cackling Owls, Falling Trees, and Rangers on Patrol https://acousticnature.com/journal/recording-nature-sounds-in-the-congaree-national-park Acoustic Nature - Field Recording Blog urn:uuid:5bf5e475-23ba-57bd-05ae-97fcd6f2ee1a Thu, 01 Apr 2021 21:27:19 +0200 Join me on a field recording trip to the Congaree National Forest where I record the sounds of the nation’s largest old growth bottomland forest. &nbsp;<h3><em>If a tree falls in a forest and no one is around to hear it, does it make a sound? It does when there’s a microphone there :-)</em></h3>&nbsp;&nbsp; <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1617236423625-WXOLPJSH73X09TF21CYV/ke17ZwdGBToddI8pDm48kFT-_JTSz9F8aN2K_3f4bm8UqsxRUqqbr1mOJYKfIPR7LoDQ9mXPOjoJoqy81S2I8N_N4V1vUb5AoIIIbLZhVYxCRW4BPu10St3TBAUQYVKcBgf58c_doqJWc7Spy4BPKgQmv7rBLPm6QsrZDbitO9pIZBakO5JsGAxmkFYEirss/field-recording-nature-sounds-in-the-congaree-national-park.jpg" data-image-dimensions="1200x785" data-image-focal-point="0.5,0.5" alt="Join me on a field recording trip to the Congaree National Forest where I record the sounds of the nation’s largest old growth bottomland forest." data-load="false" data-image-id="606511c67b420f31740dfbf9" data-type="image" src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1617236423625-WXOLPJSH73X09TF21CYV/ke17ZwdGBToddI8pDm48kFT-_JTSz9F8aN2K_3f4bm8UqsxRUqqbr1mOJYKfIPR7LoDQ9mXPOjoJoqy81S2I8N_N4V1vUb5AoIIIbLZhVYxCRW4BPu10St3TBAUQYVKcBgf58c_doqJWc7Spy4BPKgQmv7rBLPm6QsrZDbitO9pIZBakO5JsGAxmkFYEirss/field-recording-nature-sounds-in-the-congaree-national-park.jpg?format=1000w" /> </figure> <p class="">After recording <a href="https://acousticnature.com/journal/recording-upland-chorus-frogs-in-virginia" target="_blank">upland chorus frogs</a> in Virginia, the next stop on my field recording road trip was the Congaree National Park in South Carolina. After researching the park trails, maps, and wildlife guides, I decided that I would spend a total of <strong>four nights </strong>in the wilderness region. </p><p class="">After my <a href="https://www.nps.gov/cong/planyourvisit/backcountry-camping.htm" target="_blank">camping permit</a> was approved, I headed for the Congaree on March 28th with great excitement.</p><p class="">Join me on this field recording trip where I record the sounds of the nation’s <strong>largest old growth bottomland forest</strong>. </p><p class="">While you read, please enjoy the sounds of the Congaree.</p><form action="#" onsubmit="return false;"> <select onchange="self.location.href = '#' + options[selectedIndex].value;"> <option>-- table of contents --</option> <option value="congaree">Congaree National Park</option> <option value="arrival">Arrival</option> <option value="optomistic">Making The Most Of It</option> <option value="recording">Recording</option> <option value="noise-pollution">Noise Pollution</option> <option value="sounds">The Sounds</option> <option value="conclusion">Final Thoughts</option> </select> </form><hr /><h1 id="congaree">Congaree National Park</h1>&nbsp;<p class="">The main reason I wanted to visit the Congaree was to experience the old growth bottomland forest. Old forests of this type are <strong>extremely rare </strong>and the Congaree features the largest old growth bottomland hardwood forest in the entire United States. </p><p class="">Much of this old growth is in the wilderness regions of the park, although the Boardwalk and Oakridge trails do take you through some old growth sections. </p><p class="">Old growth forests are the <strong>pinnacle in biodiversity</strong>. After being untouched for so long, many niches are created that are filled by unique species often endemic to the region. </p><p class="">The Congaree also has the highest concentration of <a href="https://www.nps.gov/cong/planyourvisit/upload/big%20tree%20brochure.pdf" target="_blank">champion trees</a> in all of North America! A champion tree is the largest known tree of its species. Currently, there are <strong>23 different species</strong> whose champion tree is in the Congaree. </p><p class="">I could not wait to get some recordings of these majestic forests.</p> <a data-title="" data-description="" data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1617239651802-VRJ0N7336IXVTG6Q8D3P/ke17ZwdGBToddI8pDm48kEc6DKFOx3cpvkyhZQwPkJYUqsxRUqqbr1mOJYKfIPR7LoDQ9mXPOjoJoqy81S2I8N_N4V1vUb5AoIIIbLZhVYxCRW4BPu10St3TBAUQYVKc53GO0vWykWK-lIOAtsaJ7vbB1JiXq7byw-6Ogo-kuNnXzR_WIuWSVqqqoqhN8EA5/American-Beecn.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" 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href="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1617239654638-AZU2CM6OPJ4K9FDBK5LV/ke17ZwdGBToddI8pDm48kJ94hfyAQ1uVIkkef5L_mUkUqsxRUqqbr1mOJYKfIPR7LoDQ9mXPOjoJoqy81S2I8PaoYXhp6HxIwZIk7-Mi3Tsic-L2IOPH3Dwrhl-Ne3Z2NbSJ9etoghutjCE1E2l5aaZO_JxA5uaNoGJ-XDDY0xpkOpdljO7Z-5qh0zg85Jnj/Upland-Forest.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/v1/58c04c7cb3db2b1cbe0a403b/1617239654638-AZU2CM6OPJ4K9FDBK5LV/ke17ZwdGBToddI8pDm48kJ94hfyAQ1uVIkkef5L_mUkUqsxRUqqbr1mOJYKfIPR7LoDQ9mXPOjoJoqy81S2I8PaoYXhp6HxIwZIk7-Mi3Tsic-L2IOPH3Dwrhl-Ne3Z2NbSJ9etoghutjCE1E2l5aaZO_JxA5uaNoGJ-XDDY0xpkOpdljO7Z-5qh0zg85Jnj/Upland-Forest.jpg" data-image-dimensions="801x1200" data-image-focal-point="0.5,0.5" alt="Upland-Forest.jpg" data-load="false" data-image-id="60651e667d934a712b99c018" data-type="image" src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1617239654638-AZU2CM6OPJ4K9FDBK5LV/ke17ZwdGBToddI8pDm48kJ94hfyAQ1uVIkkef5L_mUkUqsxRUqqbr1mOJYKfIPR7LoDQ9mXPOjoJoqy81S2I8PaoYXhp6HxIwZIk7-Mi3Tsic-L2IOPH3Dwrhl-Ne3Z2NbSJ9etoghutjCE1E2l5aaZO_JxA5uaNoGJ-XDDY0xpkOpdljO7Z-5qh0zg85Jnj/Upland-Forest.jpg?format=1000w" /><br> </a> <h1 id="arrival">Arrival</h1> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1617237179405-X6SIMGTT7C2NQUH0UFUK/ke17ZwdGBToddI8pDm48kDwCBPMkXzHlJbfjzSAukIIUqsxRUqqbr1mOJYKfIPR7LoDQ9mXPOjoJoqy81S2I8PaoYXhp6HxIwZIk7-Mi3Tsic-L2IOPH3Dwrhl-Ne3Z2disoJXzGpdGP9c-uwjPeoPABkIdKgsyIG4bzbLEH5msm_AaHWq01a8yFgqe9oqFs/congaree-national-park-current-conditions.jpg" data-image-dimensions="900x1200" data-image-focal-point="0.5,0.5" alt="Congaree current conditions at the Visitor Center." data-load="false" data-image-id="606514bbe001e06be99c4506" data-type="image" src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1617237179405-X6SIMGTT7C2NQUH0UFUK/ke17ZwdGBToddI8pDm48kDwCBPMkXzHlJbfjzSAukIIUqsxRUqqbr1mOJYKfIPR7LoDQ9mXPOjoJoqy81S2I8PaoYXhp6HxIwZIk7-Mi3Tsic-L2IOPH3Dwrhl-Ne3Z2disoJXzGpdGP9c-uwjPeoPABkIdKgsyIG4bzbLEH5msm_AaHWq01a8yFgqe9oqFs/congaree-national-park-current-conditions.jpg?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class="">Congaree current conditions at the Visitor Center. </p> </figcaption> </figure> <p class="">Shortly after arriving, I realized that <strong>my camping plan was not possible</strong>. Recent rains had put nearly the entire park under one foot of water. The only available trails were 75% of the Boardwalk and 50% of the Sims trail.</p><p class="">I tried walking through the flooded section, but as the water became increasingly deep, I started to doubt the engineering of the boardwalk. It probably was not designed to support the weight of over a foot of water and a human, so I turned back. </p><p class="">Since the entire wilderness region was inaccessible, I called the park for advice. I learned that my only option was to <strong>book a campsite </strong>at either the Longleaf of Bluff Campgrounds, both in the front-country of the park and near the main road. </p><p class="">I chose the Bluff campground because it was a hike-in only site, about one mile from the visitor center. I hoped that this requirement would deter other campers and would grant me some quiet.</p><p class="">Unfortunately, only one night was available for the next two weeks. Fortunately, it was for the same day of my arrival but meant that my trip to the Congaree would be cut <strong>three days short</strong>.</p> <a data-title="Congaree National Park Trails" data-description="" data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1617240218987-0I35HRAPMU51AB1JES09/ke17ZwdGBToddI8pDm48kLeqlddS6oJm6KDv_-aDrlcUqsxRUqqbr1mOJYKfIPR7LoDQ9mXPOjoJoqy81S2I8N_N4V1vUb5AoIIIbLZhVYxCRW4BPu10St3TBAUQYVKcaCntuJqrsDD61c8BZFzTLSQoyumxU0vrl8E8J6knmIp25ewLyM2NDEzcZf2Y6FOj/Congaree-National-Park-Trail-System.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/v1/58c04c7cb3db2b1cbe0a403b/1617240218987-0I35HRAPMU51AB1JES09/ke17ZwdGBToddI8pDm48kLeqlddS6oJm6KDv_-aDrlcUqsxRUqqbr1mOJYKfIPR7LoDQ9mXPOjoJoqy81S2I8N_N4V1vUb5AoIIIbLZhVYxCRW4BPu10St3TBAUQYVKcaCntuJqrsDD61c8BZFzTLSQoyumxU0vrl8E8J6knmIp25ewLyM2NDEzcZf2Y6FOj/Congaree-National-Park-Trail-System.jpg" data-image-dimensions="1200x776" data-image-focal-point="0.5,0.5" alt="Congaree National Park Trails" data-load="false" data-image-id="6065209aac7f7d06547fe44c" data-type="image" src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1617240218987-0I35HRAPMU51AB1JES09/ke17ZwdGBToddI8pDm48kLeqlddS6oJm6KDv_-aDrlcUqsxRUqqbr1mOJYKfIPR7LoDQ9mXPOjoJoqy81S2I8N_N4V1vUb5AoIIIbLZhVYxCRW4BPu10St3TBAUQYVKcaCntuJqrsDD61c8BZFzTLSQoyumxU0vrl8E8J6knmIp25ewLyM2NDEzcZf2Y6FOj/Congaree-National-Park-Trail-System.jpg?format=1000w" /><br> </a> Congaree National Park Trails <a data-title="Amount of Park Covered in Water" data-description="" data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1617240219158-FHCOU0N3EQ2ZBPI064XR/ke17ZwdGBToddI8pDm48kLeqlddS6oJm6KDv_-aDrlcUqsxRUqqbr1mOJYKfIPR7LoDQ9mXPOjoJoqy81S2I8N_N4V1vUb5AoIIIbLZhVYxCRW4BPu10St3TBAUQYVKcaCntuJqrsDD61c8BZFzTLSQoyumxU0vrl8E8J6knmIp25ewLyM2NDEzcZf2Y6FOj/Congaree-National-Park-Trail-System-Underwater.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/v1/58c04c7cb3db2b1cbe0a403b/1617240219158-FHCOU0N3EQ2ZBPI064XR/ke17ZwdGBToddI8pDm48kLeqlddS6oJm6KDv_-aDrlcUqsxRUqqbr1mOJYKfIPR7LoDQ9mXPOjoJoqy81S2I8N_N4V1vUb5AoIIIbLZhVYxCRW4BPu10St3TBAUQYVKcaCntuJqrsDD61c8BZFzTLSQoyumxU0vrl8E8J6knmIp25ewLyM2NDEzcZf2Y6FOj/Congaree-National-Park-Trail-System-Underwater.jpg" data-image-dimensions="1200x776" data-image-focal-point="0.5,0.5" alt="Amount of Park Covered in Water" data-load="false" data-image-id="6065209a8a228263b690cad7" data-type="image" src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1617240219158-FHCOU0N3EQ2ZBPI064XR/ke17ZwdGBToddI8pDm48kLeqlddS6oJm6KDv_-aDrlcUqsxRUqqbr1mOJYKfIPR7LoDQ9mXPOjoJoqy81S2I8N_N4V1vUb5AoIIIbLZhVYxCRW4BPu10St3TBAUQYVKcaCntuJqrsDD61c8BZFzTLSQoyumxU0vrl8E8J6knmIp25ewLyM2NDEzcZf2Y6FOj/Congaree-National-Park-Trail-System-Underwater.jpg?format=1000w" /><br> </a> Field Recording Sound Story Jared Blake Recording Upland Chorus Frogs in Virginia https://acousticnature.com/journal/recording-upland-chorus-frogs-in-virginia Acoustic Nature - Field Recording Blog urn:uuid:8c48eaec-8ea3-74e1-62cb-56965eae455a Thu, 01 Apr 2021 21:19:02 +0200 Join me on a field recording trip where I record the sounds of upland chorus frogs in Southern Virginia! &nbsp;<h3><em>Join me on a field recording trip where I record the sounds of upland chorus frogs in Southern Virginia!</em></h3>&nbsp;&nbsp; <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1617283250495-WYNXXYSTK850NGFSYVX2/ke17ZwdGBToddI8pDm48kFT-_JTSz9F8aN2K_3f4bm8UqsxRUqqbr1mOJYKfIPR7LoDQ9mXPOjoJoqy81S2I8N_N4V1vUb5AoIIIbLZhVYxCRW4BPu10St3TBAUQYVKcBgf58c_doqJWc7Spy4BPKgQmv7rBLPm6QsrZDbitO9pIZBakO5JsGAxmkFYEirss/recording-upland-chorus-frogs-in-virginia.jpg" data-image-dimensions="1200x785" data-image-focal-point="0.816907619481859,0.7452381678989956" alt="Join me on a field recording trip to the White Oak Mountain Wildlife Management Area where I record the sound of upland chorus frogs!" data-load="false" data-image-id="6065c8b271ee655cb75e12f0" data-type="image" src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1617283250495-WYNXXYSTK850NGFSYVX2/ke17ZwdGBToddI8pDm48kFT-_JTSz9F8aN2K_3f4bm8UqsxRUqqbr1mOJYKfIPR7LoDQ9mXPOjoJoqy81S2I8N_N4V1vUb5AoIIIbLZhVYxCRW4BPu10St3TBAUQYVKcBgf58c_doqJWc7Spy4BPKgQmv7rBLPm6QsrZDbitO9pIZBakO5JsGAxmkFYEirss/recording-upland-chorus-frogs-in-virginia.jpg?format=1000w" /> </figure> <iframe allowfullscreen="" src="https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d3195.1903081704063!2d-79.33184518471039!3d36.78998727995066!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x89ad5597e50139db%3A0x40ce3d0a8505e35a!2sWhite%20Oak%20Mountain%20Wildlife%20Management%20Area!5e0!3m2!1sen!2sus!4v1617294789770!5m2!1sen!2sus" width="600" loading="lazy" height="450"></iframe> <p class="">After spending a night in the <a href="https://acousticnature.com/journal/recording-nature-sounds-in-the-national-radio-quiet-zone" target="_blank">Nation's National Radio Quiet Zone</a>, my next stop was the White Oak Mountain Wildlife Management Area (WMA) in Southern Virginia. </p><p class="">The WMA is 2,748 acres in size and is primarily used for hunting. Located 2 miles from main roads, and with only two, small airports nearby, it looked like a good recording location.</p><p class="">Not knowing what to expect from White Oak Mountain, I went in with an open mind. Boy was I blown away!</p><h1 id="frogs">Upland Chorus Frogs</h1> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1617292469751-1Y2SGQBQ0NBOPKU9U4A0/ke17ZwdGBToddI8pDm48kOYleoTSjcMJLlJmoqQXe7J7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z5QPOohDIaIeljMHgDF5CVlOqpeNLcJ80NK65_fV7S1UXt_9BsLBN3LLn2W-lxWbJWY85D5P3n2Dph6H2nwe8TmdyphEYu-VVFd9UB47yUAbA/Upland+Chorus+Frog.jpg" data-image-dimensions="1764x1265" data-image-focal-point="0.5,0.5" alt="The call of the upland chorus frog sounds like someone running their fingers across the teeth of a comb." data-load="false" data-image-id="6065ecb5f166e1113056e7e0" data-type="image" src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1617292469751-1Y2SGQBQ0NBOPKU9U4A0/ke17ZwdGBToddI8pDm48kOYleoTSjcMJLlJmoqQXe7J7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z5QPOohDIaIeljMHgDF5CVlOqpeNLcJ80NK65_fV7S1UXt_9BsLBN3LLn2W-lxWbJWY85D5P3n2Dph6H2nwe8TmdyphEYu-VVFd9UB47yUAbA/Upland+Chorus+Frog.jpg?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class="">The call of the upland chorus frog sounds like someone running their fingers across the teeth of a comb.</p> </figcaption> </figure> <p class="">While in school, I wrote a scientific journal article that investigated the effect of temperature on frog species calling. In doing so, I learned how to identify many species by their sound. The upland chorus frog was a favorite, but I never heard one during my research.</p><p class="">When I heard a group of them calling before even reaching the WMA, I pulled my car over, rolled the windows down, and soaked in their sound. That was, until a neighbor's dog tried to attack my car. </p><p class="">Afterwards, and with a bit of an adrenaline rush, I eagerly drove the rest of the way, hoping that more frogs awaited.</p><h1 id="recording">Recording</h1><p class="">This trip was my first opportunity to use my new field recording backpack. I had it fully loaded with 2 SASS microphones, a stereo pair of EM272 capsules, 2 LS-10 recorders, and a Sony D100. In my excitement, I used everything!</p> <a data-title="Recording #1" data-description="" data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1617292728020-MOAKV1WSZCG2SKSLW1RQ/ke17ZwdGBToddI8pDm48kKOdTmj2ye5Yr55kbAAPV5ZZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpywO_rJqxklusn2SZjK8CZ8tB9GFIpA8pJgN_u7s1jYHC_JBhTJGCSmexuY0Mf12EY/recording-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/v1/58c04c7cb3db2b1cbe0a403b/1617292728020-MOAKV1WSZCG2SKSLW1RQ/ke17ZwdGBToddI8pDm48kKOdTmj2ye5Yr55kbAAPV5ZZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpywO_rJqxklusn2SZjK8CZ8tB9GFIpA8pJgN_u7s1jYHC_JBhTJGCSmexuY0Mf12EY/recording-1.jpg" data-image-dimensions="525x700" data-image-focal-point="0.5,0.5" alt="Recording #1" data-load="false" data-image-id="6065edb7dc215f101dee30b2" data-type="image" src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1617292728020-MOAKV1WSZCG2SKSLW1RQ/ke17ZwdGBToddI8pDm48kKOdTmj2ye5Yr55kbAAPV5ZZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpywO_rJqxklusn2SZjK8CZ8tB9GFIpA8pJgN_u7s1jYHC_JBhTJGCSmexuY0Mf12EY/recording-1.jpg?format=1000w" /><br> </a> Recording #1 <a data-title="Recording #2" data-description="" data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1617292727834-PCO8YFQ1IRLBYAJ1DH6O/ke17ZwdGBToddI8pDm48kKOdTmj2ye5Yr55kbAAPV5ZZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpywO_rJqxklusn2SZjK8CZ8tB9GFIpA8pJgN_u7s1jYHC_JBhTJGCSmexuY0Mf12EY/recording-%232.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/v1/58c04c7cb3db2b1cbe0a403b/1617292727834-PCO8YFQ1IRLBYAJ1DH6O/ke17ZwdGBToddI8pDm48kKOdTmj2ye5Yr55kbAAPV5ZZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpywO_rJqxklusn2SZjK8CZ8tB9GFIpA8pJgN_u7s1jYHC_JBhTJGCSmexuY0Mf12EY/recording-%232.jpg" data-image-dimensions="525x700" data-image-focal-point="0.5,0.5" alt="Recording #2" data-load="false" data-image-id="6065edb738b2ae3f783d18b2" data-type="image" src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1617292727834-PCO8YFQ1IRLBYAJ1DH6O/ke17ZwdGBToddI8pDm48kKOdTmj2ye5Yr55kbAAPV5ZZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpywO_rJqxklusn2SZjK8CZ8tB9GFIpA8pJgN_u7s1jYHC_JBhTJGCSmexuY0Mf12EY/recording-%232.jpg?format=1000w" /><br> </a> Recording #2 <a data-title="Recording #3" data-description="" data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1617292728360-OF0JDA289YQZMARRZ0SO/ke17ZwdGBToddI8pDm48kFDpyXWTd0bgjkmeQlgTBy5Zw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpyN6bDejW7UajklG23L8P1yQTT66sH2VaH2QrW-rW9TWc8Krpq_vwp19qAfNTpfYfc/recording-3.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/v1/58c04c7cb3db2b1cbe0a403b/1617292728360-OF0JDA289YQZMARRZ0SO/ke17ZwdGBToddI8pDm48kFDpyXWTd0bgjkmeQlgTBy5Zw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpyN6bDejW7UajklG23L8P1yQTT66sH2VaH2QrW-rW9TWc8Krpq_vwp19qAfNTpfYfc/recording-3.jpg" data-image-dimensions="700x394" data-image-focal-point="0.5,0.5" alt="Recording #3" data-load="false" data-image-id="6065edb8911da12f33431bd1" data-type="image" src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1617292728360-OF0JDA289YQZMARRZ0SO/ke17ZwdGBToddI8pDm48kFDpyXWTd0bgjkmeQlgTBy5Zw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpyN6bDejW7UajklG23L8P1yQTT66sH2VaH2QrW-rW9TWc8Krpq_vwp19qAfNTpfYfc/recording-3.jpg?format=1000w" /><br> </a> Recording #3 <p class=""><strong>Recording #1</strong> was made with a SASS mic with the D100. Using 2 bungee cords, I secured them to a tree that was about 15' from a vernal pool filled with upland chorus frogs. </p> <p class=""><strong>Recording #2</strong> used a SASS mic and Olympus LS-10 recorder. I nestled the microphone in the branches of a sapling near a few calling individuals. The frogs were so loud that I actually had to lower the gain on the LS-10. In every other recording I've done, I have always had the gain maxed-out at 10. </p> <p class="">I setup a pair of tree ears for <strong>recording #3</strong> using a stereo pair of EM272 capsules and another LS-10. I wanted to record the frogs at a distance for a less dynamic ambiance. From afar, it is difficult to distinguish upland chorus frog calls from spring peepers.</p> <h1 id="conclusion">Final Thoughts</h1><p class="">For not having any expectations on this trip, the sounds of the White Oak Mountain WMA really blew me away. The land was exceedingly quiet for a Monday afternoon and the sounds of the frogs were amazing to experience. </p><p class="">Although it was quite windy on this trip, I was still able to capture several recordings that really showcase the unique call of the upland chorus frog. Frogs are my favorite animals and I was in heaven this day. </p><p class="">The next stop on my trip will be the Congaree National Park. </p><p class="">For more posts like this one, <a href="https://acousticnature.com/sound-stories">click here</a> to view all of my sound stories.</p><p class="">Thanks for reading,<br>-Jared</p><hr /><h3>Read Next:</h3> <a href="https://acousticnature.com/blog" class="sqs-block-button-element--medium sqs-block-button-element" >more posts</a> &nbsp; Field Recording Sound Story Jared Blake How Disney’s World-Class Theme Park Sound is Designed https://www.asoundeffect.com/disney-theme-park-sound/ A Sound Effect urn:uuid:ad8765a6-bfe3-4f3e-2ae4-fa461a32fb69 Wed, 31 Mar 2021 14:15:27 +0200 <img width="640" height="427" src="https://cdna.asoundeffect.com/wp-content/uploads/2021/03/18205155/AmusementParks_sound-1.jpg" class="attachment-large size-large wp-post-image" alt="AmusementParks_sound-1" srcset="https://cdna.asoundeffect.com/wp-content/uploads/2021/03/18205155/AmusementParks_sound-1.jpg 825w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/18205155/AmusementParks_sound-1-300x200.jpg 300w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/18205155/AmusementParks_sound-1-768x512.jpg 768w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/18205155/AmusementParks_sound-1-125x83.jpg 125w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/18205155/AmusementParks_sound-1-75x50.jpg 75w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/18205155/AmusementParks_sound-1-220x147.jpg 220w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/18205155/AmusementParks_sound-1-500x333.jpg 500w" sizes="(max-width: 640px) 100vw, 640px" /><p>Get the stories behind the sound for some of Disney's most popular rides:</p> <p>The post <a rel="nofollow" href="https://www.asoundeffect.com/disney-theme-park-sound/">How Disney&#8217;s World-Class Theme Park Sound is Designed</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/EBgFwoU7BzI" height="1" width="1" alt=""/> A Sound Effect amusement park sound design amusement park sound effects amusement park sounds attraction sound design disney park sound design disney park sound effects disneyland sound design theme park ride sound design theme park sound design theme park sound effects Jennifer Walden Recording Nature in the National Radio Quiet Zone https://acousticnature.com/journal/recording-nature-sounds-in-the-national-radio-quiet-zone Acoustic Nature - Field Recording Blog urn:uuid:8fa84bf3-6725-8d5c-94a1-0a5772ef94bf Mon, 29 Mar 2021 16:17:00 +0200 What’s it like to live in our Nation’s Quiet Zone? Find out in this article! &nbsp;<h3><em>What’s it like to live in our Nation’s Quiet Zone? Find out in this article!</em></h3>&nbsp;&nbsp; <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616780812521-Z09UTWKD1Q6VYQOEXWER/ke17ZwdGBToddI8pDm48kFT-_JTSz9F8aN2K_3f4bm8UqsxRUqqbr1mOJYKfIPR7LoDQ9mXPOjoJoqy81S2I8N_N4V1vUb5AoIIIbLZhVYxCRW4BPu10St3TBAUQYVKcBgf58c_doqJWc7Spy4BPKgQmv7rBLPm6QsrZDbitO9pIZBakO5JsGAxmkFYEirss/recording-nature-sound-in-the-national-radio-quiet-zone.jpg" data-image-dimensions="1200x785" data-image-focal-point="0.5,0.5" alt="By Image courtesy of NRAO/AUI, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=17758390" data-load="false" data-image-id="605e1e0c48559229e4712eca" data-type="image" src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616780812521-Z09UTWKD1Q6VYQOEXWER/ke17ZwdGBToddI8pDm48kFT-_JTSz9F8aN2K_3f4bm8UqsxRUqqbr1mOJYKfIPR7LoDQ9mXPOjoJoqy81S2I8N_N4V1vUb5AoIIIbLZhVYxCRW4BPu10St3TBAUQYVKcBgf58c_doqJWc7Spy4BPKgQmv7rBLPm6QsrZDbitO9pIZBakO5JsGAxmkFYEirss/recording-nature-sound-in-the-national-radio-quiet-zone.jpg?format=1000w" /> </figure> <p class="">After a recommendation from one of my subscribers (thanks Chip!), I learned about the anomaly that is Green Bank, West Virginia. </p><p class="">In this town, there's <strong>no cell-service and WiFi and radio are forbidden</strong>. Additionally, if you want to use a microwave, it must be enclosed in a Faraday cage to prevent it from emitting electromagnetic waves. </p><p class="">Since these conditions repel most humans, this area should be relatively <a href="https://acousticnature.com/journal/what-is-noise-pollution-sensitivity-quiz" target="_blank">noise-pollution</a> free. I did some research on this area and decided to spend the first night of my field recording road trip there. </p><p class=""><strong>Table of Contents: </strong></p><p class=""><strong>• </strong><a href="#telescope">The Green Bank Telescope</a> • <a href="#NRQZ">The National Radio Quiet Zone</a> • <a href="#restrictions">Device Restrictions</a> • <a href="#experience">My Experience and Sound Recordings</a> • <a href="#conclusion">Final Thoughts</a></p><hr /><h2 id="telescope">The Green Bank Telescope</h2> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616781150559-6Y2MIXMUD3UFNHJU40YC/ke17ZwdGBToddI8pDm48kBbdSUIHrnfszC0Uv-s6NXNZw-zPPgdn4jUwVcJE1ZvWEtT5uBSRWt4vQZAgTJucoTqqXjS3CfNDSuuf31e0tVGho-jSmQAPWn94Nvix4OSMAOlmV6QajS_lhzTPq6JK5e3fdiwvU2dIXnCeUs0K4JU/The-Green-Bank-Telescope.jpg" data-image-dimensions="480x480" data-image-focal-point="0.5,0.5" alt="The Green Bank Telescope. By NRAO/AUI/NSF - https://public.nrao.edu/gallery/green-bank-telescope" data-load="false" data-image-id="605e1f5e14b4d84b4fbff959" data-type="image" src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616781150559-6Y2MIXMUD3UFNHJU40YC/ke17ZwdGBToddI8pDm48kBbdSUIHrnfszC0Uv-s6NXNZw-zPPgdn4jUwVcJE1ZvWEtT5uBSRWt4vQZAgTJucoTqqXjS3CfNDSuuf31e0tVGho-jSmQAPWn94Nvix4OSMAOlmV6QajS_lhzTPq6JK5e3fdiwvU2dIXnCeUs0K4JU/The-Green-Bank-Telescope.jpg?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class="">The Green Bank Telescope. By NRAO/AUI/NSF - https://public.nrao.edu/gallery/green-bank-telescope</p> </figcaption> </figure> <p class="">Green Bank is home to the world's largest fully steerable radio telescope in the world. It is 485 feet tall, and its main dish is 2.3 acres in size!</p><p class="">The telescope collects radio waves from space and uses them in observations, measurements, and discoveries of stars, galaxies, black holes, and other astronomical objects.</p><p class="">These radio waves are extremely weak and must be concentrated and amplified before they can be useful to astronomers. That’s the job of the Green Bank Telescope.</p><p class="">Much like how a parabolic microphone works, the parabolic dish of the Green Bank Telescope collects, concentrates, and amplifies radio waves from precise objects in space. The data is then analyzed by scientists.</p><p class="">Radio telescopes are used for tracking celestial objects, determining elemental compositions of stars, and even for observing <a href="https://science.nasa.gov/astrophysics/focus-areas/what-is-dark-energy" target="_blank">dark energy</a>.</p><p class="">For more information about radio telescopes, see this <a href="https://public.nrao.edu/telescopes/radio-telescopes/" target="_blank">article</a> from the National Radio Astronomy Observatory.</p><h2 id="NRQZ">National Radio Quiet Zone</h2> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616792433144-2D7SQNV65VFA2RBN714H/ke17ZwdGBToddI8pDm48kOEKlCjUjhURB-WrcaXLOwVZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZamWLI2zvYWH8K3-s_4yszcp2ryTI0HqTOaaUohrI8PIZ1Mh5fNDcxjHz7SDd7GkO2GvKOqeL5Li9-jVhNIm__wKMshLAGzx4R3EDFOm1kBS/Capture.JPG" data-image-dimensions="921x860" data-image-focal-point="0.5,0.5" alt="The National Radio Quiet Zone (NRQZ). By Joel Bradshaw - Derivative of public-domain http://www.gb.nrao.edu/nrqz/nrqz.shtml" data-load="false" data-image-id="605e4b718e6f881f5987aaa0" data-type="image" src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616792433144-2D7SQNV65VFA2RBN714H/ke17ZwdGBToddI8pDm48kOEKlCjUjhURB-WrcaXLOwVZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZamWLI2zvYWH8K3-s_4yszcp2ryTI0HqTOaaUohrI8PIZ1Mh5fNDcxjHz7SDd7GkO2GvKOqeL5Li9-jVhNIm__wKMshLAGzx4R3EDFOm1kBS/Capture.JPG?format=1000w" /> <figcaption class="image-caption-wrapper"> <p class="">The National Radio Quiet Zone (NRQZ). By Joel Bradshaw - Derivative of public-domain http://www.gb.nrao.edu/nrqz/nrqz.shtml</p> </figcaption> </figure> <p class="">The radio waves observed by the Green Bank Telescope are over a <strong>billion times weaker </strong>than radio waves emitted by a cellphone. If a cellphone was used near a radio telescope, it would completely distort the signal from space. Think of it like someone yelling right next to your parabolic microphone while you try to record a distant bird. </p><p class="">Although the Green Bank Telescope was built before the invention of cellphones (1956), radios existed and posed a threat to the device. A remote location far away from radio transmissions was a necessity and <strong>Green Bank, West Virginia was the perfect location</strong>. </p><p class="">Nestled between the Blue Ridge and Allegheny mountain ranges, Green Bank is naturally shielded from many radio waves. For additional protection, the Federal Communications Commission (FCC) created the <strong>National Radio Quiet Zone </strong>(<strong>NRQZ</strong>) in 1958. </p><p class="">The NRQZ is a 13,000 square mile region in which radio transmissions are heavily restricted to protect the radio telescope from interference. It is divided into 5 zones with increasingly strict restrictions the closer one comes to the telescope. </p><h2 id="restrictions">Device Restrictions</h2><p class="">Within the National Radio Quiet Zone, radio transmissions are limited to one station in the AM band and only a few, low-power FM stations. </p><p class="">Within a 20 mile radius around the observatory, residents cannot use <strong>WiFi routers or microwave ovens</strong>. This area is <strong>actively policed </strong>with vehicles equipped with sensors for detecting electromagnetic radiation. </p><p class="">Within the observatory grounds, <strong>cell phones, digital cameras, </strong>and even<strong> gasoline engines</strong> are prohibited. Only vehicles with diesel engines may enter the facility due to interference caused by spark plugs in gas engines. </p><p class="">With strict limitations posed on residents of Green Bank, perhaps it’s no surprise that its population is about 150. </p><h2 id="experience">My Experience and Sound Recordings</h2> <a data-title="" data-description="" data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616793891600-3EPRKP89CHJ322PPDMWX/ke17ZwdGBToddI8pDm48kACVW-kkms_BWmUzr26i2XdZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpyBkza84FjJrQoze4xe3Xf5UetXXdC24zf2PkF4dwZabVGdH6gE5PZGKZ9xg2bCQmc/foggy+trail.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fit " > <span class="v6-visually-hidden">View fullsize</span> <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616793891600-3EPRKP89CHJ322PPDMWX/ke17ZwdGBToddI8pDm48kACVW-kkms_BWmUzr26i2XdZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpyBkza84FjJrQoze4xe3Xf5UetXXdC24zf2PkF4dwZabVGdH6gE5PZGKZ9xg2bCQmc/foggy+trail.jpg" data-image-dimensions="601x900" data-image-focal-point="0.5,0.5" alt="foggy trail.jpg" data-load="false" data-image-id="605e51236c9d142b9cf7f680" data-type="image" src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616793891600-3EPRKP89CHJ322PPDMWX/ke17ZwdGBToddI8pDm48kACVW-kkms_BWmUzr26i2XdZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpyBkza84FjJrQoze4xe3Xf5UetXXdC24zf2PkF4dwZabVGdH6gE5PZGKZ9xg2bCQmc/foggy+trail.jpg?format=1000w" /><br> </a> <a data-title="" data-description="" data-lightbox-theme="dark" 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src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616793892356-Q0W2EJJFP3U82Y95QTTI/ke17ZwdGBToddI8pDm48kKSHvVWv0pZ6Pi6-QUeVAdxZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZamWLI2zvYWH8K3-s_4yszcp2ryTI0HqTOaaUohrI8PI91GJvUdWV1nbScQZTDGhtl9gP8YdCzEmY9N9JZjd2IMKMshLAGzx4R3EDFOm1kBS/sass-close-up.jpg?format=1000w" /><br> </a> <a data-title="" data-description="" data-lightbox-theme="dark" href="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616793892845-5FBOZY6HQVKB0QW8LJD3/ke17ZwdGBToddI8pDm48kACVW-kkms_BWmUzr26i2XdZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpyBkza84FjJrQoze4xe3Xf5UetXXdC24zf2PkF4dwZabVGdH6gE5PZGKZ9xg2bCQmc/trailhead-sign.jpg" role="button" class=" image-slide-anchor js-gallery-lightbox-opener content-fit " > <span class="v6-visually-hidden">View fullsize</span> <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616793892845-5FBOZY6HQVKB0QW8LJD3/ke17ZwdGBToddI8pDm48kACVW-kkms_BWmUzr26i2XdZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpyBkza84FjJrQoze4xe3Xf5UetXXdC24zf2PkF4dwZabVGdH6gE5PZGKZ9xg2bCQmc/trailhead-sign.jpg" data-image-dimensions="601x900" data-image-focal-point="0.5,0.5" alt="trailhead-sign.jpg" data-load="false" data-image-id="605e512496982546ecfc6016" data-type="image" src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616793892845-5FBOZY6HQVKB0QW8LJD3/ke17ZwdGBToddI8pDm48kACVW-kkms_BWmUzr26i2XdZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpyBkza84FjJrQoze4xe3Xf5UetXXdC24zf2PkF4dwZabVGdH6gE5PZGKZ9xg2bCQmc/trailhead-sign.jpg?format=1000w" /><br> </a> <p class="">I chose to spend the first night of my field recording road trip within the upper left-hand corner of the National Radio Quiet Zone (NRQZ).</p><p class="">I left at 12pm and should have arrived at 6pm, giving me 2 hours before sunset to hike in and setup my recording equipment. Unfortunately, a large accident shut down all lanes on I-81S. This delay caused me to arrive at the trailhead at 7:45pm. </p><p class="">In the dying sunlight, I only had time to walk around and take some photos. I wanted to setup a drop rig, but with the coming rain and no sheltered spot, I did not. </p><p class="">Throughout the night, I was periodically awoken by intermittent rain showers. I made a couple recordings of this sound but they're nothing to write home about (see below).</p> <p class="">In the morning, I awoke to a spooky landscape covered in fog. I took advantage of this opportunity and went for a walk with my camera and recording gear. </p><p class="">Despite the 45°F temperature, my fingers were frozen by 18mph winds and high humidity. </p><p class="">Eventually, I found a ridge where the wind sounded particularly interesting and setup a recording. I used my new SASS binaural microphone paired with a Sony D100. I recorded for 1 hour and ended up with a 9 minute segment of usable sound. </p><p class="">I was still quite close to a main route and the recording suffered from a lot of vehicle noise (and airplanes of course). </p><iframe allow="autoplay" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1016870272&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=false" width="100%" frameborder="no" height="166"></iframe><a href="https://soundcloud.com/acousticnature" title="Acoustic Nature" target="_blank">Acoustic Nature</a> · <a href="https://soundcloud.com/acousticnature/foggy-windy-morning-in-the-national-radio-quiet-zone-d100-wsass" title="Foggy, Windy Morning in the National Radio Quiet Zone [D100 w/SASS]" target="_blank">Foggy, Windy Morning in the National Radio Quiet Zone [D100 w/SASS]</a><h2 id="conclusion">Final Thoughts</h2><p class="">Although I didn't capture any great recordings here, this area still holds my interest. On my return journey, I will stop in this area again but will go closer to Green Bank. I believe that the arrival of spring paired with the low population could yield long, noise-free recordings.</p><p class="">My only question is: do field recorders and microphones emit electromagnetic waves? Probably. Is it enough to get me in trouble? I guess I'll find out.</p><p class="">The next stop on my adventure will be a four-night stay in Virginia.</p><p class="">To see all of my sound story adventures, click <a href="https://acousticnature.com/sound-stories">here</a>. </p><p class="">If you have any questions, feel free to ask me through the <a href="https://acousticnature.com/contact">contact</a> page on my website. </p><p class="">Thanks for reading, have a great day!<br>-Jared</p><hr /><h3>Read Next:</h3> <a href="https://acousticnature.com/blog" class="sqs-block-button-element--medium sqs-block-button-element" >more posts</a> &nbsp; Field Recording Sound Story Jared Blake Behind the Magical Sound of ‘His Dark Materials’ Season 2: https://www.asoundeffect.com/his-dark-materials-s2-sound/ A Sound Effect urn:uuid:3b4b065c-214e-4d21-1c0a-4ed6022788d2 Mon, 29 Mar 2021 11:38:52 +0200 <img width="640" height="336" src="https://cdna.asoundeffect.com/wp-content/uploads/2021/03/11224855/HDM_sound-15.jpg" class="attachment-large size-large wp-post-image" alt="HDM_sound-15" srcset="https://cdna.asoundeffect.com/wp-content/uploads/2021/03/11224855/HDM_sound-15.jpg 825w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/11224855/HDM_sound-15-300x157.jpg 300w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/11224855/HDM_sound-15-768x403.jpg 768w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/11224855/HDM_sound-15-125x66.jpg 125w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/11224855/HDM_sound-15-75x39.jpg 75w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/11224855/HDM_sound-15-220x115.jpg 220w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/11224855/HDM_sound-15-500x262.jpg 500w" sizes="(max-width: 640px) 100vw, 640px" /><p>Dillon Bennett and Eilam Hoffman take you behind-the-sound of HBO's award-winning fantasy series:</p> <p>The post <a rel="nofollow" href="https://www.asoundeffect.com/his-dark-materials-s2-sound/">Behind the Magical Sound of &#8216;His Dark Materials&#8217; Season 2:</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/QWMCE_fJEDE" height="1" width="1" alt=""/> Television sound alternate angels city creatures daemons energy magic monsters movement sampler swirling VFX vocalizations witches worlds Jennifer Walden 20 great new audio jobs at Fisher-Price, Amazon Games, City State, Stardock, Microsoft, PlayStation Europe, Riot, Blizzard, Ubisoft Music, EA Vancouver, Scopely, Tonik Studio, Akorbi, ICONMA, Wild Sheep, Elias, Frontier, Splash Damage, and FRQNCY https://soundlister.com/18-great-new-audio-jobs-at-fisher-price-amazon-games-city-state-stardock-microsoft-playstation-europe-riot-blizzard-ubisoft-music-ea-vancouver-scopely-tonik-studio-akorbi-iconma-wild-she/ Soundlister.com urn:uuid:b2ebb849-f3c4-e3db-d160-b139fa84a72d Sun, 28 Mar 2021 19:39:11 +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, Contract Sound Engineer/Designer, Gameplay Audio Software Engineer, Sound Engineer, Dialogue Supervisor, Dialogue Coordinator, Sound Designer II, Game Producer, Voice Over Artist, Associate Music Supervisor, Software Engineer - Music, Sound Designer, Dialogue Supervisor, Senior Sound Designer, C++ Audio Developer, Audio Tools Programmer, Technical Audio Designer, and Podcast Editor</p> <p>The post <a rel="nofollow" href="https://soundlister.com/18-great-new-audio-jobs-at-fisher-price-amazon-games-city-state-stardock-microsoft-playstation-europe-riot-blizzard-ubisoft-music-ea-vancouver-scopely-tonik-studio-akorbi-iconma-wild-she/">20 great new audio jobs at Fisher-Price, Amazon Games, City State, Stardock, Microsoft, PlayStation Europe, Riot, Blizzard, Ubisoft Music, EA Vancouver, Scopely, Tonik Studio, Akorbi, ICONMA, Wild Sheep, Elias, Frontier, Splash Damage, and FRQNCY</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="7a0adbea7e" /><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 Amazon Games, City State Entertainment, Stardock, and Fisher-Price &#8211; and they&#8217;re looking for a Sound Designer (CA, US), Contract Sound Engineer/Designer (WA, US), Gameplay Audio Software Engineer (MI, US), and Sound Engineer (NY, US).</p> <p>We also found openings for a <a href="https://careers.microsoft.com/us/en/job/1012292/Dialogue-Supervisor" target="_blank" rel="noopener noreferrer">Dialogue Supervisor</a> at Microsoft (WA, US), <a href="https://boards.greenhouse.io/playstationeurope/jobs/5147599002" target="_blank" rel="noopener noreferrer">Dialogue Coordinator</a> at PlayStation Europe (England), <a href="https://www.riotgames.com/en/work-with-us/job/2975477" target="_blank" rel="noopener noreferrer">Sound Designer II (Legends of Runterra</a> at Riot Games (CA, US), <a href="https://gamejobs.co/Game-Producer-Voice-Over-Diablo-IV-at-Blizzard-Entertainment" target="_blank" rel="noopener noreferrer">Game Producer, Voice Over (Diablo IV)</a> at Blizzard (CA, US), <a href="https://gamejobs.co/Associate-Music-Supervisor-Ubisoft-Music-F-H-at-Ubisoft" target="_blank" rel="noopener noreferrer">Associate Music Supervisor, Ubisoft Music (F/H)</a> at Ubisoft Music (France), <a href="https://gamejobs.co/Software-Engineer-Temporary-Music-at-Electronic-Arts" target="_blank" rel="noopener noreferrer">Software Engineer (Temporary) &#8211; Music</a> at EA Vancouver (BC, Canada), <a href="https://www.linkedin.com/jobs/view/2455973495/?eBP=NotAvailableFromMidTier&#038;recommendedFlavor=ACTIVELY_HIRING_COMPANY&#038;refId=xZG08XE%2BEIntv3Wh5oEunw%3D%3D&#038;trackingId=o5NnwspoyGXf%2F1LSXDFBTA%3D%3D&#038;trk=flagship3_search_srp_jobs&#038;lipi=urn%3Ali%3Apage%3Ad_flagship3_search_srp_jobs%3Bw2oCIQdIQOy7UtIux2%2Bu9g%3D%3D&#038;lici=o5NnwspoyGXf%2F1LSXDFBTA%3D%3D" target="_blank" rel="noopener noreferrer">Sound Designer</a> at Scopely (CA, US), and <a href="https://www.linkedin.com/jobs/view/2473387971" target="_blank" rel="noopener noreferrer">Sound Designer</a> at Tonik Studio (Germany), <a href="https://www.linkedin.com/jobs/view/2475351542/?eBP=NotAvailableFromMidTier&#038;recommendedFlavor=ACTIVELY_HIRING_COMPANY&#038;refId=xZG08XE%2BEIntv3Wh5oEunw%3D%3D&#038;trackingId=EvIvRYBU9mtWLxeFw%2FSYYg%3D%3D&#038;trk=flagship3_search_srp_jobs" target="_blank" rel="noopener noreferrer">Sound Designer</a> at Akorbi (CA, U), <a href="https://www.linkedin.com/jobs/view/2473172964/?eBP=NotAvailableFromMidTier&#038;recommendedFlavor=ACTIVELY_HIRING_COMPANY&#038;refId=xZG08XE%2BEIntv3Wh5oEunw%3D%3D&#038;trackingId=4Xm6LmvCVAqqm9Y6P%2BQ0QQ%3D%3D&#038;trk=flagship3_search_srp_jobs" target="_blank" rel="noopener noreferrer">Sound Designer</a> at ICONMA (CA, US), <a href="https://emploi.afjv.com/emploi-jeux-video/ESND1044-19687" target="_blank" rel="noopener noreferrer">Senior Sound Designer</a> at Wild Sheep (France), <a href="https://emp.jobylon.com/jobs/67004-elias-c-developer-for-the-next-generation-audio-tool/" target="_blank" rel="noopener noreferrer">C++ Audio Developer</a> at Elias (Sweden), <a href="https://www.gamesjobsdirect.com/details/audio-tools-programmer/159080?utm_source=Games+Jobs+Direct+Candidates+Newsletter&#038;utm_campaign=ae77a73762-GJD_MAILER_10%2F03%2F2021&#038;utm_medium=email&#038;utm_term=0_3ea2d5d69c-ae77a73762-48353454" target="_blank" rel="noopener noreferrer">Audio Tools Programmer</a> at Frontier (England), <a href="https://jobs.jobvite.com/careers/splashdamage/job/oseHefwl?__jvst=Employee&#038;__jvsd=sf8DJhwv&#038;__jvsc=LinkedIn&#038;bid=nfyZmTww" target="_blank" rel="noopener noreferrer">Technical Audio Designer</a> at Splash Damage (England), and <a href="https://frqncy.media/hiring/2021-03-editor/" target="_blank" rel="noopener noreferrer">Podcast Editor</a> at FRQNCY Media (Remote).</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%2Fcareers.microsoft.com%2Fus%2Fen%2Fjob%2F1012292%2FDialogue-Supervisor%3Ffbclid%3DIwAR1aw5StBN3RtLI-7k2zeSGc6CS4WUBK4Khm8g5Qt1RdxJyUW35Bcybv7rI&#038;h=AT0ANKOjle0-0N5VM-0H54hD04EvnAddyW9tt2VOu5exwc2eoEUb6aXAoMPbipkaU5IUkFgpPuxW7pM5FYOX-h4SV7pBswryRhm2mDWY9TYVh7L2_cpW-_RsSza7_1ZSi7Yajk81qGT8npRyxA&#038;__tn__=-UK-R&#038;c[0]=AT3Kly8-xM93I6NvE3eF6DQfdVNmy5AB8ZYI5gIcK-T9AK9D0j3codg1FnFF_bw9IIRImcR0zqhlz-qJRObbBNEZwvOz-PjS-SpGGbt0MULwn_2XcZQptzdI8ldH9gw0OF1szxq9HcW22yGh_VQAfD1-cyHVZklAy1ZsroNseSu_EJ4pSWn5DA57jh7_VgJRHtdXNtXHOUwouvsq" target="_blank" rel="noopener noreferrer">Dialogue Supervisor</a> at Microsoft (Redmond, WA). Happy job hunting!</p> </div> <hr> <strong>Highlight &#8211; sound stories this week:</strong> Shannon Mills &#038; Nia Hansen take you behind the sound for Disney&#8217;s <a href="https://www.asoundeffect.com/raya-and-the-last-dragon-sound/" target="_blank" rel="noopener noreferrer">Raya and the Last Dragon</a>. 37 new sound effects libraries of <a href="https://www.asoundeffect.com/new-sound-effects-vehicles-ambiences-from-australia-uk-and-russia-and-much-more/" target="_blank" rel="noopener noreferrer">magic, gore, classic vintage synths, roaring vehicles, ambiences from Australia, UK and Russia</a> and more! <hr> <br> <div class="note"><strong><span style="font-size: 24px;">Sound Designer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Amazon Games</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Irvine, CA, US</span><br> <div class="jobDesc"><strong>Job description</strong> <p>Have you ever dreamed of making huge creature sounds, powerful magic spells, and clashing battles with hundreds of players? What about bringing a dynamic open world to life with music and detailed ambiences? </p> <p>Amazon Games is looking for a Sound Designer to join our New World team in Sunny Irvine, CA. In New World, players will fight for survival as they explore and conquer the mysterious island of Aeternum. as a Sound Designer, you will build on the realistic and supernatural soundscape of New World and help forge a future filled with amazing experiences for players, broadcasters and creators. </p> <p>In this role, you will work with the Audio Lead to create top quality sound design and implementation. You&#39;ll work effectively, collaborating with designers, animators, visual effect artists, and programmers to create compelling audio experiences; leveraging your technical and creative audio skills on a unique and enthusiastic team. </p> <p>Responsibilities: Design and implement high quality in-game sound effects. Test all aspects of the game audio, ensuring in-game playback is flawless. Collaborate with the production team to set clear, realistic timelines. Provide well thought-out feedback that pushes the sound of New World forward. </p> <p>Amazon Games applies the principles of Amazonian culture to the world of game design. We have a diverse team of talented, creative people pairing their love of making games with the unique strengths that come with being part of Amazon. Across all of our teams and locations, we are united by a common purpose: to share great gaming experiences with customers around the world. We believe in a future where everyone is a gamer and everyone can create, compete, collaborate and connect through games, and we are looking for the right people to help us build that future. With the power of Twitch and AWS at your fingertips, you will have the chance to innovate in gameplay, creativity, marketing, and technology, while working alongside some of the smartest and most creative minds in the industry. </p> <p><strong>About Us</strong><br>Inclusive Culture, Work/Life Balance, &amp; Career Growth<br>Here at AWS, we embrace our differences and are committed to furthering our culture of inclusion. We offer ten employee-led affinity groups with 190 global chapters, innovative benefits, and annual and ongoing learning experiences (including our Conversations on Race and Ethnicity (CORE) and AmazeCon (gender diversity) conferences). Our team also puts a high value on work-life balance and offers flexible working hours. We believe striking the right balance between your personal and professional life is critical to life-long happiness and fulfillment. Additionally, our team is dedicated to supporting you with mentorship and pathways for ongoing development. We have a broad mix of experience levels and tenures, and are building an environment that celebrates knowledge sharing and promotes career choice. </p> <strong>BASIC QUALIFICATIONS</strong> <p>· 1+ shipped game title.<br>· 1+ years’ experience in a sound designer role.<br>· 1+ years experience recording both in the field and in the studio.<br>· 1+ years experience implementing audio with middleware.<br>· A passion for games and the role that audio plays in storytelling and player experience.</p> <strong>PREFERRED QUALIFICATIONS</strong> <p>· Experience with any commercial video game engine (Lumberyard, Unreal, Unity etc.)<br>· Experience with Wwise.<br>· Scripting experience in LUA, C# or any visual scripting system.<br>· Massive Multiplayer Online experience a plus.<br>· Music editing and composition experience a plus.<br>· Meets/exceeds Amazon’s leadership principles requirements for this role.<br>· Meets/exceeds Amazon’s functional/technical depth and complexity for this role. </p> <p>Amazon is committed to a diverse and inclusive workplace. Amazon is an equal opportunity employer and does not discriminate on the basis of race, national origin, gender, gender identity, sexual orientation, protected veteran status, disability, age, or other legally protected status. For individuals with disabilities who would like to request an accommodation, please visit <a href="https://www.amazon.jobs/en/disability/us">https://www.amazon.jobs/en/disability/us</a>.</p> </div> <div class="btnFix"><a class="btnJobs" href="https://www.amazon.jobs/en/jobs/1485107/sound-designer-new-world" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://www.facebook.com/groups/181851689212927/user/763762805/" target="_blank" rel="noopener noreferrer">Jean-Edouard Miclot</a></div> </div> <div class="grayBreak"></div> <div class="note"><strong><span style="font-size: 24px;">Contract Sound Engineer/Designer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> City State Entertainment</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Bothell, WA, US</span><br> <div class="jobDesc"><strong>Job description</strong> <p>City State Entertainment is an independent video game development studio based in both Fairfax, Virginia and Seattle, Washington. The studio embodies an “open office” collaborative process where all team members are expected to contribute to the design and the development process of our games. The team is currently in production of Camelot Unchained, a niche, RvR old-school MMORPG and Final Stand: Ragnarok a co-op looter slasher while also building out our own engine. This is a remote position but bonus points if the applicant is located in Fairfax, VA or Seattle, WA.</p> <strong>Job Description</strong> <p>City State Entertainment is looking for a Contract Sound Engineer to help design and implement sound assets for our games Camelot Unchained and Final Stand: Ragnarok.</p> <strong>Job Responsibilities</strong> <ul> <li>Create, edit, and implement game audio assets including music, sound effects and dialogue that matches the aesthetics of the game</li> <li>Oversee all audio mixing, music mixing, and sound effects</li> <li>Create and maintain audio pipelines and technologies (debugging and troubleshooting any audio issues)</li> <li>Create and implement any original audio needed: sound effects, voice effects, voiceovers, music, etc.</li> <li>Collaborate with other departments to help design, create, and implement new audio tools and features </li> </ul> <strong>Requirements</strong> <ul> <li>Must have at least one shipped PC/Console title</li> <li>3 year minimum experience working with game audio</li> <li>Excellent listening skills</li> <li>Strong knowledge and understanding of game audio production and techniques</li> <li>3 year minimum experience working with AudioKinetic Wwise</li> <li>Experience with various audio tools (Sound Forge, ProTools, Nuendo, Sound Miner, etc.)</li> <li>Excellent verbal and written communication skills</li> <li>Strong work ethic and sense of ownership</li> <li>Knowledge of game development processes</li> <li>Passion for games</li> </ul> <strong>Pluses</strong> <ul> <li>Experience with scripting and programming in C/C++</li> <li>Have your own recording/mixing studio (remote work is an option if you do)</li> <li>Already based in Fairfax or Seattle</li> </ul> <p><strong>Note:</strong> <br>City State Entertainment is hiring for a broad range of positions on a growing team. We have definite skill and task needs, but the eventual division of tasks within the team will depend on the eventual team members. If you’re an outstanding and talented individual whose qualifications fall halfway between two of our listings, we’d still like to hear from you. All candidates must have excellent written and verbal communication skills and be able to work on-site at our Washington DC-area or Seattle, WA office in the U.S.A. We are an emphatically equal-opportunity employer. Successful candidates will be asked to show proof that they can legally work in the US.</p> </div> <div class="btnFix"><a class="btnJobs" href="https://jobs.smartrecruiters.com/CityStateEntertainmentLLC/743999739464734-contract-sound-engineer-designer" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://twitter.com/SchoolGameAudio/status/1374019361355264010" 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;">Gameplay Audio Software Engineer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Stardock</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Plymouth, MI, US</span><br> <div class="jobDesc"><strong>Job description</strong> <p>Are you an avid gamer interested in creating awesome games? Stardock is currently seeking a talented Gameplay Audio Software Engineer to implement stunning audio experiences in cutting edge games. The ideal candidate is well versed in C++, has created games in the past, and loves strategy games. This is a salaried, full-time position at our Plymouth, Michigan office.</p> <strong>Primary Responsibilities Include:</strong> <ul> <li>Integrate gameplay and animation driven foley, UI sounds, ambient and music tracks, environmental audio effects.</li> <li>Work with Wwise and supporting systems.</li> <li>Collaborate with producers, designers, programmers, and audio content creators to design, prototype, and implement new audio features.</li> <li>Extend and improve audio-related data formats and tool pipeline.</li> <li>Review code written by programmers across the studio and collaborate with them to improve code quality and troubleshoot audio-related technology.</li> </ul> <strong>Education and/or Experience Desired:</strong> <ul> <li>Bachelor&#39;s Degree in Computer Science, Engineering, Mathematics or relevant field.</li> <li>3 years of working C++ experience, knowledge of modern C++ concepts.</li> <li>At least 3 years of experience in audio programming, preferably for games.</li> <li>Experience with principles of 3D audio, audio effects.</li> <li>Working knowledge of audio engineering required and basics of music theory is a bonus.</li> <li>Experience with Wwise or similar (FMOD, Miles, etc.) workflow.</li> <li>Familiarity with DSP and virtual analog algorithms for synthesis and effects.</li> </ul> <p>If you&#39;re enthusiastic about the position and would like to tell us about it, please submit your resume and cover letter to <a href="&#x6d;&#x61;&#x69;&#x6c;&#116;&#111;:jo&#x62;&#x73;&#x40;&#x73;&#116;&#97;rdo&#x63;&#x6b;&#x2e;&#x63;&#111;&#109;?subject=Gameplay Audio Software Engineer">&#x6a;&#111;&#98;&#x73;&#x40;&#115;&#116;&#x61;&#x72;&#100;&#111;&#x63;&#x6b;&#46;&#99;&#x6f;&#x6d;</a>, with &quot;Gameplay Audio Software Engineer&quot; in the subject line.</p> </div> <div class="btnFix"><a class="btnJobs" href="https://www.stardock.com/careers?fbclid=IwAR1FlIe3ts0t8w-W1qWAGAPmdzJ485SwVajmiCrKEj5gDLtWztrVTqpYxXw#gameaudioeng" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.stardock.com%2Fcareers%3Ffbclid%3DIwAR1FlIe3ts0t8w-W1qWAGAPmdzJ485SwVajmiCrKEj5gDLtWztrVTqpYxXw%23gameaudioeng&#038;h=AT3gjHQuum4XdJRvghEjm1TPyA8BIxHrSVKq3-g8-8HouKSRVKsYiF5tvAq6jv4NmmNGun5CIvFiiqS2VgctXEHUUo3RS-A47PCnLXKvQennigx75NFY7H0AkHna-7qs3Jn765ibKZY_nBiLEA&#038;__tn__=H-R&#038;c[0]=AT2Q7GxuW1yDjth6Yf0GEIcXQHkHhn09qdqyyEIy0FgBpx9CAMoob-wq3yavDS5zTs6z5Gdp_Xf1qTcsw4g2WFIgycFLchTrV85MRozRGn5NUOEWxNE0sKgiza4uHaHpFAUKl212ghW4hBMV41M8Xd_li2PxRDuBGdIkFkql2Uevwzb84BuVkD6J9Ye5wie6mCr_J5NJHp_jk46V" target="_blank" rel="noopener noreferrer">Nathan Hanish</a></div> </div> <div class="grayBreak"></div> <div class="note"><strong><span style="font-size: 24px;">Sound Engineer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Fisher-Price</span><br> <span style="font-size: 16px;"><strong>Location:</strong> East Aurora, NY, US</span><br> <div class="jobDesc"><strong>Job description</strong> <p><strong>CREATIVITY IS OUR SUPERPOWER.</strong> It’s our heritage and it’s also our future. Because we don’t just make toys. We create innovative products and experiences that inspire, entertain and develop children through play. Mattel is at its best when every member of our team feels respected, included, and heard—when everyone can show up as themselves and do their best work every day. We value and share an infinite range of ideas and voices that evolve and broaden our perspectives with a reach that extends into all our brands, partners, and suppliers. </p> <p><strong>The Opportunity: </strong> We are seeking an energetic candidate with a strong desire to work on Fisher-Price’s expansive portfolio of Infant and Preschool Toy brands as a <strong>Sound Designer.</strong> Your primary responsibility will be to create music, sound and speech for our products&#39; global consumption as we entertain children around the world. </p> <strong>What Your Impact Will Be: </strong> <ul> <li>Compose and arrange lyric-based songs and instrumental music for product.</li> <li>Create and implement the music, sounds and speech for multiple audio projects simultaneously.</li> <li>Creatively consult with cross-functional teams (content producers, industrial designers, artists, marketers, managers) on operation &amp; implementation of audio in products.</li> <li>Design and edit sound effects produce/mix music, record and edit speech, develop instrument sample libraries according to design requirements and within memory constraints, quality and documentation standards, and audio IC formatting requirements.</li> <li>Obtain audio creative approvals by reviewing audio content with team. Make revisions as necessary.</li> <li>Support costing and scheduling efforts in the product deve Audio Jobs Associate Music Supervisor Audio Tools Programmer C++ Audio Developer Contract Sound Engineer/Designer Dialogue Coordinator Dialogue Supervisor Game Producer Gameplay Audio Software Engineer Podcast Editor Senior Sound Designer Software Engineer - Music Sound Designer Sound Designer II Sound Engineer Technical Audio Designer Voice Over Artist Adriane Kuzminski Learning C# Notes - Part III: Selection & Operation Statements http://javierzumer.com/blog/2021/3/27/learning-c-notes-part-iii-selection-amp-operation-statements Javier Zúmer - Sound Design urn:uuid:e220d72a-cc8e-d352-a58e-8fe68c36f668 Sat, 27 Mar 2021 11:45:26 +0100 <p class="">So up until now I’ve left my notes on <strong>classes</strong>, which work as <strong>functional units</strong> in c# and on<strong> </strong>variables which store all sorts of <strong>data.</strong></p><p class="">Next thing would be to use that data residing within classes and do something with it. <strong>Selection statement</strong>s allow us to so different thing depending on the data itself while <strong>operation statements</strong> gives you the ability of parsing through collections of data to read or modify them.</p><h2><strong>Conditional Statements (If-else)</strong></h2><ul data-rte-list="default"><li><p class="">This is the most basic <strong>selection statement. </strong></p></li><li><p class="">We analyze a <strong>condition</strong> and determine what to do if it is true. </p></li><li><p class="">Since a condition can only be either true or false, we must always analyze a <strong>boolean variable</strong> or any method that returns a bool.</p></li><li><p class="">We can use any logic expression that would result in a boolean like 3 &gt; number.</p></li><li><p class="">We can also determine what we want to happen if the condition is not true with the <strong>else</strong> keyword.</p></li><li><p class="">Additionally, we can check further conditions with the <strong>else if</strong> keyword.</p></li><li><p class="">See examples:</p></li></ul><pre class="source-code"><span class="cm-variable">int</span> <span class="cm-variable">health</span>; <span class="cm-keyword">if</span> (<span class="cm-variable">health</span> <span class="cm-operator">&lt;</span> <span class="cm-number">10</span>) { <span class="cm-comment">//Player is hurt. </span> } <span class="cm-keyword">else</span> <span class="cm-keyword">if</span> (<span class="cm-variable">health</span> <span class="cm-operator">&lt;</span> <span class="cm-number">50</span>) { <span class="cm-comment">//Player is low health. </span> } <span class="cm-keyword">else</span> { <span class="cm-comment">//Player is healthy. </span> }</pre><h2><strong>Switch Statement</strong></h2><ul data-rte-list="default"><li><p class="">The conditional structure explained above is good when you just have a few possible options but sometimes <strong>you have a bunch of cases and you want to do something different for each one.</strong></p></li><li><p class="">We can also include a <strong>default case</strong> which will be used if the expression passed is not found.</p></li><li><p class="">The syntaxis is a bit different that conditional statements, see below:</p></li></ul><pre class="source-code"><span class="cm-variable">enum</span> <span class="cm-variable">playerState</span>; <span class="cm-comment">//This struct contains a list of states the player can be in.</span> <span class="cm-keyword">switch</span> (<span class="cm-variable">playerState</span>) { <span class="cm-keyword">case</span> <span class="cm-variable">playerState</span>.<span class="cm-property">poisoned</span> <span class="cm-comment">//We play a poisend snapshot.</span> <span class="cm-keyword">break</span>; <span class="cm-keyword">case</span> <span class="cm-variable">playerState</span>.<span class="cm-variable">burning</span> <span class="cm-comment">//We play a burning snapshot.</span> <span class="cm-keyword">break</span>; <span class="cm-keyword">case</span> <span class="cm-variable">playerState</span>.<span class="cm-variable">confused</span> <span class="cm-comment">//We play a confused snapshot.</span> <span class="cm-keyword">break</span>; <span class="cm-keyword">case</span> <span class="cm-variable">playerState</span>.<span class="cm-variable">dead</span> <span class="cm-comment">//We play a death snapshot.</span> <span class="cm-keyword">break</span>; <span class="cm-keyword">case</span> <span class="cm-keyword">default</span> <span class="cm-comment">//We play the normal snapshot.</span> <span class="cm-keyword">break</span>; }</pre><h2><strong>Logical Operators</strong></h2><ul data-rte-list="default"><li><p class="">If we want to do more complex statements we can use logical operators to add certain conditions and logic.</p></li><li><p class="">We use “<strong>&amp;&amp;”</strong> as an <strong>AND</strong> statement when we want to check that two or more conditions are true.</p></li><li><p class="">We use “<strong>||”</strong> as an <strong>OR</strong> statement if we want to do something when either condition is true. Only one needs to be true.</p></li><li><p class="">We use “<strong>!”</strong> as a<strong> NOT</strong> statement to signify that we want to check the <strong>opposite of a condition</strong>. In other words, the “!” operator inverts a bool, turning a true into false.</p></li><li><p class="">When checking that something is bigger or smaller that our condition, we use <strong>“&lt;“</strong> and <strong>“&gt;”</strong>.</p></li><li><p class="">We can also use <strong>“&lt;=”</strong> to check is something is smaller or equal and <strong>“&gt;=”</strong> to check if it is bigger or equal.</p></li><li><p class="">We use <strong>“==”</strong> to check if a variable equals another.</p></li><li><p class="">See these in action below:</p></li></ul><pre class="source-code"><span class="cm-comment">// NOT</span> <span class="cm-variable">bool</span> <span class="cm-variable">result</span> <span class="cm-operator">=</span> <span class="cm-atom">true</span>; <span class="cm-keyword">if</span> (<span class="cm-operator">!</span><span class="cm-variable">result</span>) { <span class="cm-variable">Console</span>.<span class="cm-property">WriteLine</span>(<span class="cm-string">"The condition is true (result is false)."</span>); } <span class="cm-keyword">else</span> { <span class="cm-variable">Console</span>.<span class="cm-property">WriteLine</span>(<span class="cm-string">"The condition is false (result is true)."</span>); } <span class="cm-comment">// Short-circuit AND</span> <span class="cm-variable">int</span> <span class="cm-variable">m</span> <span class="cm-operator">=</span> <span class="cm-number">9</span>; <span class="cm-variable">int</span> <span class="cm-variable">n</span> <span class="cm-operator">=</span> <span class="cm-number">7</span>; <span class="cm-variable">int</span> <span class="cm-variable">p</span> <span class="cm-operator">=</span> <span class="cm-number">5</span>; <span class="cm-keyword">if</span> (<span class="cm-variable">m</span> <span class="cm-operator">&gt;=</span> <span class="cm-variable">n</span> <span class="cm-operator">&amp;</span><span class="cm-operator">&amp;</span> <span class="cm-variable">m</span> <span class="cm-operator">&gt;=</span> <span class="cm-variable">p</span>) { <span class="cm-variable">Console</span>.<span class="cm-property">WriteLine</span>(<span class="cm-string">"Nothing is larger than m."</span>); } <span class="cm-comment">// AND and NOT</span> <span class="cm-keyword">if</span> (<span class="cm-variable">m</span> <span class="cm-operator">&gt;=</span> <span class="cm-variable">n</span> <span class="cm-operator">&amp;</span><span class="cm-operator">&amp;</span> <span class="cm-operator">!</span>(<span class="cm-variable">p</span> <span class="cm-operator">&gt;</span> <span class="cm-variable">m</span>)) { <span class="cm-variable">Console</span>.<span class="cm-property">WriteLine</span>(<span class="cm-string">"Nothing is larger than m."</span>); } <span class="cm-comment">// Short-circuit OR</span> <span class="cm-keyword">if</span> (<span class="cm-variable">m</span> <span class="cm-operator">&gt;</span> <span class="cm-variable">n</span> <span class="cm-operator">|</span><span class="cm-operator">|</span> <span class="cm-variable">m</span> <span class="cm-operator">&gt;</span> <span class="cm-variable">p</span>) { <span class="cm-variable">Console</span>.<span class="cm-property">WriteLine</span>(<span class="cm-string">"m isn't the smallest."</span>); } <span class="cm-comment">// NOT and OR</span> <span class="cm-variable">m</span> <span class="cm-operator">=</span> <span class="cm-number">4</span>; <span class="cm-keyword">if</span> (<span class="cm-operator">!</span>(<span class="cm-variable">m</span> <span class="cm-operator">&gt;=</span> <span class="cm-variable">n</span> <span class="cm-operator">|</span><span class="cm-operator">|</span> <span class="cm-variable">m</span> <span class="cm-operator">&gt;=</span> <span class="cm-variable">p</span>)) { <span class="cm-variable">Console</span>.<span class="cm-property">WriteLine</span>(<span class="cm-string">"Now m is the smallest."</span>); }</pre><h2><strong>Iteration Statements: foreach</strong></h2><ul data-rte-list="default"><li><p class="">We use this iterator to <strong>go through all the values on a list, dictionary or other collection.</strong></p></li><li><p class="">We use the <strong>“in”</strong> keyword to specify the type of element to be examined and where it comes from.</p></li><li><p class="">Is important to note that <strong>“foreach”</strong> <strong>creates a copy of the collection</strong> when iterating through it so we can’t alter it directly.</p></li><li><p class="">If we want to alter a collection as we loop through it we need to use a <strong>“for”</strong> loop (see below).</p></li><li><p class=""><strong>"foreach”</strong> is more readable and clean but performs worst than a for loop.</p></li></ul><pre class="source-code"><span class="cm-keyword">var</span> <span class="cm-def">fibNumbers</span> <span class="cm-operator">=</span> <span class="cm-keyword">new</span> <span class="cm-variable">List</span><span class="cm-operator">&lt;</span><span class="cm-variable">int</span><span class="cm-operator">&gt;</span> { <span class="cm-number cm-property">0</span>, <span class="cm-number cm-property">1</span>, <span class="cm-number cm-property">1</span>, <span class="cm-number cm-property">2</span>, <span class="cm-number cm-property">3</span>, <span class="cm-number cm-property">5</span>, <span class="cm-number cm-property">8</span>, <span class="cm-number cm-property">13</span> }; <span class="cm-variable">int</span> <span class="cm-variable">count</span> <span class="cm-operator">=</span> <span class="cm-number">0</span>; <span class="cm-variable">foreach</span> (<span class="cm-variable">int</span> <span class="cm-variable">element</span> <span class="cm-keyword">in</span> <span class="cm-variable">fibNumbers</span>) { <span class="cm-variable">Console</span>.<span class="cm-property">WriteLine</span>(<span class="cm-variable">$</span><span class="cm-string">"Element #{count}: {element}"</span>); <span class="cm-variable">count</span><span class="cm-operator">++</span>; } <span class="cm-variable">Console</span>.<span class="cm-property">WriteLine</span>(<span class="cm-variable">$</span><span class="cm-string">"Number of elements: {count}"</span>);</pre><h2><strong>Iteration Statements: for</strong></h2><ul data-rte-list="default"><li><p class="">This will execute the code inside as long as the <strong>condition evaluated is true.</strong></p></li><li><p class="">We <strong>initialize an iterator value</strong> and alter it on each cycle.</p></li><li><p class="">It is very useful for <strong>checking all the elements in a collection</strong> or do something a certain number of times.</p></li><li><p class="">It allows you to <strong>directly alter the values</strong> of the collection that you are examining.</p></li><li><p class="">Is important to note that <strong>we first check the condition and then execute the code</strong> between { }.</p></li></ul><pre class="source-code"><span class="cm-variable">int</span>[] <span class="cm-variable">Numbers</span> <span class="cm-operator">=</span> {<span class="cm-number cm-property">1</span>,<span class="cm-number cm-property">2</span>,<span class="cm-number cm-property">3</span>,<span class="cm-number cm-property">4</span>,<span class="cm-number cm-property">5</span>,<span class="cm-number cm-property">6</span>} <span class="cm-variable">contant</span> <span class="cm-variable">someConstantValue</span>; <span class="cm-keyword">for</span> (<span class="cm-variable">int</span> <span class="cm-variable">i</span> <span class="cm-operator">=</span> <span class="cm-number">0</span>; <span class="cm-variable">Numbers</span>.<span class="cm-property">Length</span>; <span class="cm-variable">i</span><span class="cm-operator">++</span>) { <span class="cm-variable">Numbers</span>[<span class="cm-variable">i</span>] <span class="cm-operator">=</span> <span class="cm-variable">Numbers</span>[<span class="cm-variable">i</span>]<span class="cm-operator">*</span><span class="cm-variable">someConstantValue</span>; }</pre><h2><strong>Iteration Statements: do while</strong></h2><ul data-rte-list="default"><li><p class="">This basically works like a for loop but the main difference is that <strong>the code is executed first and then the condition is checked.</strong></p></li><li><p class="">So in other words a <strong>“do while” </strong>statement will always execute the code between { } at least once.</p></li><li><p class="">You can use the keyword <strong>“break”</strong> to exit the loop at anytime.</p></li></ul><pre class="source-code"><span class="cm-variable">int</span> <span class="cm-variable">n</span> <span class="cm-operator">=</span> <span class="cm-number">0</span>; <span class="cm-keyword">do</span> { <span class="cm-variable">Console</span>.<span class="cm-property">WriteLine</span>(<span class="cm-variable">n</span>); <span class="cm-variable">n</span><span class="cm-operator">++</span>; } <span class="cm-keyword">while</span> (<span class="cm-variable">n</span> <span class="cm-operator">&lt;</span> <span class="cm-number">5</span>);</pre><h2><strong>Iteration Statements: while</strong></h2><ul data-rte-list="default"><li><p class=""><strong>“while”</strong> can also be used by itself to to something while a certain condition is true.</p></li></ul><pre class="source-code"><span class="cm-variable">int</span> <span class="cm-variable">n</span> <span class="cm-operator">=</span> <span class="cm-number">0</span>; <span class="cm-keyword">while</span> (<span class="cm-variable">n</span> <span class="cm-operator">&lt;</span> <span class="cm-number">5</span>) { <span class="cm-variable">Console</span>.<span class="cm-property">WriteLine</span>(<span class="cm-variable">n</span>); <span class="cm-variable">n</span><span class="cm-operator">++</span>; }</pre> Javier Zumer How Raya and the Last Dragon’s superb sound was made – with Shannon Mills & Nia Hansen https://www.asoundeffect.com/raya-and-the-last-dragon-sound/ A Sound Effect urn:uuid:dd4e033f-2271-3f81-082c-f83c79cc130e Wed, 24 Mar 2021 15:22:45 +0100 <img width="640" height="388" src="https://cdna.asoundeffect.com/wp-content/uploads/2021/03/24145322/Raya_Last_Dragon_sound__.jpg" class="attachment-large size-large wp-post-image" alt="" srcset="https://cdna.asoundeffect.com/wp-content/uploads/2021/03/24145322/Raya_Last_Dragon_sound__.jpg 825w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/24145322/Raya_Last_Dragon_sound__-300x182.jpg 300w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/24145322/Raya_Last_Dragon_sound__-768x465.jpg 768w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/24145322/Raya_Last_Dragon_sound__-125x76.jpg 125w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/24145322/Raya_Last_Dragon_sound__-75x45.jpg 75w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/24145322/Raya_Last_Dragon_sound__-220x133.jpg 220w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/24145322/Raya_Last_Dragon_sound__-500x303.jpg 500w" sizes="(max-width: 640px) 100vw, 640px" /><p>Shannon Mills &#038; Nia Hansen take you behind the sound for Disney's mesmerizing animated adventure:</p> <p>The post <a rel="nofollow" href="https://www.asoundeffect.com/raya-and-the-last-dragon-sound/">How Raya and the Last Dragon&#8217;s superb sound was made &#8211; with Shannon Mills &#038; Nia Hansen</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/tasafnOqA6Y" height="1" width="1" alt=""/> Film sound ADR animals animation apocalypse creature disney Doppler dragon Druun evil magic Raya and the Last Dragon animation sound Raya and the Last Dragon sound Raya and the Last Dragon sound design Raya and the Last Dragon sound effects Raya and the Last Dragon sounds sword vocals water Jennifer Walden The Timekeeper: Recording A Clock Shop https://acousticnature.com/journal/field-recording-story-recording-a-clock-shop Acoustic Nature - Field Recording Blog urn:uuid:29001692-086a-04a9-a0c8-ee396b22d79c Tue, 23 Mar 2021 23:30:26 +0100 Join me on a field recording trip to a clock repair shop in this article! &nbsp;<h3><em>Join me on a field recording trip to a clock repair shop in this article!</em></h3>&nbsp;&nbsp; <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616517868796-BLRTP8WCJN50W4MEJP2O/ke17ZwdGBToddI8pDm48kFT-_JTSz9F8aN2K_3f4bm8UqsxRUqqbr1mOJYKfIPR7LoDQ9mXPOjoJoqy81S2I8N_N4V1vUb5AoIIIbLZhVYxCRW4BPu10St3TBAUQYVKcBgf58c_doqJWc7Spy4BPKgQmv7rBLPm6QsrZDbitO9pIZBakO5JsGAxmkFYEirss/recording-clock-sound-effects-main-image.jpg" data-image-dimensions="1200x785" data-image-focal-point="0.5,0.5" alt="Join me on a field recording trip to the Green Mountain National Forest where I record the aftermath of a severe ice-storm!" data-load="false" data-image-id="605a1aecb50fac10411693b7" data-type="image" src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616517868796-BLRTP8WCJN50W4MEJP2O/ke17ZwdGBToddI8pDm48kFT-_JTSz9F8aN2K_3f4bm8UqsxRUqqbr1mOJYKfIPR7LoDQ9mXPOjoJoqy81S2I8N_N4V1vUb5AoIIIbLZhVYxCRW4BPu10St3TBAUQYVKcBgf58c_doqJWc7Spy4BPKgQmv7rBLPm6QsrZDbitO9pIZBakO5JsGAxmkFYEirss/recording-clock-sound-effects-main-image.jpg?format=1000w" /> </figure> <p class="">In preparation for my field recording road trip, I needed to replace the battery in my watch. After a quick Google search for “watch repair near me”, I found The Timekeeper. From the photos, it looked like a small shop owned by a trade master. I was sold.</p><h1>The Shop</h1><p class="">Upon arriving, a woman was already there and was discussing repair costs for a grandfather clock with the owner. This gave me time to look at the plethora of timepieces that filled the shop.</p> <a role="presentation" class=" image-slide-anchor content-fill " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616519191981-6W83V7K0B1TW5HJXR81V/ke17ZwdGBToddI8pDm48kFNOqt3rU1nRN9aS0bRlB0ZZw-zPPgdn4jUwVcJE1ZvWEtT5uBSRWt4vQZAgTJucoTqqXjS3CfNDSuuf31e0tVEHuqhoC0foX7KYJh9SOwwAnco97EPMXz1Qt2vh-s86udUIjMR7y8DvZhQcEy0Q7PU/JJB_5401.jpg" data-image-dimensions="401x600" data-image-focal-point="0.5,0.5" alt="JJB_5401.jpg" data-load="false" data-image-id="605a20177a216421ea030684" data-type="image" src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616519191981-6W83V7K0B1TW5HJXR81V/ke17ZwdGBToddI8pDm48kFNOqt3rU1nRN9aS0bRlB0ZZw-zPPgdn4jUwVcJE1ZvWEtT5uBSRWt4vQZAgTJucoTqqXjS3CfNDSuuf31e0tVEHuqhoC0foX7KYJh9SOwwAnco97EPMXz1Qt2vh-s86udUIjMR7y8DvZhQcEy0Q7PU/JJB_5401.jpg?format=1000w" /><br> </a> <a role="presentation" class=" image-slide-anchor content-fill " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616519192036-WIHQSEUJMCRVBWN7TIZA/ke17ZwdGBToddI8pDm48kMqgvy4aIZ0Rxg44Up-C98tZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpxUAggvRTpWN0F1C77UQt-eHScIn67VbHrqdXAy-U9VFeF42Odiy1jp-hBlpJOUWBQ/JJB_5401-2.jpg" data-image-dimensions="600x334" data-image-focal-point="0.5,0.5" alt="JJB_5401-2.jpg" data-load="false" data-image-id="605a201757a3c712dacb5ad4" data-type="image" src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616519192036-WIHQSEUJMCRVBWN7TIZA/ke17ZwdGBToddI8pDm48kMqgvy4aIZ0Rxg44Up-C98tZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpxUAggvRTpWN0F1C77UQt-eHScIn67VbHrqdXAy-U9VFeF42Odiy1jp-hBlpJOUWBQ/JJB_5401-2.jpg?format=1000w" /><br> </a> <a role="presentation" class=" image-slide-anchor content-fill " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616519192389-UED22AS5YW7JAJ46C1V6/ke17ZwdGBToddI8pDm48kMR1yAHb8bPoH1-OdajP2rZZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpya-Yv2-AUIrtyc_1d9d84jKAfrgH35AgL5HDK7jKFTEAbkVb2mHFRzAaMt_-j0ggg/JJB_5402.jpg" data-image-dimensions="600x400" data-image-focal-point="0.5,0.5" alt="JJB_5402.jpg" data-load="false" data-image-id="605a20185f4ad031534bedda" data-type="image" src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616519192389-UED22AS5YW7JAJ46C1V6/ke17ZwdGBToddI8pDm48kMR1yAHb8bPoH1-OdajP2rZZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpya-Yv2-AUIrtyc_1d9d84jKAfrgH35AgL5HDK7jKFTEAbkVb2mHFRzAaMt_-j0ggg/JJB_5402.jpg?format=1000w" /><br> </a> <a role="presentation" class=" image-slide-anchor content-fill " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616519192534-OR5YBXRBI7EH58WXB46P/ke17ZwdGBToddI8pDm48kG_0Z-RwfAkRQWXWZYnHnOdZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpzBUwCJ5Gagz_AfvabZM_D_67rr8E6wiMRQlTTNBj6Z6jGpFJCZp56G0mRMArw_4sM/JJB_5402-2.jpg" data-image-dimensions="600x511" data-image-focal-point="0.5,0.5" alt="JJB_5402-2.jpg" data-load="false" data-image-id="605a20181e64660fd4a44760" data-type="image" src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616519192534-OR5YBXRBI7EH58WXB46P/ke17ZwdGBToddI8pDm48kG_0Z-RwfAkRQWXWZYnHnOdZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpzBUwCJ5Gagz_AfvabZM_D_67rr8E6wiMRQlTTNBj6Z6jGpFJCZp56G0mRMArw_4sM/JJB_5402-2.jpg?format=1000w" /><br> </a> <a role="presentation" class=" image-slide-anchor content-fill " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616519192834-VIBINR0A0A8O8AJMZ4R9/ke17ZwdGBToddI8pDm48kI4q05X3KulYmO8DDQY0UyFZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpypvqtUULDa5S9GsJQGf8oVyc9rrQnC8mI2A3V7EgiNhTSRrSNt9ZPnYs3r_nluT08/JJB_5403.jpg" data-image-dimensions="600x417" data-image-focal-point="0.5,0.5" alt="JJB_5403.jpg" data-load="false" data-image-id="605a20187edb762560b5ee7c" data-type="image" src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616519192834-VIBINR0A0A8O8AJMZ4R9/ke17ZwdGBToddI8pDm48kI4q05X3KulYmO8DDQY0UyFZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpypvqtUULDa5S9GsJQGf8oVyc9rrQnC8mI2A3V7EgiNhTSRrSNt9ZPnYs3r_nluT08/JJB_5403.jpg?format=1000w" /><br> </a> <a role="presentation" class=" image-slide-anchor content-fill " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616519192990-ASRMJB5W8T2R1PTXG9AV/ke17ZwdGBToddI8pDm48kNvdNK8v1cjONupTKBDyaktZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpx_M-jp8nNm9GcdzTQzHRrYNFWn8gMsoHyfZWr0wEYu9yfdpfGv0n9wFVDtKLXoIrs/JJB_5403-2.jpg" data-image-dimensions="594x600" data-image-focal-point="0.5,0.5" alt="JJB_5403-2.jpg" data-load="false" data-image-id="605a2018394c026f9c4978f2" data-type="image" src="https://images.squarespace-cdn.com/content/v1/58c04c7cb3db2b1cbe0a403b/1616519192990-ASRMJB5W8T2R1PTXG9AV/ke17ZwdGBToddI8pDm48kNvdNK8v1cjONupTKBDyaktZw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpx_M-jp8nNm9GcdzTQzHRrYNFWn8gMsoHyfZWr0wEYu9yfdpfGv0n9wFVDtKLXoIrs/JJB_5403-2.jpg?format=1000w" /><br> </a> <p class="">During a pause in the repair conversation, the sound of the shop filled my ears. It was unlike anything I had ever heard. Four Grandfather clocks along the main wall were the stars of the auditory experience. Together they created a delicate, relaxing melody of ticking and tocking. </p><p class="">Now that I had noticed the sound of The Timekeeper, I could not stop hearing it. The more I listened, the more I wanted to record it. As I continued to wait, ideas filled my mind about how I would go about capturing this unique soundscape. </p><h1>Asking To Record</h1><p class="">After the woman left the shop, it was my turn to meet The Timekeeper. After telling him I was in need of a battery replacement, he got straight to work. It only took a few minutes and my watch was ticking again. Thankfully that was all that it needed after dropping it on the floor while waiting!</p><p class="">While checking out, I still was not sure how I would ask the unusual question, “can I record your shop?” Fortunately, The Timekeeper asked me his own unusual question. He was wondering if I happened to know anyone selling a baseball memorabilia collection. Unfortunately I did not, but would ask around for him.</p><p class="">Then it was my turn to ask. His reaction was expectedly perplexed. After explaining to him that I was a sound recordist and that his shop was sonically interesting, he agreed. </p><h1>Setting Up The Gear</h1><p class="">Two days later, I went back to The Timekeeper 20 minutes before closing. For this recording, I brought my tripod, Sony D100, and DIY SASS microphone. </p><p class="">The most challenging aspect of this recording would be setting my gain. Having never heard the chimes of the four grandfather clocks, I really didn’t know what to expect. Luckily, at 5:30pm, the largest of the four went off and I was able to set my gain based on its loudness. </p><p class="">5:30 was closing time which meant it was time to leave. Now it was time to worry about whether or not I had actually started the recording. </p><h1>The Sound</h1><p class="">At 9:30am, I returned to The Timekeeper to retrieve my equipment. Not surprisingly, my D100 was dead, so I would have to wait until I got home to listen.</p><p class="">Below is my favorite excerpt from the 12-hour recording. It’s during the midnight hour in the shop. </p><iframe allow="autoplay" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1003601386%3Fsecret_token%3Ds-atyedctJU64&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=false" width="100%" frameborder="no" height="166"></iframe><a href="https://soundcloud.com/acousticnature" title="Acoustic Nature" target="_blank">Acoustic Nature</a> · <a href="https://soundcloud.com/acousticnature/midnight-in-a-clock-shop-4-grandfather-clocks/s-atyedctJU64" title="Midnight In A Clock Shop | 4 Grandfather Clocks" target="_blank">Midnight In A Clock Shop | 4 Grandfather Clocks</a><p class="">Honestly, this recording turned out better than I had expected. I like how the four Grandfather clocks are all about 1-minute off. This keeps them from overlapping, although a clock from the back of the shop can be heard during the chimes of the second Grandfather. </p><p class="">I also like how they go off from right-to-left, which creates a nice stereo-image. </p><p class="">There is some audible self-noise, especially when no clocks are chiming, but it is pretty minimal in my opinion.</p><p class="">In total, 8 different clocks can be heard in this short ≈ 6-minute recording. </p><h1>Final Thoughts</h1><p class="">Although human-made sounds are typically a nuisance to me, the sounds of The Timekeeper are quiet, peaceful, and reminiscent of simpler times. I hope you find them equally so!</p><p class="">For more Sound Stories, <a href="https://acousticnature.com/sound-stories">click here</a> or browse below. </p><p class="">Thanks for reading, have a great day!<br>-Jared</p><hr /><hr /><h3>Recent Articles:</h3> <a href="https://acousticnature.com/blog" class="sqs-block-button-element--medium sqs-block-button-element" >more posts</a> &nbsp; Field Recording Sound Story Jared Blake The Timekeeper: Recording A Clock Shop 2020 sound recording expedition to Kenya https://mindful-audio.com/blog/2020-sound-recording-expedition-kenya Blog - Mindful Audio urn:uuid:624f995b-44f7-1425-f29b-689ca9b8a8a2 Tue, 23 Mar 2021 12:39:13 +0100 I keep looking over my shoulder as I’m setting up my rig in a dead Acacia tree. The last thing I want to see now is a lion, a buffalo or a hippo. Technically I’m not allowed to exit the vehicle in Tsavo National Park, and for good reason. The density of big wildlife here is impressive. <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1616171180196-5DFOHR8G5DHIWL9AWM36/ke17ZwdGBToddI8pDm48kLkXF2pIyv_F2eUT9F60jBl7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0iyqMbMesKd95J-X4EagrgU9L3Sa3U8cogeb0tjXbfawd0urKshkc5MgdBeJmALQKw/Giraffes+in+the+savanna" data-image-dimensions="2500x1667" data-image-focal-point="0.5,0.5" alt="Giraffes in the savanna" data-load="false" data-image-id="6054d0a9a899e937badc2c90" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1616171180196-5DFOHR8G5DHIWL9AWM36/ke17ZwdGBToddI8pDm48kLkXF2pIyv_F2eUT9F60jBl7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0iyqMbMesKd95J-X4EagrgU9L3Sa3U8cogeb0tjXbfawd0urKshkc5MgdBeJmALQKw/Giraffes+in+the+savanna?format=1000w" /> </figure> <p class="">I keep looking over my shoulder as I’m setting up my rig in a dead Acacia tree. The last thing I want to see now is a lion, a buffalo or a hippo. Technically I’m not allowed to exit the vehicle in Tsavo National Park, and for good reason. The density of big wildlife here is impressive. </p> <p class="">Unfortunately the only way to get decent recordings of this beautiful landscape is by using drop rigs, which I can’t do by poking my head out of the car window. I have now become a master at setting up drop rigs fast and inconspicuously. It takes me less than 15 seconds from the time I leave the vehicle until I’m back inside. My driver-and-fixer Ken is keeping an eye out and everything works out well in the end.</p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1616247924277-23RYYM9XWFZB87NJVWH2/ke17ZwdGBToddI8pDm48kNiEM88mrzHRsd1mQ3bxVct7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0s0XaMNjCqAzRibjnE_wBlkZ2axuMlPfqFLWy-3Tjp4nKScCHg1XF4aLsQJlo6oYbA/Lioness+at+Tsavo+NP%2C+Kenya." data-image-dimensions="2500x2500" data-image-focal-point="0.49404761904761907,0.7142857142857143" alt="Lioness at Tsavo NP, Kenya." data-load="false" data-image-id="6055fc70c3c8c96e058e1fed" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1616247924277-23RYYM9XWFZB87NJVWH2/ke17ZwdGBToddI8pDm48kNiEM88mrzHRsd1mQ3bxVct7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0s0XaMNjCqAzRibjnE_wBlkZ2axuMlPfqFLWy-3Tjp4nKScCHg1XF4aLsQJlo6oYbA/Lioness+at+Tsavo+NP%2C+Kenya.?format=1000w" /> </figure> <p class="">It’s September 2020 and I’m in Kenya for a two week sound recording expedition. I’m here to record the typical sounds of nature and wildlife in the savanna. It’s my first proper field recording project since Borneo in January and lockdown has not been easy on my mental wellbeing. The trip was rather hastily planned and organised, and everything was uncertain until the moment I got here at Tsavo. There was pressure and stress from the requirement for a negative Covid test, the technical issues getting an e-visa, any possible exposure on the flight here and even having a high body temperature in country (as everywhere there seems to be someone in charge of checking this).</p><h1>Tsavo National Park</h1> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1616249606030-GEBJWAE6TYRM64AQP5N2/ke17ZwdGBToddI8pDm48kG0sXzLG2I85QyZp8ZpOahl7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0vIHRucUU7a1Vci15HXS8HIyFOUrT9_OnKWFj0z76vvMsMQu7p6EAYImZh1X2UKwEQ/Wildlife+at+Tsavo+NP" data-image-dimensions="2500x1938" data-image-focal-point="0.4930715935334873,0.7261904761904762" alt="Wildlife at Tsavo NP" data-load="false" data-image-id="6056030394da796fd4114d59" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1616249606030-GEBJWAE6TYRM64AQP5N2/ke17ZwdGBToddI8pDm48kG0sXzLG2I85QyZp8ZpOahl7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0vIHRucUU7a1Vci15HXS8HIyFOUrT9_OnKWFj0z76vvMsMQu7p6EAYImZh1X2UKwEQ/Wildlife+at+Tsavo+NP?format=1000w" /> </figure> <p class="">Once I arrive at Tsavo National Park all these uncertainties seem to fade away. We spotted some wildlife on the way here but nothing compares to seeing lions, buffalo, elephants, zebras, antelope and a variety of birds congregating at water holes in the savanna. </p><p class="">I’m the only guest at the lodge I’m staying at. It feels a bit surreal to have all this place for myself, but I’m happy as I can make clean and immersive recordings without having a hundred safari vehicles pollute the soundscape with their noise. The pandemic has not been great news for anyone working in tourism but wildlife and nature welcomed this break. It certainly seems the case here in the Kenyan savanna.</p><p class="">I’m at Tsavo for about a week so I spend the first few days getting the lay of the land. I don’t record much, but I drive around with Ken who knows the place and we keep our eyes and ears out for possible recording spots. One day we see a Verreaux’s eagle owl hanging out in a tree so I decide to leave my rig just below it. Fortunately the owl comes back at night and I capture a beautiful selection of territorial calls.</p><p class="">As previously mentioned, the biggest issue at Tsavo is that we’re not allowed out of the vehicle. This matter has completely slipped my mind in the chaos of the preparations and hiring a local ranger isn’t possible due to the pandemic. The next best thing is to scout my locations very carefully and to be lightning fast as I set up the rigs. It’s incredibly dangerous and I don’t advise anyone to do it. </p><p class="">Some days I have 4 or 5 rigs out at any given time. This means exiting the vehicle 8 or 10 times. In certain places it’s easier than in others, especially when there’s good visibility all around. The best place however (Kanderi swamps) is also the most dangerous as that’s where several lion prides like to hang out and there are bushes and trees everywhere. </p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1616347956907-1PZNVHRB8MC47QTNK1AX/ke17ZwdGBToddI8pDm48kNiEM88mrzHRsd1mQ3bxVct7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0s0XaMNjCqAzRibjnE_wBlkZ2axuMlPfqFLWy-3Tjp4nKScCHg1XF4aLsQJlo6oYbA/IMG_2697.jpeg" data-image-dimensions="2500x2500" data-image-focal-point="0.5,0.5" alt="IMG_2697.jpeg" data-load="false" data-image-id="605783232998f4194ffd4f78" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1616347956907-1PZNVHRB8MC47QTNK1AX/ke17ZwdGBToddI8pDm48kNiEM88mrzHRsd1mQ3bxVct7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0s0XaMNjCqAzRibjnE_wBlkZ2axuMlPfqFLWy-3Tjp4nKScCHg1XF4aLsQJlo6oYbA/IMG_2697.jpeg?format=1000w" /> </figure> <p class="">The other issue at Tsavo is troops of roving baboons. They’re hungry, curious and don’t care much for other people’s property. They find one of my rigs and proceed to wrecking it hoping they’ll find food in there. They obviously don’t, but they kill a dry bag and a pair of Lom mikroUsi microphones in the process. Luckily I have several pairs of extra mics so this isn’t a huge setback.</p><p class="">After a few failed attempts, I eventually get <a href="https://soundcloud.com/georgevlad/kanderi-swamp-dawn-chorus-with-lion?in=georgevlad%2Fsets%2Ffield-recordings" target="_blank">decent recordings of lions roaring</a>. I also capture elephants and hippos calling loudly at water holes. Wind is a big problem during the day but it seems to die down around dusk so at least I get some decent nighttime ambience. One evening, after I’ve set up all the rigs, we’re heading back towards camp when I see the moon rising behind the trees. Immediately afterwards I spot a few giraffes so I ask Ken to put the car in reverse so I can line up the moon with the giraffes. Unbelievable, after a bit of back and forth I manage to get exactly the shot I had in mind.</p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1616348783627-U92G87D6L2UHXMWI6R2Y/ke17ZwdGBToddI8pDm48kJKo3YTR7zgUvInmXMbZ6zZ7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0geeCvn1f36QDdcifB7yxGjTk-SMFplgtEhJ5kBshkhu5q5viBDDnY2i_eu2ZnquSA/DSC01934-1-3.jpg" data-image-dimensions="2500x3125" data-image-focal-point="0.5,0.5" alt="DSC01934-1-3.jpg" data-load="false" data-image-id="6057866dafac962c92a29852" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1616348783627-U92G87D6L2UHXMWI6R2Y/ke17ZwdGBToddI8pDm48kJKo3YTR7zgUvInmXMbZ6zZ7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0geeCvn1f36QDdcifB7yxGjTk-SMFplgtEhJ5kBshkhu5q5viBDDnY2i_eu2ZnquSA/DSC01934-1-3.jpg?format=1000w" /> </figure> <p class="">The days go by incredibly fast and I can’t believe it’s soon time to leave Tsavo. The landscapes here have been amazing, the wildlife sightings out of this world, and the soundscapes just beautiful. This is a place I definitely want to return to.</p><h1>Lake Naivasha</h1> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1616348991997-UCZT8P17IQNZBWDYYFQC/ke17ZwdGBToddI8pDm48kCDnvzZDSTqrZYB0qToMReZ7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0psyQQR5KrxgIm8QcotvsYtvUHnJsni5ivcu2RP0UO8zWN1uCXtq4fHLhtl5lYmmpQ/DSC02280.JPG" data-image-dimensions="2500x1662" data-image-focal-point="0.5,0.5" alt="DSC02280.JPG" data-load="false" data-image-id="6057873e1043a842bba323e2" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1616348991997-UCZT8P17IQNZBWDYYFQC/ke17ZwdGBToddI8pDm48kCDnvzZDSTqrZYB0qToMReZ7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0psyQQR5KrxgIm8QcotvsYtvUHnJsni5ivcu2RP0UO8zWN1uCXtq4fHLhtl5lYmmpQ/DSC02280.JPG?format=1000w" /> </figure> <p class="">On my way from Tsavo to the Masai Mara I make a brief stop at Lake Naivasha. It’s not a great place to do sound recording because of the myriad boats and the various villages nearby, but it’s definitely a good spot for photography and for immersing myself into the day to day life of this part of Kenya. I book a dawn cruise on the lake which ends up starting more than two hours because of miscommunication and a flooded quay. </p><p class="">Eventually we get on the water and find good numbers of pelicans, fish eagles, wetland birds and kingfishers. On the island in the middle of the lake we spot giraffes and other big mammals. This turns out to be a decent spot for sound recording, if only I wasn’t supposed to leave by midday. The big numbers of wildlife are good news, although not everything is rosy.</p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1616349628806-D576PRWOQEN9PSVMNY3H/ke17ZwdGBToddI8pDm48kIMSmzRDd-WkDLF5fB6DMbx7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0ouw-8l5B_J38LMU7OZFvYek7p_oa1I7c590JjQNkbaWV65Fk36DE_GZEtL0ZjZsAw/DSC05520-1.jpg" data-image-dimensions="2500x3079" data-image-focal-point="0.5073332821598836,0.6369047619047619" alt="DSC05520-1.jpg" data-load="false" data-image-id="605789b9ca24454a7324b4b2" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1616349628806-D576PRWOQEN9PSVMNY3H/ke17ZwdGBToddI8pDm48kIMSmzRDd-WkDLF5fB6DMbx7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0ouw-8l5B_J38LMU7OZFvYek7p_oa1I7c590JjQNkbaWV65Fk36DE_GZEtL0ZjZsAw/DSC05520-1.jpg?format=1000w" /> </figure> <p class="">The few fishermen I encounter on my boat trip all talk about an invasive algae that is taking over these lakes. This makes fishing way more difficult and has an adverse effect on the local wildlife populations. Another thing that threatens their livelihoods is the constantly rising levels of the water in the entire lakes region. While that normally shouldn’t be an issue, it’s so much out of the ordinary that there’s a lot of flooding happening on the banks of these lakes and this threatens businesses, homes and livelihoods.</p><p class="">Add to this the sudden lack of tourism revenue caused by the pandemic and you can understand how much worse life has become for people living here. Most of them now work for a Dutch enterprise growing tulips for export, but the conditions there are dismal even for this part of the world and the pay is laughably low. It’s easy to see but quite sobering to realise how big a difference tourism made for these people before the pandemic.</p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1616350375436-ELO0SZ7PDYTXNR2ESRZL/ke17ZwdGBToddI8pDm48kJIUnXP83bZi9DJfK5CMpXp7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0iy8Rj2bPXFyaluz0PeKicMM_6lQqsvRlftIV683WtxnJSEKLxRiIoUmRE4wxAVQkw/DSC05827-1-2.jpg" data-image-dimensions="2500x1481" data-image-focal-point="0.5,0.29593095501300615" alt="DSC05827-1-2.jpg" data-load="false" data-image-id="60578ca57e50097d3e9845c2" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1616350375436-ELO0SZ7PDYTXNR2ESRZL/ke17ZwdGBToddI8pDm48kJIUnXP83bZi9DJfK5CMpXp7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0iy8Rj2bPXFyaluz0PeKicMM_6lQqsvRlftIV683WtxnJSEKLxRiIoUmRE4wxAVQkw/DSC05827-1-2.jpg?format=1000w" /> </figure> <h1>Masai Mara</h1><p class="">Just about halfway through my trip to Kenya I arrive at Mara North, a private conservancy on the edge of Masai Mara National Park. It’s decidedly different from my experience at Tsavo for a few obvious reasons. First of all, the landscape here is green and lush as opposed to the ochre dirt at Tsavo. Secondly, being at a private conservancy means I have a Masai guide accompanying me everywhere and as a result I can exit the vehicle whenever I want to. </p><p class="">William (the guide) has experience working with film crews so he doesn’t need a lot of explaining before he can take me to the best places for sound recording. He also takes me on walking safaris around the unfenced camp. It’s a bit daunting at first to be walking right where I saw lions hours before, but he says it’s fine and I shouldn’t be worried.</p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1616351798201-OSO2BTGOPAP9XSFYBYME/ke17ZwdGBToddI8pDm48kOfWSecpPqqkEUM5Zp0BtLt7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0s0XaMNjCqAzRibjnE_wBlm_3oE9SCFJQOQrjQ_i4gDsIGVHNjs6kSvle0gbxC_lhg/IMG_3025-1.jpg" data-image-dimensions="2500x1354" data-image-focal-point="0.5,0.5" alt="IMG_3025-1.jpg" data-load="false" data-image-id="605792330f93da79c6abb8ee" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1616351798201-OSO2BTGOPAP9XSFYBYME/ke17ZwdGBToddI8pDm48kOfWSecpPqqkEUM5Zp0BtLt7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0s0XaMNjCqAzRibjnE_wBlm_3oE9SCFJQOQrjQ_i4gDsIGVHNjs6kSvle0gbxC_lhg/IMG_3025-1.jpg?format=1000w" /> </figure> <p class="">It feels exhilarating and liberating to be walking in the savanna after being conditioned to think about being on foot as dangerous. It’s also a bit stressful as my senses become incredibly acute. It takes me a while to let go and just trust that I’ll be fine, but in the process I realise how much I’m in the moment without ever thinking about anything that isn’t my immediate surroundings. It’s a welcome break from distractions, social media, work, lockdown etc.</p><p class="">Another consequence of being so alert is that my brain isn’t too selective with the things I hear. In normal situations, irrelevant parts of the soundscape would just be discarded on their way to the auditory cortex. During my walking safari, the entire soundscape is in focus. My footsteps seem hugely magnified even as I try to be as quiet as possible. The insect chorus is pretty sparse during the day but it seems impossible to ignore. Soft wind in the grass and leaves sounds like a jet engine. Distant hyenas yelping or buffalo grunting seem to be picked up with huge parabolae instead of just my ears. It’s an intense but incredibly immersive experience to which a safari in a vehicle pales in comparison. </p><p class="">Since the conservancy is outside the Masai Mara national park, I have to plan for a few days of park exploration and recording. Joined by Ken and a local Masai guide, I leave early before dawn so we can arrive there before the daytime heat chases wildlife away from the grassland and into dens or cover. We have idyllic breakfasts in the savanna swatting away flies and listening to distant hippos in the river. The sightings are breathtaking and include all so-called big 5 game plus a host of other mammals, birds and reptiles.</p><p class="">Recording with drop rigs in the Masai Mara proves a little less straightforward. The nearby and contiguous Serengeti derives its name from the Masai words for “endless plains”. It’s no surprise that places where I can hide recording equipment are scarce. The occasional tree or bush that we happen upon is very exposed and does not harbour much wildlife. Riverside looks a bit more promising but difficult to reach because of grumpy pods of hippos. </p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1616494673913-2IX89BVTYCQS52J35APA/ke17ZwdGBToddI8pDm48kDy8jH3R0p712sEncyQflBp7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z5QPOohDIaIeljMHgDF5CVlOqpeN Field recording adventure Trip reports George Vlad 2020 sound recording expedition to Kenya 37 new sound effects libraries: magic, gore, classic vintage synths, roaring vehicles, ambiences from Australia, UK and Russia – and much more! https://www.asoundeffect.com/new-sound-effects-vehicles-ambiences-from-australia-uk-and-russia-and-much-more/ A Sound Effect urn:uuid:0e6eeaf5-a157-3363-3f4f-621fc8b0dd6b Sun, 21 Mar 2021 14:22:09 +0100 <img width="640" height="351" src="https://cdna.asoundeffect.com/wp-content/uploads/2021/03/16000624/SFXRecap_20210315-1024x561.png" class="attachment-large size-large wp-post-image" alt="37 new libraries" srcset="https://cdna.asoundeffect.com/wp-content/uploads/2021/03/16000624/SFXRecap_20210315-1024x561.png 1024w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/16000624/SFXRecap_20210315-300x164.png 300w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/16000624/SFXRecap_20210315-768x420.png 768w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/16000624/SFXRecap_20210315-125x68.png 125w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/16000624/SFXRecap_20210315-75x41.png 75w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/16000624/SFXRecap_20210315-1536x841.png 1536w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/16000624/SFXRecap_20210315-2048x1121.png 2048w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/16000624/SFXRecap_20210315-220x120.png 220w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/16000624/SFXRecap_20210315-500x274.png 500w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/16000624/SFXRecap_20210315-e1615849625110.png 864w" sizes="(max-width: 640px) 100vw, 640px" /><p>Hear the latest sound effects libraries from the independent sound community:</p> <p>The post <a rel="nofollow" href="https://www.asoundeffect.com/new-sound-effects-vehicles-ambiences-from-australia-uk-and-russia-and-much-more/">37 new sound effects libraries: magic, gore, classic vintage synths, roaring vehicles, ambiences from Australia, UK and Russia &#8211; and much more!</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/wlsu50_lDAs" height="1" width="1" alt=""/> New sound effects libraries Adriane Kuzminski How to use Startup Actions in REAPER https://reaperblog.net/2021/03/startup-actions/ The REAPER Blog urn:uuid:7ed55d93-39f3-2d92-e881-7baaa65b302f Sat, 20 Mar 2021 19:45:39 +0100 <p>How to set up actions that run at REAPER's launch, and project load.</p> The post <a href="https://reaperblog.net/2021/03/startup-actions/">How to use Startup Actions in REAPER</a> first appeared on <a href="https://reaperblog.net">The REAPER BLOG</a>. REAPER CUSTOMIZATION TUTORIAL VIDEO Admin 21 great new audio jobs at Marvel, Supernatural, Supercell Shanghai, Scopely, Epic, Sumo, WildBrain Spark, Within, Wave, Harebrained Schemes, Peloton, Firesprite, Spirit Consulting, Lenovo, WEFRAME, Limitless Games, Ready at Dawn, Ubisoft Montreuil, Sri V https://soundlister.com/great-new-audio-jobs-at-marvel-supernatural-supercell-shanghai-scopely-epic-sumo-wildbrain-spark-within-wave-harebrained-schemes-peloton-firesprite-spirit-consulting-lenovo-weframe-limi/ Soundlister.com urn:uuid:c407c629-0ed7-5777-d3f3-930e6c2f7471 Fri, 19 Mar 2021 23:32:49 +0100 <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: Audio Mixer, Audio Lead, Senior Sound Designer, Sound Designer, Audio Mixer, Head of Music, Audio Programming Engineer, Senior Audio Producer, Audio Director, Audio Engineer Internship, Audio Engineer, Director of Audio, Audio Director, Technical Sound Designer, Sound Engineer, Associate Podcast Producer, Senior Technical Audio Designer, and Senior Audio Programmer</p> <p>The post <a rel="nofollow" href="https://soundlister.com/great-new-audio-jobs-at-marvel-supernatural-supercell-shanghai-scopely-epic-sumo-wildbrain-spark-within-wave-harebrained-schemes-peloton-firesprite-spirit-consulting-lenovo-weframe-limi/">21 great new audio jobs at Marvel, Supernatural, Supercell Shanghai, Scopely, Epic, Sumo, WildBrain Spark, Within, Wave, Harebrained Schemes, Peloton, Firesprite, Spirit Consulting, Lenovo, WEFRAME, Limitless Games, Ready at Dawn, Ubisoft Montreuil, Sri Venkateswara University, and Cloud Chamber</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="f271945dc9" /><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 Supernatural, Supercell Shanghai, Epic Games, and WildBrain Spark &#8211; and they&#8217;re looking for an Audio Mixer (CA, US), Audio Lead (SH, China), Senior Sound Designer (NC, US), and Sound Designer (England).</p> <p>We also found openings for an <a href="https://gamejobs.co/Audio-Mixer-at-Within" target="_blank" rel="noopener noreferrer">Audio Mixer</a> at Within (CA, US), <a href="https://gamejobs.co/Head-of-Music-at-Wave" target="_blank" rel="noopener noreferrer">Head of Music</a> at Wave (CA, US), <a href="https://gamejobs.co/Audio-Engineer-at-Harebrained-Schemes" target="_blank" rel="noopener noreferrer">Audio Programming Engineer</a> at Harebrained Schemes (WA, US), <a href="https://boards.greenhouse.io/peloton/jobs/2988692" target="_blank" rel="noopener noreferrer">Senior Audio Producer</a> at Peloton Interactive (NY, US), <a href="https://www.firesprite.com/careers/job/45DC1808C0" target="_blank" rel="noopener noreferrer">Audio Director</a> at Firesprite (England), <a href="https://iprcareerconnect.mysmartjobboard.com/job/11110/audio-engineer-internship-spirit-consulting/" target="_blank" rel="noopener noreferrer">Audio Engineer Internship</a> at Spirit Consulting (Remote), <a href="https://www.linkedin.com/jobs/view/2452503405/" target="_blank" rel="noopener noreferrer">Audio Engineer</a> at Lenovo (FU, China), <a href="https://www.linkedin.com/jobs/view/2439319281/" target="_blank" rel="noopener noreferrer">Director of Audio</a> at WEFRAME (Germany), <a href="http://www.readyatdawn.com/careers-list/audio-director/" target="_blank" rel="noopener noreferrer">Audio Director</a> at Ready at Dawn (CA / OR, US), <a href="https://www.ubisoft.com/en-US/careers/search.aspx#sr-post-id=743999738598577&#038;is-redirect=true" target="_blank" rel="noopener noreferrer">Technical Sound Designer</a> at Ubisoft Montreuil (France), <a href="https://www.linkedin.com/jobs/view/2463535218/" target="_blank" rel="noopener noreferrer">Sound Engineer</a> at Sri Venkateswara University (AP, India), <a href="https://jobs.disneycareers.com/job/new-york/associate-podcast-producer/391/18997203" target="_blank" rel="noopener noreferrer">Associate Podcast Producer</a> at Marvel Entertainment (NY, US), <a href="https://www.linkedin.com/jobs/view/2455973495/" rel="noopener noreferrer" target="_blank">Sound Designer</a> at Scopely, and <a href="https://boards.greenhouse.io/2k/jobs/4401183003" target="_blank" rel="noopener noreferrer">Audio Lead</a>, <a href="https://boards.greenhouse.io/2k/jobs/4414290003" target="_blank" rel="noopener noreferrer">Senior Technical Audio Designer</a> and <a href="https://boards.greenhouse.io/2k/jobs/4119156003" target="_blank" rel="noopener noreferrer">Senior Audio Programmer</a> at Cloud Chamber (QC, Canada).</p> <p>There are also 8 audio opportunities still open at Sumo Digital (England), including one for an <a href="https://jobs.lever.co/sumo-digital/dfa37edf-4267-4103-aa2d-d771c0e2fc87" rel="noopener noreferrer" target="_blank">Audio Director</a>, <a href="https://jobs.lever.co/sumo-digital/287b2ffc-9578-4cc2-a945-018ad6eff5aa" rel="noopener noreferrer" target="_blank">Lead Sound Designer</a>, <a href="https://jobs.lever.co/sumo-digital/8b3246d0-56c0-40b1-97e9-ba2b54d1053c" rel="noopener noreferrer" target="_blank">Senior Sound Designer</a>, <a href="https://jobs.lever.co/sumo-digital/2762216e-20d9-4666-8022-0983489156ff" rel="noopener noreferrer" target="_blank">Senior Technical Sound Designer</a>, <a href="https://jobs.lever.co/sumo-digital/b742f050-1336-4993-befd-01c90c1be48f" rel="noopener noreferrer" target="_blank">Sound Designer</a> (Sumo Sheffield) and <a href="https://jobs.lever.co/sumo-digital/ef2320a1-fdf7-4dcb-9844-011e5873ee6e" rel="noopener noreferrer" target="_blank">Sound Designer</a> (The Chinese Room). </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%2Flimitlessgames.com%2F2021%2F01%2F27%2Fsound-designer%2F%3Ffbclid%3DIwAR1VP63ctdFhqxcL_AEuDaLrnYxyJI6K2R-NKH51nYwzUJX_aDOGBMlzFnA&#038;h=AT0a8IAJNUk_3reXGQeLj5vkCDSQU2CL43ogoU9dKYJU9nNAUMTYul_amWp-IpfY2hiN4Sur7KGvh-Vm1lKZSHdw1gKtpCIJQS4UhsB1SVC1zFR0pE-z7i6YBVJgD7-_sw" target="_blank" rel="noopener noreferrer">Sound Designer</a> at Limitless Games (Spain). Happy job hunting!</p> </div> <hr> <strong>Highlight &#8211; sound stories this week:</strong> <br>• <a href="https://www.asoundeffect.com/featured-sound-creator-thomas-rex-beverly/" target="_blank" rel="noopener noreferrer">Meet Thomas Rex Beverly</a> &#8211; an extraordinary nature sound recordist. <br>• Go <a href="https://www.asoundeffect.com/best-sound-oscar-nominees-2021/" rel="noopener noreferrer" target="_blank">behind the sound for all the <em>Best Sound</em> Oscar nominees 2021</a> <br>• Greg Lester takes a look at why <a href="https://www.asoundeffect.com/stealth-game-sound-design/" target="_blank" rel="noopener noreferrer">carefully-crafted sound design in stealth games is so vital</a> <br>• Get the stories behind the music for the <a href="https://www.asoundeffect.com/best-original-score-oscar-nominees-2021/" target="_blank" rel="noopener noreferrer">Best Original Score Oscar nominees 2021</a> and hear the full scores <br>• Andy Hay and Bryan Parker take you behind <a href="https://www.asoundeffect.com/one-night-in-miami-sound/" target="_blank" rel="noopener noreferrer">the sound for <em>One Night in Miami</em> in this exclusive video</a> <hr> <br> <div class="note"><strong><span style="font-size: 24px;">Audio Mixer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Supernatural</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Los Angeles, CA, US</span><br> <div class="jobDesc"><strong>Job description</strong> <p>We are Supernatural! Recognized by <a href="https://time.com/collection/best-inventions-2020/5911373/within-supernatural/">TIME</a> as one of the <em>Best Inventions of 2020</em>, <a href="https://www.fastcompany.com/90547343/supernatural-innovation-by-design-2020">Fast Company’s <em>Best App</em></a>, and covered in the <a href="https://www.nytimes.com/2021/01/01/technology/confessions-of-a-virtual-reality-gym-rat.html">New York Times</a>! <a href="https://www.getsupernatural.com/?gclid=CjwKCAiA57D_BRAZEiwAZcfCxQ7rcrehRnOOOoTA6Mk0CbK54QrN9CIlt_Ejmz2JtJLUqmdHTZhN-BoCey4QAvD_BwE">Supernatural</a> is a next-generation fitness experience in VR (virtual reality) with real coaches, stunning natural environments, music from major record labels, and new workouts released every day. Available now on Oculus Quest and Quest 2. </p> <p>Developed by a team of passionate world-class experience designers, choreographers, game developers, trainers, and physical fitness experts, Supernatural is a dynamic, immersive experience that is always adapting to your needs, personalized for you &#8211; available on-demand in your home. </p> <p><strong><em>What you&#39;ll do:</em></strong><br> As an Audio Mixer, you will be responsible for preparing music files for our choreographers, creating spatial ambient landscapes for our in headset environments, and mixing trainer voice-over files over music for final delivery in headset. </p> <strong><em>The impact you&#39;ll make:</em></strong> <ul> <li>Process and prepare licensed music/audio tracks for our level design pipeline.</li> <li>Generate precise tempo track automation to sync up with music tracks.</li> <li>QC track tempo for final and in-progress game levels.</li> <li>Mix and process weekly batches of 7-10 final mixes in a consistent, high-quality manner.</li> <li>Finalize mix levels in headset and submit for final review/note pass by a creative director.</li> <li>Update and design environment ambiances as needed.</li> <li>Collaborate with the Studio team to adjust and improve sound recording/editing standards.</li> <li>Maintain, organize, and adjust audio processing plugin chains. </li> <li>Take on various tests and side projects with the team to better our offerings.</li> </ul> <strong><em>What you&#39;ll need to be successful:</em></strong> <ul> <li>Entry-level, preferred 3+ years of experience in music mixing, audio engineering, or video game audio engineering (school, internship, studio, agency or freelance)</li> <li>Strong oral and written communication skills</li> <li>An eye for detail as well as great organizational skills</li> <li>Proficiency in Izotope RX</li> <li>Proficiency in a DAW of choice ex. Logic Pro X, Pro Tools, Reaper, etc.</li> <li>Ability to deliver high-quality assets with little oversight required</li> <li>Proficient with both macOS &amp; Windows 10</li> <li>Experience thriving in a startup environment</li> </ul> <strong><em>Bonus points for:</em></strong> <ul> <li>1+ years of VR pipeline experience</li> <li>Experience mixing workout content</li> <li>Degree in Music Production, Audio Engineering, or related field</li> <li>Experience with Sound Design</li> <li>Baseline Unity experience</li> <li>Project Management (Airtable, Jira, etc.)</li> </ul> <p>This is a part time position.</p> <p><em>At Supernatural, we value diversity and always treat all employees and job applicants based on merit, qualifications, competence, and talent. We do not discriminate on the basis of race, religion, color, national origin, gender, sexual orientation, age, marital status, veteran status, or disability status.</em></p> </p> </div> <div class="btnFix"><a class="btnJobs" href="https://www.getsupernatural.com/careers/2993225" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://twitter.com/soundbybiru/status/1372268171227373570" target="_blank" rel="noopener noreferrer">Biru Jones @soundbybiru</a></div> </div> <div class="grayBreak"></div> <div class="note"><strong><span style="font-size: 24px;">Audio Lead</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Supercell Shanghai</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Shanghai, SH, China</span><br> <div class="jobDesc"><strong>Job description</strong> <p>We’re looking for a proven leader in sound design and audio production who can bring our games to life with world-class immersive soundscapes that elevate the player experience. The Audio Lead will play an important role in our Shanghai Studio as the first hire in this discipline.</p> <p>In your role, you’ll bridge collaboration between our development team, audio vendors, composers, and licensors to deliver a beautiful and unforgettable audio experience to our players. You will have significant autonomy and a high level of impact, working closely with multiple game teams in Shanghai and, when needed, supporting Helsinki game team needs – building amazing games, and creating all things audio that appears in our games.</p> <strong>Responsibilities</strong> <ul> <li>As the Audio Lead on several new games, you will establish and articulate an audio vision for those games</li> <li>Assist our game teams in creating the best sound design and music for their games, overseeing the quality of the work, and setting the bar for excellence.</li> <li>You will be responsible for the final quality of audio in our games, guiding the ideation, conception, and implementation of audio content for our games</li> <li>Integrate sound design into the development process, creating a collaborative relationship with our game teams and external partners that fosters quality and a healthy work environment</li> <li>You will build and maintain dedicated audio outsourcing partners for us, leveraging the depth of talent around our region</li> <li>Identify technical audio requirements to our engineering teams and assure they&#39;re met</li> <li>You will set up and manage sound studios, audio hardware, and equipment.</li> </ul> <strong>Requirement</strong> <ul> <li>Love for games</li> <li>A positive attitude and an ability to work on numerous projects simultaneously.</li> <li>Proven ability to compose in a wide variety of musical styles and moods.</li> <li>Proven ability to create fully-fledged sound design for games.</li> <li>Proven successful direction, management, supervision, and mentoring of internal or external audio staff.</li> <li>Ability to proactively assess the needs of the game teams.</li> <li>Expert knowledge of sound design and mixing methods and tools.</li> <li>Working knowledge of daws such as Cubase, Logic, Ableton, reaper, etc.</li> <li>Working knowledge of audio effects and virtual instruments.</li> <li>Working knowledge of audio editors and adding audio to video.</li> <li>Knowledge of various audio engines such as Fmod, Audio in unity, Wwise, and so on.</li> <li>Ability to direct voice sessions and write scripts.</li> <li>Ability to work within various technical constraints.</li> <li>Ability to compose quickly and ability to take feedback.</li> <li>Mandarin language capabilities is a plus</li> </ul> <p>Please note: Some form of &quot;demo reel&quot; &quot;credits list&quot; is required for this application. It could be game videos that feature your music and sound design, links to audio streaming services, homepage, and so on. Please include a text explaining your contributions to the works</p> <strong>About Supercell</strong><br> <p>We are a mobile game developer based in Helsinki, Finland, with offices in San Francisco, Seoul and Shanghai. Since our launch in 2010, we&#39;ve released five games globally – Hay Day, Clash of Clans, Boom Beach, Clash Royale and Brawl Stars.</p> <p>To make five games, we&#39;ve killed dozens along the way. That&#39;s because we&#39;re obsessed with quality. Our goal is to make the best games – games that are played by millions, enjoyed for years and remembered forever. To achieve this goal, we create the best possible teams and give them the freedom and independence that are core to our success.</p> <strong>About Shanghai studio</strong><br> <p>As Supercell’s first ever international game development studio, the Shanghai studio is one of the most exciting things happening in Supercell and a unique opportunity to join at a relatively early stage to help shape our path. Our vision is to be a world-class international studio, making new global hit games; whilst leveraging the unique advantages of the game development scene in China and broader Asia.</p> <strong>You might love it here&#8230;</strong><br> <p>If you love to think, talk, play and make games, Supercell is the place for you. We&#39;re made up of proactive, independent teams with the freedom to do what they think is best for their players, our games and the company at large. We know that it takes more than just independence to make great games, so we also take very good care of our people – providing them with the compensation, work environment and resources they need to succeed. <a href="https://supercell.com/en/careers/why-you-might-love-it-here/">Read More</a></p> <p><strong>This position is in Shanghai, but you&#39;re not?</strong><br>Luckily, moving to Shanghai is easier than you might think. No matter where you would be moving from, our dedicated people will help you from beginning to end. We&#39;re here to make sure the process is as smooth as possible for you, your family and whoever and whatever you&#39;re bringing along.</p> </div> <div class="btnFix"><a class="btnJobs" href="https://supercell.com/en/careers/audio-lead/633308/" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://twitter.com/SchoolGameAudio/status/1370400757036515333" 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 Sound Designer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Epic Games</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Cary, NC, US</span><br> <div class="jobDesc"><strong>Job description</strong> <p>At the core of Epic’s success are talented, passionate people. Epic prides itself on creating a collaborative, welcoming, and creative environment. Whether it’s building award-winning games or crafting engine technology that enables others to make visually stunning interactive experiences, we’re always innovating.</p> <p>Being Epic means being a part of a team that continually strives to do right by our community and users. We’re constantly innovating to raise the bar of engine and game development.</p> <p><strong>What we do</strong><br> The audio team at Epic is tasked with creating world-class sound design that delights and compels our players. We work as part of an amazing team in a flexible and fast-paced environment to create and implement audio in an effective and efficient way to ship great games.</p> <strong>What you’ll do</strong><br> As a senior sound designer, you’ll apply your refined audio aesthetic and ear to creating audio for one of the most popular games in the world. We value ideas and the freedom to innovate with amazing audio content and technologies.<br><br> <strong>In this role, you will</strong> <ul> <li>Engage with a world-class team to create amazing audio and gaming experiences.</li> <li>Help to raise the quality level of audio in Epic game titles and technologies.</li> <li>Push the development of audio features and for future Unreal audio engine development.</li> </ul> <strong>What are the skills and knowledge the ideal candidate in this role will have?</strong> <ul> <li>Expert knowledge of sound design and mixing methods and tools.</li> <li>Extensive audio engineering and DAW skills and knowledge.</li> <li>Strong self-management and organization skills and ability to work independently.</li> <li>Experience with Unreal or Unity editors, including scripting, level editor, animation and linear editors.</li> <li>Experience with audio toolsets/middleware and implementation of audio assets into game builds.</li> <li>Mixing and mastering multitrack audio for use in linear or interactive contexts.</li> <li>Able to collaborate with diverse teams and disciplines to create amazing audio.</li> <li>Ability to design and implement audio scripting to achieve desired in-game audio features and dynamic playback.</li> <li>Troubleshooting audio issues and ability to optimize assets to meet memory budget and performance requirements across multiple platforms.</li> </ul> <strong>What we’re looking for</strong> <ul> <li>Must have shipped at least two AAA titles and have 3 years as part of an audio team.</li> <li>Excellent knowledge and understanding of the video game development process.</li> <li>Must have experience with field recording.</li> <li>Must have experience creating audio for linear media.</li> <li>Must be a game player- should be able to talk about and deconstruct other current games’ audio quality and implementation.</li> <li>Someone who is user-focused, passionate, scrappy, solutions-focused, and innovative. These traits equal success at Epic and influence everything we do. </li> </ul> <strong>Nice to have skills</strong> <ul> <li>Musical composition or production experience.</li> <li>Programming or scripting (Python, Lua) experience.</li> <li>VO recording and mastering skills.</li> </ul> <p><em>Please note: A demo reel is required for this application. It should be Audio Jobs Associate Podcast Producer Audio Director Audio Engineer Audio Engineer Internship Audio Lead Audio Mixer Audio Programming Engineer Director of Audio Head of Music Senior Audio Producer Senior Audio Programmer Senior Sound Designer Senior Technical Audio Designer Sound Designer Sound Engineer Technical Sound Designer Adriane Kuzminski Featured Sound Creator: Thomas Rex Beverly https://www.asoundeffect.com/featured-sound-creator-thomas-rex-beverly/ A Sound Effect urn:uuid:a27b4819-0336-fa27-b6d1-f9fa0279595c Wed, 17 Mar 2021 13:58:45 +0100 <img width="640" height="388" src="https://cdna.asoundeffect.com/wp-content/uploads/2021/03/17130915/featured_sound_creator_thomas_rex_beverly_-.jpg" class="attachment-large size-large wp-post-image" alt="Featured Sound Creator: Thomas Rex Beverly" srcset="https://cdna.asoundeffect.com/wp-content/uploads/2021/03/17130915/featured_sound_creator_thomas_rex_beverly_-.jpg 825w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/17130915/featured_sound_creator_thomas_rex_beverly_--300x182.jpg 300w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/17130915/featured_sound_creator_thomas_rex_beverly_--768x465.jpg 768w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/17130915/featured_sound_creator_thomas_rex_beverly_--125x76.jpg 125w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/17130915/featured_sound_creator_thomas_rex_beverly_--75x45.jpg 75w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/17130915/featured_sound_creator_thomas_rex_beverly_--220x133.jpg 220w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/17130915/featured_sound_creator_thomas_rex_beverly_--500x303.jpg 500w" sizes="(max-width: 640px) 100vw, 640px" /><p>Meet Thomas Rex Beverly - an extraordinary nature sound recordist:</p> <p>The post <a rel="nofollow" href="https://www.asoundeffect.com/featured-sound-creator-thomas-rex-beverly/">Featured Sound Creator: Thomas Rex Beverly</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/h4KFVJbNZAU" height="1" width="1" alt=""/> A Sound Effect Sound community highlights Featured Sound Creator Thomas Rex Beverly thomas rex beverly Thomas Rex Beverly ambience Thomas Rex Beverly field recordings Thomas Rex Beverly field recordist Thomas Rex Beverly nature sounds Thomas Rex Beverly recordings Thomas Rex Beverly sound effects Thomas Rex Beverly sound effects library Thomas Rex Beverly sound libraries Asbjoern Andersen Why sound is crucial in stealth games https://www.asoundeffect.com/stealth-game-sound-design/ A Sound Effect urn:uuid:2f484cce-f2c3-7851-0218-48eba2ce8be7 Tue, 16 Mar 2021 20:46:52 +0100 <img width="640" height="360" src="https://cdna.asoundeffect.com/wp-content/uploads/2021/03/16203748/stealth_game_sound_design-1024x576.jpg" class="attachment-large size-large wp-post-image" alt="Stealth game sound design" srcset="https://cdna.asoundeffect.com/wp-content/uploads/2021/03/16203748/stealth_game_sound_design-1024x576.jpg 1024w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/16203748/stealth_game_sound_design-300x169.jpg 300w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/16203748/stealth_game_sound_design-768x432.jpg 768w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/16203748/stealth_game_sound_design-125x70.jpg 125w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/16203748/stealth_game_sound_design-75x42.jpg 75w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/16203748/stealth_game_sound_design-220x124.jpg 220w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/16203748/stealth_game_sound_design-500x281.jpg 500w, https://cdna.asoundeffect.com/wp-content/uploads/2021/03/16203748/stealth_game_sound_design.jpg 1280w" sizes="(max-width: 640px) 100vw, 640px" /><p>Greg Lester takes a look at why carefully-crafted sound design in stealth games is so vital:</p> <p>The post <a rel="nofollow" href="https://www.asoundeffect.com/stealth-game-sound-design/">Why sound is crucial in stealth games</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/hYzCz-kx83I" height="1" width="1" alt=""/> Game audio audio in stealth games stealth game audio Asbjoern Andersen Careers In Audio 2021 – An EIPMA Event https://resurface.audio/careers-in-audio-2021-an-eipma-event/ Page Array – Resurface urn:uuid:9e486bc6-86a9-64dc-4e16-849eda0aa557 Mon, 15 Mar 2021 12:40:02 +0100 <p>20 March 2021 sees some of the audio industry's leading practitioners host an online event exploring the many and varied careers in audio.</p> <p>The post <a rel="nofollow" href="https://resurface.audio/careers-in-audio-2021-an-eipma-event/">Careers In Audio 2021 &#8211; An EIPMA Event</a> appeared first on <a rel="nofollow" href="https://resurface.audio">Resurface</a>.</p> <div style="height:114px" aria-hidden="true" class="wp-block-spacer"></div> <p>This Saturday (20th March 2021) will see some of the audio industry&#8217;s leading practitioners host an online event designed to introduce and demystify the many and varied careers in audio.</p> <p>Created and hosted by <strong>EIPMA</strong> (Entertainment Industry Professionals Mentoring Alliance), <em>Careers In Audio 2021</em> provides a platform for a group of the industry&#8217;s most successful individuals to answer the age-old question: </p> <blockquote class="wp-block-quote"><p><em>What is it that you do?</em></p></blockquote> <p> In so doing, EIPMA aims to educate, enable and inspire those with a talent and an interest in sound to pursue their passion, showcasing career options in the fields of:</p> <p></p> <ul><li>Production Mixing</li><li>Sound Supervision/Sound Design</li><li>Scoring Mixing</li><li>Re-recording Mixing</li><li>Live Sound Mixing</li><li>Mastering</li><li>Technical/Manufacturing</li></ul> <div style="height:85px" aria-hidden="true" class="wp-block-spacer"></div> <h2>Careers in Audio 2021 Registration</h2> <p>Careers In Audio 2021 is free to attend and takes place online on Saturday 20th March 2021 at the following local times:</p> <table class="wp-block-table"><tbody><tr><td>11:00 AM &#8211; 1:00 PM</td><td>US Pacific</td></tr><tr><td>12:00 AM &#8211; 2:00 PM</td><td>US Mountain</td></tr><tr><td>1:00 PM &#8211; 3:00 PM</td><td>US Central</td></tr><tr><td>2:00 AM &#8211; 4:00 PM</td><td>US Eastern</td></tr><tr><td>7:00 PM &#8211; 9:00 PM</td><td>BST</td></tr></tbody></table> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <div class="wp-block-button aligncenter is-style-outline"><a class="wp-block-button__link" href="https://ev3.perigonlive.com/7-evta8bf94916bf04bf9bdce5f3bb71ba50f">CLICK HERE TO REGISTER</a></div> <div style="height:76px" aria-hidden="true" class="wp-block-spacer"></div> <h2>Stellar Speakers</h2> <div class="wp-block-image"><figure class="alignleft is-resized"><img src="https://resurface.audio/wp-content/uploads/Marcos-Contreras-1.jpeg" alt="careers in audio" class="wp-image-15499" width="200" height="200" srcset="https://resurface.audio/wp-content/uploads/Marcos-Contreras-1.jpeg 1024w, https://resurface.audio/wp-content/uploads/Marcos-Contreras-1-150x150.jpeg 150w, https://resurface.audio/wp-content/uploads/Marcos-Contreras-1-300x300.jpeg 300w, https://resurface.audio/wp-content/uploads/Marcos-Contreras-1-768x768.jpeg 768w, https://resurface.audio/wp-content/uploads/Marcos-Contreras-1-100x100.jpeg 100w, https://resurface.audio/wp-content/uploads/Marcos-Contreras-1-610x610.jpeg 610w, https://resurface.audio/wp-content/uploads/Marcos-Contreras-1-600x600.jpeg 600w" sizes="(max-width: 200px) 85vw, 200px" /></figure></div> <p><strong>Marcos Contreras CAS</strong> was born and raised in Puerto Rico and has&nbsp;been living and working as a production sound mixer in Los Angeles for more than a decade, finding success in the reality and unscripted world. His credits&nbsp;include the show <em>The Real&nbsp;Housewives of Potomac</em> and <em>Shahs of Sunset</em> for&nbsp;Bravo and <em>Singapore Social</em> and <em>Made in&nbsp;Mexico</em>&nbsp;for Netflix. Most recently he was the sound mixer on the revival of <em>Reno911</em>.&nbsp;</p> <div class="wp-block-image"><figure class="alignright is-resized"><img src="https://resurface.audio/wp-content/uploads/Greg-Hedgepath.jpeg" alt="careers in audio" class="wp-image-15498" width="200" height="200" srcset="https://resurface.audio/wp-content/uploads/Greg-Hedgepath.jpeg 1024w, https://resurface.audio/wp-content/uploads/Greg-Hedgepath-150x150.jpeg 150w, https://resurface.audio/wp-content/uploads/Greg-Hedgepath-300x300.jpeg 300w, https://resurface.audio/wp-content/uploads/Greg-Hedgepath-768x768.jpeg 768w, https://resurface.audio/wp-content/uploads/Greg-Hedgepath-100x100.jpeg 100w, https://resurface.audio/wp-content/uploads/Greg-Hedgepath-610x610.jpeg 610w, https://resurface.audio/wp-content/uploads/Greg-Hedgepath-600x600.jpeg 600w" sizes="(max-width: 200px) 85vw, 200px" /></figure></div> <p><strong>Greg Hedgepath</strong> works as a supervising sound editor at Warner Brothers Studios in&nbsp;Burbank. Greg&#8217;s formative years in the industry included spells at Skywalker Ranch and Sony Pictures. After Sony Greg became an&nbsp;independent Sound Supervisor and&nbsp;Sound Designer. He created the sound for the tornados in <em>Twister</em>, was a&nbsp;sound designer&nbsp;on the Academy Award winner <em>Speed</em>, and has worked on over 90 films including <em>Frozen,&nbsp;The Incredible Hulk,&nbsp;The Hunger Games </em>and <em>Selma</em>.&nbsp;&nbsp;</p> <div class="wp-block-image"><figure class="alignleft is-resized"><img src="https://resurface.audio/wp-content/uploads/Alan-Meyerson.jpeg" alt="careers in audio" class="wp-image-15497" width="200" height="200" srcset="https://resurface.audio/wp-content/uploads/Alan-Meyerson.jpeg 1024w, https://resurface.audio/wp-content/uploads/Alan-Meyerson-150x150.jpeg 150w, https://resurface.audio/wp-content/uploads/Alan-Meyerson-300x300.jpeg 300w, https://resurface.audio/wp-content/uploads/Alan-Meyerson-768x768.jpeg 768w, https://resurface.audio/wp-content/uploads/Alan-Meyerson-100x100.jpeg 100w, https://resurface.audio/wp-content/uploads/Alan-Meyerson-610x610.jpeg 610w, https://resurface.audio/wp-content/uploads/Alan-Meyerson-600x600.jpeg 600w" sizes="(max-width: 200px) 85vw, 200px" /></figure></div> <p>Recording engineer/mixer/producer <strong>Alan Meyerson CAS </strong>has spent most of his career since 1994&nbsp;recording and mixing scores&nbsp;and soundtracks for motion&nbsp;pictures, television, and video games.&nbsp; Alan has worked extensively with James Newton Howard, Harry Gregson&nbsp;Williams, John Powell,&nbsp;Kris Bowers, Daft Punk,&nbsp;Danny Elfman, and many others; enjoying a long-standing&nbsp;relationship with Hans Zimmer with whom he’s done over&nbsp;100 movies.</p> <div class="wp-block-image"><figure class="alignright is-resized"><img src="https://resurface.audio/wp-content/uploads/Sherry-Klein.jpeg" alt="careers in audio" class="wp-image-15496" width="200" height="200" srcset="https://resurface.audio/wp-content/uploads/Sherry-Klein.jpeg 830w, https://resurface.audio/wp-content/uploads/Sherry-Klein-150x150.jpeg 150w, https://resurface.audio/wp-content/uploads/Sherry-Klein-300x300.jpeg 300w, https://resurface.audio/wp-content/uploads/Sherry-Klein-768x768.jpeg 768w, https://resurface.audio/wp-content/uploads/Sherry-Klein-100x100.jpeg 100w, https://resurface.audio/wp-content/uploads/Sherry-Klein-610x610.jpeg 610w, https://resurface.audio/wp-content/uploads/Sherry-Klein-600x600.jpeg 600w" sizes="(max-width: 200px) 85vw, 200px" /></figure></div> <p><strong>Sherry Klein CAS</strong> is a Post Production Re-Recording Mixer for Television and Film. She is currently living in Los Angeles, Ca. working with Smart Post Sound.&nbsp;Some of her credits include <em>New Amsterdam, Queen of the South, Burn Notice, Sons of Anarchy, </em>and <em>The Shield</em>. Sherry is on the Board of Directors&nbsp;for both the Cinema Audio Society (CAS) and the Entertainment Industry Professionals Mentoring Alliance (EIPMA).. She is also the Chairperson of the&nbsp;CAS Student Recognition Award ( SRA).</p> <div class="wp-block-image"><figure class="alignleft is-resized"><img src="https://resurface.audio/wp-content/uploads/Michelle-Sabolchick-Pettinato.jpg" alt="careers in audio" class="wp-image-15501" width="200" height="200" srcset="https://resurface.audio/wp-content/uploads/Michelle-Sabolchick-Pettinato.jpg 1004w, https://resurface.audio/wp-content/uploads/Michelle-Sabolchick-Pettinato-150x150.jpg 150w, https://resurface.audio/wp-content/uploads/Michelle-Sabolchick-Pettinato-300x300.jpg 300w, https://resurface.audio/wp-content/uploads/Michelle-Sabolchick-Pettinato-768x768.jpg 768w, https://resurface.audio/wp-content/uploads/Michelle-Sabolchick-Pettinato-100x100.jpg 100w, https://resurface.audio/wp-content/uploads/Michelle-Sabolchick-Pettinato-610x610.jpg 610w, https://resurface.audio/wp-content/uploads/Michelle-Sabolchick-Pettinato-600x600.jpg 600w" sizes="(max-width: 200px) 85vw, 200px" /></figure></div> <p><strong>Michelle Sabolchick Pettinato</strong> is a professional&nbsp;concert sound engineer. For the past 30 years she&nbsp;has traveled the world working with artists like Gwen&nbsp;Stefani, Adam Lambert, Kesha, Goo Goo Dolls, Styx,&nbsp;Elvis Costello and many more. She is Co-Founder of&nbsp;Soundgirls.org and a Full Sail Hall of Fame&nbsp;inductee.&nbsp;In 2019 Michelle created MixingMusicLive.com to&nbsp;continue sharing her knowledge and expertise with&nbsp;aspiring sound engineers, musicians, and&nbsp;producers.</p> <div class="wp-block-image"><figure class="alignright is-resized"><img src="https://resurface.audio/wp-content/uploads/Jett-Galindo.jpeg" alt="careers in audio" class="wp-image-15494" width="200" height="200" srcset="https://resurface.audio/wp-content/uploads/Jett-Galindo.jpeg 1024w, https://resurface.audio/wp-content/uploads/Jett-Galindo-150x150.jpeg 150w, https://resurface.audio/wp-content/uploads/Jett-Galindo-300x300.jpeg 300w, https://resurface.audio/wp-content/uploads/Jett-Galindo-768x768.jpeg 768w, https://resurface.audio/wp-content/uploads/Jett-Galindo-100x100.jpeg 100w, https://resurface.audio/wp-content/uploads/Jett-Galindo-610x610.jpeg 610w, https://resurface.audio/wp-content/uploads/Jett-Galindo-600x600.jpeg 600w" sizes="(max-width: 200px) 85vw, 200px" /></figure></div> <p>Los Angeles-based mastering engineer and vinyl cutter, <strong>Jett Galindo</strong> of&nbsp;The Bakery, has worked&nbsp;on albums spanning a wide&nbsp;array of genres and artists including Haley Reinhart, the <em>La La Land</em> OST,&nbsp;Barbra Streisand and the Jaded Hearts Club.&nbsp;After graduating&nbsp;from Berklee College of Music, Jett joined the famed Mastering Lab in 2013 as the sole&nbsp;right-hand woman to pioneer mastering engineer&nbsp;Doug Sax. Jett also serves as a&nbsp;contributing writer for various trade&nbsp;publications and organizations (iZotope’sLEARNportal, WomeninSound, SoundGirls).&nbsp;</p> <div class="wp-block-image"><figure class="alignleft is-resized"><img src="https://resurface.audio/wp-content/uploads/Lauren-Johnson.jpeg" alt="careers in audio" class="wp-image-15493" width="200" height="200" srcset="https://resurface.audio/wp-content/uploads/Lauren-Johnson.jpeg 820w, https://resurface.audio/wp-content/uploads/Lauren-Johnson-150x150.jpeg 150w, https://resurface.audio/wp-content/uploads/Lauren-Johnson-300x300.jpeg 300w, https://resurface.audio/wp-content/uploads/Lauren-Johnson-768x768.jpeg 768w, https://resurface.audio/wp-content/uploads/Lauren-Johnson-100x100.jpeg 100w, https://resurface.audio/wp-content/uploads/Lauren-Johnson-610x610.jpeg 610w, https://resurface.audio/wp-content/uploads/Lauren-Johnson-600x600.jpeg 600w" sizes="(max-width: 200px) 85vw, 200px" /></figure></div> <p><strong>Lauren Johnson</strong> is an all-too-rare woman in a technical field. She has worked in post production houses such as the Fox Theatrical Editorial Department, as an Audio Systems Maintenace Engineer at Margarita Mix Hollywood, a Pro Audio Solutions Specialist at Avid and currently as a Post Production Sound Engineer at Walt Disney Studios. She is also on the Board of EIPMA (Entertainment Industry Professionals Mentoring Alliance) and a member of the Cinema Audio Society. She has an extensive technical background in post production and music recording/mixing workflows and is passionate about mentorship and education.</p> <div class="wp-block-image"><figure class="alignright is-resized"><img src="https://resurface.audio/wp-content/uploads/Karol-Urban.jpeg" alt="careers in audio" class="wp-image-15492" width="200" height="200" srcset="https://resurface.audio/wp-content/uploads/Karol-Urban.jpeg 1024w, https://resurface.audio/wp-content/uploads/Karol-Urban-150x150.jpeg 150w, https://resurface.audio/wp-content/uploads/Karol-Urban-300x300.jpeg 300w, https://resurface.audio/wp-content/uploads/Karol-Urban-768x768.jpeg 768w, https://resurface.audio/wp-content/uploads/Karol-Urban-100x100.jpeg 100w, https://resurface.audio/wp-content/uploads/Karol-Urban-610x610.jpeg 610w, https://resurface.audio/wp-content/uploads/Karol-Urban-600x600.jpeg 600w" sizes="(max-width: 200px) 85vw, 200px" /></figure></div> <p><strong>Karol Urban CAS, MPSE, NATAS</strong> has worked alongside&nbsp;directors and producers as a re-recording mixer for television and feature&nbsp;films since 1999. She&nbsp;describes her job as &#8220;playing mind games with&nbsp;sound.&#8221; As a perpetual student of her craft, she enjoys exploring the&nbsp;power sound has to immersive the&nbsp;viewer in the narrative. Karol is an involved member of her&nbsp;community having served on the Television Academy&#8217;s Governor&#8217;s Peer Group for&nbsp;Sound Mixing, organized events for&nbsp;The LA Sound Group, and served as a blue&nbsp;ribbon panel judge for the Motion Picture Sound Editors Golden Reels. Karol&nbsp;acted as content editor of the&nbsp;CAS Quarterly and served as a board member for&nbsp;the Cinema Audio Society before being elected as President of the organization&nbsp;in 2019.</p> <div class="wp-block-image"><figure class="alignleft is-resized"><img src="https://resurface.audio/wp-content/uploads/Bernard-Weiser.jpeg" alt="careers in audio" class="wp-image-15491" width="200" height="200" srcset="https://resurface.audio/wp-content/uploads/Bernard-Weiser.jpeg 474w, https://resurface.audio/wp-content/uploads/Bernard-Weiser-150x150.jpeg 150w, https://resurface.audio/wp-content/uploads/Bernard-Weiser-300x300.jpeg 300w, https://resurface.audio/wp-content/uploads/Bernard-Weiser-100x100.jpeg 100w" sizes="(max-width: 200px) 85vw, 200px" /></figure></div> <p><strong>Bernard Weiser MPSE</strong> is a professional sound supervisor / editor / designer who has worked in&nbsp;Hollywood for the last 36 years. His passion, commitment and&nbsp;expertise have earned him&nbsp;a reputation as highly regarded and much in demand. As a result, he has worked on over&nbsp;135 feature films including&nbsp;Steven&nbsp;Spielberg’s&nbsp;<em>Schindler&#8217;s List</em> and <em>The Hurt Locker</em>, earning Emmy nominations for&nbsp;<em>Deadwood </em>and <em>True Detective</em>. Bernard is President of the Entertainment&nbsp;Industry Professionals Mentoring&nbsp;Alliance, Vice-President of the Motion Picture Sound Editors, and teaches&nbsp;Sound Design at&nbsp;UCLA’s School of Theater,&nbsp;Film &amp; Television’s Graduate Program.&nbsp;</p> <div style="height:100px" aria-hidden="true" class="wp-block-spacer"></div> <h2>What is EIPMA?</h2> <p>The Entertainment Industry Professionals Mentorship Alliance (EIPMA) provides expert guidance to young people seeking meaningful and productive careers in the entertainment industry. </p> <p>EIPMA is a coalition of trade groups and professional organizations involved in an array of behind-the-scenes art, craft and technology roles that support the magic of movies, television shows, and other media. Their goal is to ensure the continued health and progress of the industry by nurturing its next generation of talent.</p> <p><br>Drawing on the deep experience of their membership members, EIPMA acts as a source for career information and counseling through public events, school programs, media outreach and direct mentorship. </p> <p>EIPMA believes in diversity and is committed to assisting individuals across all races, creeds and economic circumstances. Their goal is to serve as a bridge, linking highly-accomplished, working professionals with those aspiring to follow in their footsteps.</p> <div style="height:214px" 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/careers-in-audio-2021-an-eipma-event/">Careers In Audio 2021 &#8211; An EIPMA Event</a> appeared first on <a rel="nofollow" href="https://resurface.audio">Resurface</a>.</p> News Ben Nemes 162 – The Sound of Metal https://tonebenderspodcast.com/162-the-sound-of-metal/ TonebendersPodcast.com urn:uuid:3628179d-d72d-2c33-ebf3-bf59451c4be3 Fri, 12 Mar 2021 13:46:59 +0100 Supervising Sound Editor Nicolas Becker, Foley Artist Heikki Kossi and Re-recording Mixer Jaime Baksht join us for a talk about their work on the amazing&#8230; Case Study episodes Interview Uncategorized Timothy Muirhead 24 great new audio jobs at Disney, Apple, Microsoft, AVID, Adobe, Ableton, Hypixel Studios, Virtuos, Limitless, Supreme Team, Pixaera, Avataris, Belkin, iHeartMedia, PlayStation UK, Noiseworks, CIG, Blizzard, Raven Software, University of the Arts Helsink https://soundlister.com/24-great-new-audio-jobs-at-disney-apple-microsoft-avid-adobe-ableton-hypixel-studios-virtuos-limitless-supreme-team-pixaera-avataris-belkin-iheartmedia-playstation-uk-noiseworks-cig-b/ Soundlister.com urn:uuid:ae1c28fc-97d7-69d3-f052-a1b4e275bbc2 Fri, 12 Mar 2021 10:14:20 +0100 <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: Senior Sound Designer, Sound Designer, Senior Audio Designer, Consulting Product Manager (Professional Audio Systems), Audio Engineer, Freelance Sound Designer, Sound &#038; Music Designer, Media Production Manager, Hardware QA Engineer, Senior Product Manager of Audio, Podcast Producer, Audio Operator, Lead Sound Designer, Junior Sound Designer, Audio Technical Assistant, Audio Designer, Lecturer in Music Technology, Contract Senior Sound Designer, Contract Music Editor, and Contract Technical Music Designer, Junior Technical Sound Designer, Senior Experience Designer – Audio Tools</p> <p>The post <a rel="nofollow" href="https://soundlister.com/24-great-new-audio-jobs-at-disney-apple-microsoft-avid-adobe-ableton-hypixel-studios-virtuos-limitless-supreme-team-pixaera-avataris-belkin-iheartmedia-playstation-uk-noiseworks-cig-b/">24 great new audio jobs at Disney, Apple, Microsoft, AVID, Adobe, Ableton, Hypixel Studios, Virtuos, Limitless, Supreme Team, Pixaera, Avataris, Belkin, iHeartMedia, PlayStation UK, Noiseworks, CIG, Blizzard, Raven Software, University of the Arts Helsinki, and ArenaNet</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="2afbe70279" /><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 Hypixel Studios, Virtuos, Microsoft, and AVID &#8211; and they&#8217;re looking for a Senior Sound Designer (Remote), Sound Designer (SH, China), Senior Audio Designer (CA, US), and Consulting Product Manager (Professional Audio Systems) (Remote).</p> <p>We also found openings for an <a href="https://www.simplyhired.com/job/cAqGP467dafndRh36HT7v2PQPAqRh0sxh33znJaj8RBmSdLmkY5gVA?tk=1f0f8ulupsa1s800&#038;tkt=serp&#038;isp=0&#038;q=sound+designer" target="_blank" rel="noopener noreferrer">Audio Engineer</a> at Supreme Team (Remote), <a href="https://discord.com/channels/743023892003684382/743030779591786537/818722336730775572" target="_blank" rel="noopener noreferrer">Freelance Sound Designer</a> at Pixaera (Remote), <a href="https://talent.hubstaff.com/jobs/sound-music-designer?utm_source=jooble&#038;utm_medium=cpc&#038;utm_campaign=jooble&#038;fbclid=IwAR1JggbhbKtWI1xeEVbPr1Zyg-OQpnYxoPKBkje4K3AoUU236__OH55pJSg" target="_blank" rel="noopener noreferrer">Sound &#038; Music Designer</a> at Avataris (Austria), <a href="https://jobs.apple.com/en-us/details/200202306/media-production-manager" target="_blank" rel="noopener noreferrer">Media Production Manager</a> at Apple (CA, US), <a href="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.ableton.com%2Fen%2Fjobs%2Fapply%2F312463%2F%3Ffbclid%3DIwAR0yZKX6snh1icfa8NG5QB1OPx-tMY3JGxXWWHHXMI3RMJwcuQVTnZKxUEQ&#038;h=AT1Er7fMSFDINZB6uvhe7_oxw8padrEHusgvLNSZa-7coiynUIcjbblL71kiy3_ymI57y2Irv01RnfmyaLiGddhq6gWnhp7tcUeZKMn64vmQ77NAkR_807W0LEg4iG9JSYIRra6YPIG2FNiQfA" target="_blank" rel="noopener noreferrer">Hardware QA Engineer</a> at Ableton (Germany), <a href="https://belkin.wd5.myworkdayjobs.com/Belkin_Careers/job/Playa-Vista/Senior-Product-Manager--Audio_10009676?fbclid=IwAR3K8z0SbgXZ44rPGL9ObB6JfF7t08limNcEOv2HF7uzlBFS6VuNPtq5mbA" target="_blank" rel="noopener noreferrer">Senior Product Manager, Audio</a> at Belkin (CA, US), <a href="https://iheartmedia.wd5.myworkdayjobs.com/en-US/External_iHM/job/Virtual-CA/Podcast-Producer_Req23125?source=Linkedin&#038;fbclid=IwAR1iKAmmrwpqOWnud0zRaQCrmPScyQi-MrQBwAlslL714VpZ2nTtEt9fP6A" target="_blank" rel="noopener noreferrer">Podcast Producer</a> at iHeartMedia (CA, US), <a href="https://www.linkedin.com/jobs/view/2436737285" target="_blank" rel="noopener noreferrer">Audio Operator</a> at Disney (CT, US), <a href="https://careers.blizzard.com/global/en/job/R005564/Audio-Technical-Assistant-Blizzard-Sound-Temp" target="_blank" rel="noopener noreferrer">Audio Technical Assistant</a> at Blizzard (CA, US), <a href="https://careers.activision.com/job/R004074/Audio-Designer" target="_blank" rel="noopener noreferrer">Audio Designer</a> at Raven Software (WI, US), <a href="https://twitter.com/SMahlamaki/status/1369273748587753472" target="_blank" rel="noopener noreferrer">Lecturer in Music Technology</a> at University of the Arts Helsinki (Finland), and <a href="https://gamejobs.co/Senior-Sound-Designer-Contract-at-ArenaNet" target="_blank" rel="noopener noreferrer">Contract Senior Sound Designer</a> at ArenaNet (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/groups/audiojobs/permalink/858498458214910/" target="_blank" rel="noopener noreferrer">Lead Sound Designer</a> at PlayStation UK (England), <a href="https://www.facebook.com/groups/audiojobs/permalink/859168108147945/" rel="noopener noreferrer" target="_blank">Senior Experience Designer &#8211; Audio Tools</a> at Adobe (San Francisco, Seattle, San Jose, or New York, US), <a href="https://www.facebook.com/groups/audiojobs/permalink/857623798302376/" rel="noopener noreferrer" target="_blank">Senior Sound Designer</a> at Limitless Games (Spain), <a href="https://www.facebook.com/groups/audiojobs/permalink/859217268143029/" rel="noopener noreferrer" target="_blank">Junior Sound Designer, and a Junior Technical Sound Designer</a> at Cloud Imperium Games (England) <a href="http://thenoiseworks.com/jobs/-" target="_blank" rel="noopener noreferrer">Junior Sound Designer</a> at Noiseworks (England). Happy job hunting!</p> </div> <hr> <strong>Highlight &#8211; sound stories this week:</strong><br> • Exclusive video: <a href="https://www.asoundeffect.com/one-night-in-miami-sound/" rel="noopener noreferrer" target="_blank">Behind the powerful sound of <em>One Night in Miami</em> – with Andy Hay and Bryan Parker</a><br> • How the sound team crafted the sounds of conflict and comedy for <a href="https://www.asoundeffect.com/lego-marvel-avengers-sound/" target="_blank" rel="noopener noreferrer"><em>Lego Marvel Avengers: Climate Conundrum</em></a><br> • Audio Lead Joe Thwaites highlights the catchy theme tune for <a href="https://www.asoundeffect.com/sackboy-a-big-adventure-music/" target="_blank" rel="noopener noreferrer"><em>Sackboy: A Big Adventure</em></a><br> • Happy International Women&#8217;s Day! Meet some of the <a href="https://www.asoundeffect.com/international-womens-day-sound-2021/" target="_blank" rel="noopener noreferrer">talented women in sound</a><br> • How Barney Oram created his excellent <a href="https://www.asoundeffect.com/barney-oram-western-black-powder-guns-sound-effects-library/" target="_blank" rel="noopener noreferrer">Western Black Powder Guns sound effects library</a><br> <hr> <br> <div class="note"><strong><span style="font-size: 24px;">Senior Sound Designer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Hypixel Studios</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Remote</span><br> <div class="jobDesc"><strong>Job description</strong> <p><p>We are looking for a Senior Sound Designer to join our team, which collaborates remotely from around the world. Our members range from industry newcomers to veterans with 15+ years of experience. Team members come from a diverse set of backgrounds, but share a common passion for building polished player-focused, community-powered games.</p> <p>At Hypixel Studios we are looking for applicants that are demonstrably passionate about their hobbies, have the drive and commitment to deliver results with minimal supervision, have international-level professional competency in their skill sets, and can demonstrate involvement with other interesting projects throughout their lives.</p> <p>As a new member of our audio team you will be responsible for creating audio concepts, designing quality sound effects, and implementing assets in Wwise (and our in-house Game Engine). You will be continuously communicating with game developers and fellow audio team members to ensure our players are having the best experience while enjoying our games. </p> <strong>Who You Are</strong> <ul> <li>You are driven by discovering solutions to unique problems, and creating complex soundscapes from many different angles </li> <li>You thrive when learning, building, and teaching. Helping solve a difficult problem and then using that knowledge to help the team or pipeline is highly rewarding.</li> <li>You are an excellent communicator. You love to give feedback on work in progress, and you love to teach your co-workers and the community new work methods and efficiencies.</li> <li>You can successfully manage relationships with other teams and help them get the most out of working with Sound Design.</li> </ul> <strong>Desired Traits</strong> <ul> <li>5 Years of experience in audio for games </li> <li>Experience with recording (both studio and field recording techniques), signal flow, processing, and mixing;</li> <li>Wwise knowledge, audio post process plugins, mastering, performance optimization knowledge;</li> <li>Extensive knowledge of DAW tools (e.g. Reaper, Pro Tools);</li> <li>Experience championing the goals set with the Audio Director</li> <li>Ability to implement simple, and efficient solutions to complex, and unique problems</li> <li>Understanding of the technical constraints regarding audio implementation</li> </ul> <strong>Bonus Traits</strong> <ul> <li>Experience with scripting languages</li> <li>Very good debugging skills</li> <li>Passionate about audio in games</li> <li>Experience working on shipped titles</li> </ul> <p>Please note, a relevant showreel of your audio work is required; </p> <strong>We can offer:</strong> <ul> <li>A chance to work on a new game project with an extremely motivated team.</li> <li>Opportunities to learn and grow personally and professionally.</li> <li>A stable and secure work environment.</li> <li>The ability to work remotely.</li> </ul> </p> </div> <div class="btnFix"><a class="btnJobs" href="https://hytale.com/jobs/4405317003" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://twitter.com/kjfsound/status/1369376525028560905" target="_blank" rel="noopener noreferrer">Kieran Fitzpatrick @kjfsound</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> Virtuos</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Shanghai, SH, China</span><br> <div class="jobDesc"><strong>Job description</strong> <p><p><strong>PLAY, GROW and WIN:</strong> To be a part of Virtuos means to be a creator and aim at excellence.</p> <p>At Virtuos, we harness the latest technologies to make video games better and more immersive than ever before. That is why we pride ourselves in constantly pushing the boundaries of possibility since our founding in 2004.</p> <p>Virtuosi are a team of experts – people who have come together to share their mutual passion for producing high-quality games. People who share the same enthusiasm in exploring new ideas and the constant drive to excel in their field. People who believe in earning success through dedication.</p> <p>As a group, Virtuos has become a recognized leader in its field, has been growing faster than its peers have in recent years, and is pursuing an aggressive global expansion strategy. To this end, we are seeking an experienced Sound Designer who can join our team and help pave the way towards our new goals.</p> <p><strong>Location:</strong> China, Shanghai</p> <p><strong>Department:</strong> Sound</p> <strong>Responsibilities:</strong> <ul> <li>Conceptualize, schedule, design, and produce high quality audio assets in accordance with the requirement of the projects.</li> <li>Record and create the audio sample according to the requirement of the projects</li> <li>Optimize the audio post-production to meet the requirement of the projects</li> <li>Work with team members to integrate and adjust the audio assets</li> <li>为项目提供设计方案,包括音频技术方案与日程表</li> <li>根据项目要求进行样本录音与创作</li> <li>根据项目要求进行音频数据后期处理优化</li> <li>与项目中其他成员协作将音频数据整合并调整至最佳表现状态</li> </ul> <strong>Qualifications:</strong> <ul> <li>Professional quality audio production and all related acoustics technologies</li> <li>Passionate about game development</li> <li>Mastered the audio software, e.g. Sound Miner, Avid ProTools</li> <li>Team player, Good communication skill</li> <li>1 year sound design experience in game industry preferred</li> <li>Good English ability preferred</li> <li>具备声学与音频制作知识;对游戏开发有兴趣和热情</li> <li>了解并能熟练使用专业音频软件,例如:Sound Miner,Avid ProTools。</li> <li>善于沟通,团队工作协作能力强</li> <li>有较好的英语听说读写能力者优先</li> <li>1年以上的游戏声音设计经验 </li> <li>有游戏音频设计开发经验者优先</li> </ul> </p> </div> <div class="btnFix"><a class="btnJobs" href="https://www.linkedin.com/jobs/view/2438173523/" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://www.linkedin.com/jobs/" target="_blank" rel="noopener noreferrer">LinkedIn Jobs</a></div> </div> <div class="grayBreak"></div> <div class="note"><strong><span style="font-size: 24px;">Senior Audio Designer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Microsoft</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Sunnyvale, CA, US</span><br> <div class="jobDesc"><strong>Job description</strong> <p>At Microsoft our mission is to empower every person and organization on the planet to achieve more. The M365 Core product design team is creating AI-powered experiences that help people achieve more with less effort. </p> <p>We are designing Search, Assistant and Intelligence-driven experiences via an ongoing conversation with our customers, building a relationship where we work to understand them and earn their trust through transparency and respect. </p> <p>We are looking for a passionate, Senior Audio Designer who can help to shape how we use AI and voice output to create voice-driven experiences that our customers love.<br>Artificial intelligence is changing everything about the ways we design and build products and experiences. Our team embraces the uncertainty and variability of non-deterministic systems, approaching the design of intelligence-driven experiences with curiosity and humility. We strive to create experiences that adapt gracefully and rapidly to the ever-changing unarticulated needs of our customers. </p> <strong>Responsibilities</strong> <ul> <li>Work with design and engineering teams to deliver on our customer promises </li> <li>Deeply understand and fiercely advocate for the experience throughout all stages of the development process and customer journey. </li> <li>Lead, guard and evolve the spoken style and aesthetic tone of the product </li> <li>Evangelize Cortana voice output (TTS; text-to-speech) via creation of demos and related materials; present or assist in presentations </li> <li>Develop teaching assets pertaining to voice design, TTS, and audio tools</li> <li>Rationalize and clarify ambiguous problems and design solutions that illustrate and illuminate variable outcomes</li> </ul> <strong>Qualifications</strong> <ul> <li>8+ years of audio product design experience </li> <li>5+ years of TTS design experience with 1+ yr in emerging Neural-TTS technology </li> <li>Proven understanding of cloud/platform delivery of TTS voices at scale </li> <li>Experience with general AI concepts, </li> <li>voice-driven product design and conversational interfaces </li> <li>Deep understanding of the creative process and general design fundamentals</li> <li>Experience working directly with software developers and other creators </li> <li>Skilled in developing and delivering presentations and teaching documents; excellent communication skills </li> <li>Minimum BA/BS degree in music, audio, or equivalent experience &amp; studies </li> <li>Expert audio software skills; solid base in technical audio theory; recording studio experience (including working directly with voice actors and studio staff) </li> <li>Broad audio design experience (dialogue, music, sound effects) a plus </li> </ul> <p>Microsoft is an equal opportunity employer. All qualified applicants will receive consideration for employment without regard to age, ancestry, color, family or medical care leave, gender identity or expression, genetic information, marital status, medical condition, national origin, physical or mental disability, political affiliation, protected veteran status, race, religion, sex (including pregnancy), sexual orientation, or any other characteristic protected by applicable laws, regulations and ordinances. We also consider qualified applicants regardless of criminal histories, consistent with legal requirements. If you need assistance and/or a reasonable accommodation due to a disability during the application or the recruiting process, please send a request via the <a href="https://careers.microsoft.com/us/en/accommodationrequest">Accommodation request form</a>.</p> <p>Benefits/perks listed below may vary depending on the nature of your employment with Microsoft and the country where you work.</p> </p> </div> <div class="btnFix"><a class="btnJobs" href="https://careers.microsoft.com/us/en/job/994542/Senior-Audio-Designer" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://careers.microsoft.com/us/en/job/" target="_blank" rel="noopener noreferrer">Microsoft Careers</a></div> </div> <div class="grayBreak"></div> <div class="note"><strong><span style="font-size: 24px;">Consulting Product Manager (Professional Audio Systems)</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> AVID</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Remote</span><br> <div class="jobDesc"><strong>Job description</strong> <p><p><strong>ABOUT AVID</strong> Avid makes technology and collaborative tools so creators can entertain, inform, educate, and enlighten the world. Our customers are the visionaries behind the most inspiring feature films, television programs, news broadcasts, televised sporting events, music recording and live concerts. To learn how Avid powers greater creators or for more information, visit <a href="http://www.avid.com">www.avid.com</a>.</p> <p><strong>JOB SUMMARY</strong> As Consulting Product Manager, will be the expert in the marketspace for Professional Audio Systems and you will be the technical expert in product management from design conception to market delivery. You will function as a central resource with design, manufacturing, quality, test, marketing, and distribution as the product(s) move through their lifecycle; directs those involved in the design, modification, and evaluation of all phases of a specific product or group of products; formulates and executes long-term plans for cost/profit control; and promotes use of new technologies and industry-leading trends.</p> <strong>RESPONSIBILITIES AND DUTIES</strong> <ul> <li>Understand the pro audio commercial landscape and how it fits into Avid’s business strategy; how the product will achieve financial results</li> <li>Guide a team that is charged with a product line contribution as a business unit; work closely with and manage 3rd party teams, drive Scrum teams, and set their direction, goals, and work priorities</li> <li>Will work on increasing the profitability of existing products to developing new products for the company.</li> <li>Works closely with and presents to sr. leadership the product roadmap and how it will achieve financial results</li> <li>Be on top of general industry trends down to specific user requirements with an ability to effectively develop new products.</li> <li>Understand and presents competitive industry data to sr leadership in order to gain support and investment to the business product plans.</li> <li>Understand driving need behind customer requests; continue to ask questions to get to the root cause of problems</li> <li>Serve as “voice of the customer” reinforcing customer perspective throughout product development cycle.</li> <li>Be spokesperson for product-team efforts in sprint reviews and technology demonstrations and be able to express the value of our efforts from the customer perspective.</li> <li>Proactively manage expectations and education of all product stakeholders, including but not limited to customers, partners, and internal functions, such as production support, service, and sales.</li> </ul> <strong>QUALIFICATIONS &amp; SKILLS</strong> <ul> <li>Bachelor’s (BA or BS) in business, computer science, or related field</li> <li>10+ years’ experience leading large design efforts and coordinating project teams< Audio Jobs Audio Designer Audio Engineer Audio Operator Audio Technical Assistant Consulting Product Manager Contract Music Editor Contract Senior Sound Designer Contract Technical Music Designer Freelance Sound Designer Hardware QA Engineer Junior Sound Designer Junior Technical Sound Designer Lead Sound Designer Lecturer in Music Technology Media Production Manager Podcast Producer Senior Audio Designer Senior Experience Designer – Audio Tools Senior Product Manager Senior Sound Designer Sound & Music Designer Sound Designer Adriane Kuzminski New opportunity for a Junior Sound Designer at Noiseworks https://soundlister.com/junior-sound-designer-audio-job/ Soundlister.com urn:uuid:49eaab4f-edd9-c7bb-70b2-a60eab7f0477 Wed, 10 Mar 2021 12:24:37 +0100 <p><img width="600" height="400" src="https://soundlister.com/wp-content/uploads/2021/03/aj_junior_sound_designer-600x400.jpg" class="attachment-large size-large wp-post-image" alt="" loading="lazy" style="float:left; margin:0 15px 15px 0;" />Learn more about this audio job in London, UK:</p> <p>The post <a rel="nofollow" href="https://soundlister.com/junior-sound-designer-audio-job/">New opportunity for a Junior Sound Designer at Noiseworks</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/2021/03/aj_junior_sound_designer-600x400.jpg" class="attachment-large size-large wp-post-image" alt="" loading="lazy" style="float:left; margin:0 15px 15px 0;" />There&#8217;s a new opportunity for a Junior Sound Designer at Noiseworks in London, UK: <br> &nbsp; <br> <center><h3><a href="http://thenoiseworks.com/jobs/" 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/junior-sound-designer-audio-job/">New opportunity for a Junior Sound Designer at Noiseworks</a> appeared first on <a rel="nofollow" href="https://soundlister.com">Soundlister.com</a>.</p> Uncategorized Asbjoern Andersen Enable / Disable Edit Cursor Highlight (REAPER V6.25) https://reaperblog.net/2021/03/edit-cursor-highlight/ The REAPER Blog urn:uuid:b9941996-a074-07de-76f7-d9f31162ac44 Mon, 08 Mar 2021 19:24:17 +0100 <p>How to change the appearance of the edit cursor in REAPER.</p> The post <a href="https://reaperblog.net/2021/03/edit-cursor-highlight/">Enable / Disable Edit Cursor Highlight (REAPER V6.25)</a> first appeared on <a href="https://reaperblog.net">The REAPER BLOG</a>. REAPER CUSTOMIZATION REAPER UPDATES TUTORIAL Admin Control Surface Integrator for REAPER with Behringer BCF2000 https://reaperblog.net/2021/03/csi-reapinger/ The REAPER Blog urn:uuid:c2013740-9f78-eebd-eafd-10013da621df Sat, 06 Mar 2021 18:02:49 +0100 <p>How to install the CSI Extension for REAPER and using the Reapinger BCF2000 mapping.</p> The post <a href="https://reaperblog.net/2021/03/csi-reapinger/">Control Surface Integrator for REAPER with Behringer BCF2000</a> first appeared on <a href="https://reaperblog.net">The REAPER BLOG</a>. COOL HARDWARE REAPER RESOURCES VIDEO Admin 21 great new audio jobs at Bungie, Free Range, Moon Active, Splash Damage, Game On Studio, Krotos, PlayStation, Cloud Imperium, Royal Wins, Dervico, Voicebooking.com, manicpod, Survios, Goldsmiths, Gameloft Montréal, and Imperial College London https://soundlister.com/21-great-new-audio-jobs-at-bungie-free-range-moon-active-splash-damage-game-on-studio-krotos-playstation-cloud-imperium-royal-wins-dervico-voicebooking-com-manicpod-survios-goldsmiths-ga/ Soundlister.com urn:uuid:94179fc2-2e66-44c9-c544-f6b1e16d406d Fri, 05 Mar 2021 11:06:31 +0100 <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: Audio Director, Sound Designer, Audio Designer, Audio Team Lead, QA Tester, Technical Sound Designer, Audio Programmer, Games Sound Designer, Junior Audio Engineer, Audio Engineer, Senior Audio Engineer, Lecturer in Music, Voice-Over Manager and Designer, Music Curator, Research Associate in Spatial Audio and VR, Senior Audio Designer, Lead Audio Designer, Contract Music Editor and Contract Technical Music Designer </p> <p>The post <a rel="nofollow" href="https://soundlister.com/21-great-new-audio-jobs-at-bungie-free-range-moon-active-splash-damage-game-on-studio-krotos-playstation-cloud-imperium-royal-wins-dervico-voicebooking-com-manicpod-survios-goldsmiths-ga/">21 great new audio jobs at Bungie, Free Range, Moon Active, Splash Damage, Game On Studio, Krotos, PlayStation, Cloud Imperium, Royal Wins, Dervico, Voicebooking.com, manicpod, Survios, Goldsmiths, Gameloft Montréal, and Imperial College London</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="02163b4e89" /><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 Free Range Games, Moon Active, Splash Damage, and Game On Studio &#8211; and they&#8217;re looking for an Audio Director (CA, US), Sound Designer (Israel), Audio Designer (England), and Audio Team Lead (QC, Canada).</p> <p>We also found openings for a <a href="https://www.krotosaudio.com/job-qa-tester/" target="_blank" rel="noopener noreferrer">QA Tester</a> at Krotos (Scotland), <a href="https://gamejobs.co/Technical-Sound-Designer-Middleweight-at-Sony-Playstation" target="_blank" rel="noopener noreferrer">Technical Sound Designer</a> at PlayStation (England), <a href="https://gamejobs.co/Audio-Programmer-Middleweight-at-Sony-Playstation" target="_blank" rel="noopener noreferrer">Audio Programmer</a> at PlayStation (England), <a href="https://gamejobs.co/Audio-Programmer-at-Cloud-Imperium-Games" target="_blank" rel="noopener noreferrer">Audio Programmer</a> at Cloud Imperium (England), <a href="https://www.linkedin.com/jobs/view/2429272484/" target="_blank" rel="noopener noreferrer">Games Sound Designer</a> at Royal Wins (NSW, Australia), <a href="https://www.linkedin.com/jobs/view/2438453891/" target="_blank" rel="noopener noreferrer">Sound Designer</a> at Dervico (South Africa), <a href="https://www.linkedin.com/jobs/view/2432009337" target="_blank" rel="noopener noreferrer">Junior Audio Engineer</a> at Voicebooking.com (Netherlands), <a href="https://www.linkedin.com/jobs/view/2439278624" target="_blank" rel="noopener noreferrer">Audio Engineer</a> at manicpod (MA, India), <a href="https://survios.com/studio/careers/job/?job_id=2948290" target="_blank" rel="noopener noreferrer">Senior Audio Engineer</a> at Survios (CA, US), <a href="https://jobs.gold.ac.uk/vacancy/05-lecturer-in-music-437952.html" target="_blank" rel="noopener noreferrer">Lecturer in Music</a> at Goldsmiths (England), <a href="https://jobs.smartrecruiters.com/Gameloft/743999737109546-gestionnaire-et-concepteur-de-voix-hors-champ-voice-over-manager-and-designer" target="_blank" rel="noopener noreferrer">Voice-Over Manager and Designer</a> at Gameloft Montréal (QC, Canada), <a href="https://gamejobs.co/%c3%89diteur-de-contenu-musical-Music-Curator-at-Gameloft-5416" target="_blank" rel="noopener noreferrer">Music Curator</a> at Gameloft Montréal (QC, Canada), <a href="https://www.imperial.ac.uk/jobs/description/ENG01556/research-associate-spatial-audio-and-virtual-reality" target="_blank" rel="noopener noreferrer">Research Associate in Spatial Audio and VR</a> at Imperial College London (England), <a href="https://www.splashdamage.com/careers/job/o7tLefwj" target="_blank" rel="noopener noreferrer">Senior Audio Designer</a> at Splash Damage (England), <a href="https://www.splashdamage.com/careers/job/ooa6cfwA" target="_blank" rel="noopener noreferrer">Lead Audio Designer</a> at Splash Damage (England), and a <a href="https://boards.greenhouse.io/bungie/jobs/2957397" rel="noopener noreferrer" target="_blank">Contract Music Editor</a> and a <a href="https://boards.greenhouse.io/bungie/jobs/2957494" rel="noopener noreferrer" target="_blank">Contract Technical Music Designer</a> &#8211; both at Bungie (remote/WA, US). </p> </p> <p>And be sure to check out the <a href="https://www.facebook.com/groups/audiojobs/" target="_blank" rel="noopener noreferrer">The Audio Jobs group</a> for more opportunities! Happy job hunting! </div> <hr> <center><strong>Highlight &#8211; sound stories this week:</strong></center><br> • Ashton Mills explores how game audio can help convey information from a broad range of senses – <a href="https://www.asoundeffect.com/transmodality-game-sound-design/" target="_blank" rel="noopener noreferrer">for a much richer gaming experience</a>.<br> • Renee Tondelli and Julian Slater discuss their realistic approach to <a href="https://www.asoundeffect.com/trial-of-the-chicago-7-sound/" target="_blank" rel="noopener noreferrer">the excellent sound in Netflix’s historical drama <em>The Trial of the Chicago 7</em></a><br> • Barney Oram shares the story on <a href="https://www.asoundeffect.com/barney-oram-western-black-powder-guns-sound-effects-library/" rel="noopener noreferrer" target="_blank">how he created his excellent Western Black Powder Guns sound effects library</a><br> • Re-recording Mixer Sam Castleton takes you <a href="https://www.asoundeffect.com/the-surgeons-cut-sound/" rel="noopener noreferrer" target="_blank">behind the sound for Netflix docu-series <em>The Surgeon’s Cut</em>.</a><br> <hr> <br> <div class="note"><strong><span style="font-size: 24px;">Audio Director</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Free Range Games</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Sausalito, CA, US</span><br> <div class="jobDesc"><strong>Job description</strong> <p><p>Free Range Games grows games the old fashioned way: we don’t put our devs in cages, we work distributedly, and we don’t use toxic work/life trade-offs. Some of our crafters have worked together from PS1 to PS5 and will tell you about carving games one triangle at a time from punch cards.</p> <p>We are some of the folk behind Spider-man, Tony Hawk, Lord of the Rings, Twitch Sings, Oddworld, Shrek Super Slam, and dozens of mobile and web games. We believe every member of the team has a voice in what the game should be.</p> <p>You might have seen we have a whole crop of VR games and enterprise products coming up, but what we need you for to do is one of our Unreal next gen big budget games. We need great, self-driven, challenge-seeking developers to join us in creating something really special on the latest consoles. We like developers who thrive under management neglect.</p> <p>Here at FRG, we care about one thing, and that’s making a great cup of game. Sure, it may take longer to brew, and we might not call it fancy names, but I guess we just care a little more. And that’s why Free Range Games are still made by the finest devs we can muster. Cooler games for a hipper world, focused on unique mechanics and moments of wonder rather than “hours of content” and “key performance indicators.”</p> <p>We prioritize community, family, and love-of-gaming over process, crunching, and TPS reports. And maybe that’s what you want too.</p> <p>We are looking for an Audio Director to lead our audio team on our next-gen video games and our ventures into AR and VR. We are currently working on a number of exciting new projects, both big and small. If you are interested in finding a home where you can challenge yourself to do your best work on original, creative titles, then hit us up.</p> <strong>Responsibilities</strong> <ul> <li>Design immersive and cinematic sound effects to engage players, drive the narrative, and deliver compelling audio experiences</li> <li>Provide expert direction, leadership, management, creation and integration of game audio over all projects. Sound, Voice and Music.</li> <li>Collaborate with Game Directors and rest of team to define game audio quality bar and vision</li> <li>Work with game team leads and production to ensure audio staff is represented on all teams, and that they are fully scheduled and tasked</li> <li>Oversee, develop, and document project pipelines and onboard new audio team members</li> </ul> <strong>Requirements</strong> <ul> <li>At least 6+ years of experience in game audio, including the full development cycles of a shipped AAA title</li> <li>Comprehensive understanding and practical experience in every facet of game audio production</li> <li>Proven experience working and coordinating with game developers from different disciplines</li> <li>Experience using Wwise across multiple full development cycles</li> <li>Experience using Unreal Engine and Blueprints on at least one full development cycle</li> </ul> <strong>Pluses</strong> <ul> <li>A Bachelor&#39;s degree or higher in an audio related field</li> <li>Experience working on open world games with emergent audio features and systems</li> </ul> <p><strong>Equal Opportunity Employer Statement</strong><br> Free Range Games is an equal opportunity employer that is committed to diversity and inclusion in the workplace. We prohibit discrimination and harassment of any kind based on race, color, sex, religion, sexual orientation, national origin, disability, genetic information, pregnancy, or any other protected characteristic as outlined by federal, state, or local laws. <p>This policy applies to all employment practices within our organization, including hiring, recruiting, promotion, termination, layoff, recall, leave of absence, compensation, benefits, training, and apprenticeship. Free Range Games makes hiring decisions based solely on qualifications, merit, and business needs at the time.</p> <p><strong>E-Verify participant</strong><br> Federal law requires all employers to verify the identity and employment eligibility of all persons hired to work in the United States. Free Range Games participates in E-Verify.</p> </div> <div class="btnFix"><a class="btnJobs" href="https://boards.greenhouse.io/frgjobs/jobs/4376480003" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://twitter.com/SchoolGameAudio/status/1366807991866052609" target="_blank" rel="noopener noreferrer">School.VideoGameAudio.com</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> Moon Active</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Tel Aviv, Israel</span><br> <div class="jobDesc"><strong>Job description</strong> <p><p>Moon Active, a Tel Aviv-based mobile games startup with millions of players worldwide is looking for a talented <strong>Sound Designer</strong> to join our amazing marketing art team. You will be responsible for designing the audio score concepts for Global A-List campaigns across all digital and social platforms.</p> <p>As part of a great team, you will receive everything you can dream of: from super friendly and creative co-workers &amp; a strong focus on your development to projects that will inspire the whole Gaming Industry.</p> <strong>Responsibilities</strong> <ul> <li>Bring visual concepts to life by creating exciting audio mixes and scores.</li> <li>Create soundtracks from scratch, using sound libraries, recordings, music and other audio assets.</li> <li>Edit sound effects, audio recordings and music into a high-quality stereo mix.</li> <li>Record materials such as dubbing, narration, foley, guides and music.</li> <li>Working with musicians and outsourced sound studios.</li> <li>Stay updated on the latest developments, trends and tools within Sound Design in Gaming.</li> <li>The ability to work in a dynamic environment within tight schedules.</li> </ul> <strong>Requirements</strong> <ul> <li>At least 3 years of experience in Sound Design as part of a Post Production industry &#8211; Animation, Commercials, Marketing, etc.</li> <li>Excellent knowledge with sound design software (Avid Pro Tools, Logic, etc.).</li> <li>Demonstrated ability to create best-in-class sounds across various styles, themes, and aesthetics.</li> <li>Technical knowledge of operating hardware audio systems.</li> <li>Ability to manage schedules, execute multiple projects, and stay within deadlines.</li> <li>Brainstorming, being a key team-player within a creative team, and working closely with video editors, animators, and creative &amp; Art directors.</li> <li>Music Composing, previous experience in a Gaming Company &#8211; Advantage.</li> <li>Be part of designing the newMoon actives in-house studio &#8211; Advantage.</li> </ul> <p><strong>*** PLEASE ATTACH A LINK TO AN ONLINE PORTFOLIO/SHOWREEL</strong></p> <p>(We will only contact resumes with portfolio links)</p> </p> </div> <div class="btnFix"><a class="btnJobs" href="https://gamejobs.co/Sound-Designer-at-Moon-Active" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://gamejobs.co/search?a=7d&#038;t=Audio" target="_blank" rel="noopener noreferrer">GameJobs.co</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> Splash Damage</span><br> <span style="font-size: 16px;"><strong>Location:</strong> London, UK</span><br> <div class="jobDesc"><strong>Job description</strong> <p><p>Come join us! </p> <p>At Splash Damage, we’re dedicated to crafting team-based multiplayer games that ignite friendships as much as they do healthy competition and teamwork. </p> <p>Our teams celebrated the launch of Gears Tactics earlier this year, and we’re currently developing Outcasters for Stadia along with several unannounced titles. </p> <p>As an UnrealEngine focused studio, we&#39;re excited to be transitioning our teams to the latest in UE5 technology and we&#39;re looking for skilled and passionate developers to help us drive this. </p> <p>We&#39;re advocates for work-life balance and offer a comprehensive benefits package focused on the well-being of our staff and their families. We believe that teams create the best work when they have a range of perspectives and experiences to draw from. Therefore we&#39;re committed to increasing diversity across our studio, fostering an inclusive environment to ensure everyone&#39;s voices are heard. </p> <p>Due to the on-going COVID-19 outbreak, we&#39;re all currently working from home. We’re still looking to welcome new team members, who&#39;ll join us remotely until we return to the studio.</p> <strong>The Role</strong> <p>We are seeking a mid-level Audio Designer with experience on AA and/or AAA games lead the audio design on an exciting new game. You will be working alongside a Technical Audio Designer who will be implementing your sound design creations and working closely with the game team to realise and execute the vision of the game. </p> <strong>Required Skills</strong> <ul> <li>Audio Designer with games industry experience and at least 1 complete cycle of a shipped AA or AAA game </li> <li>Produce world class sounds in line with the creative vision </li> <li>Skilled in a variety of sound from real world to synthetic </li> <li>Define the audio quality and functional benchmarks on the project </li> <li>Advanced Wwise user </li> <li>Competent with Unreal Engine </li> <li>Experience with Reaper and may popular effects plugins </li> <li>Demonstrate initiative and autonomy </li> <li>Have a good understanding of music and music editing </li> <li>Experience of working with speech and dialogue including creature voice design </li> <li>Experience mixing in 5.1 and 7.1 surround for game and linear media </li> <li>Experienced with the game production pipeline </li> <li>Ability to bug test and fix own work </li> </ul> <strong>Desired Skills</strong> <ul> <li>Tactics, weapon design and multiplayer experience </li> <li>Experience in producing dialogue pipelines, tools and playback systems </li> <li>A basic understanding of technical audio skills and implementation </li> <li>Experience with video editing tools such as Adobe Premiere </li> </ul> <p>Splash Damage is an equal opportunity employer. We believe our teams create better work when they have a range of perspectives to draw from, and we are committed to creating an inclusive working environment that celebrates diversity.</p> </p> </div> <div class="btnFix"><a class="btnJobs" href="https://www.splashdamage.com/careers/job/oJF3dfwo" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://www.splashdamage.com/careers/" target="_blank" rel="noopener noreferrer">Splash Damage Careers</a></div> </div> <div class="grayBreak"></div> <div class="note"><strong><span style="font-size: 24px;">Audio Team Lead</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Game On Studio</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Montréal, QC, Canada</span><br> <div class="jobDesc"><strong>Job description</strong> <p><p>Reporting to the Production Director, the Audio Team Lead will implement best processes, methods, and tools to deliver a quality project on time and using the allocated resources. The Audio Team Lead will manage the Audio Team, ensure the advancement of the work and attainment of production objectives, and ensure that the quality expectations of the projects will be met. The Audio Team Lead will have the creative and technical ownership of the Game On audio projects. </p> <h2>Qualifications</h2> <strong>Main responsibilities:</strong> <ul> <li>Point of contact for projects, their deliveries, time frame and priorities with internal teams and external clients </li> <li>Artistic audio direction to elevate the quality and creativity of the projects </li> <li>Mentoring and training of the audio team to grow their talent and develop their technical skills </li> <li>Manage, prioritize, and assign the work to be carried out </li> <li>Recommend plans of action to handle delays that impact the content, schedule, or quality </li> <li>Ensure proper quality control of the projects with the Producer </li> <li>Working closely with our production and technical teams, ensuring an efficient and effective pipeline at all levels of the production </li> <li>Optimize and enhance work methods to coordinate teams and working units simply and clearly </li> <li>Participate on active audio projects by contributing on production tasks assigned </li> </ul> <strong>Skills and knowledge**</strong>:** <ul> <li>Great communication skills </li> <li>Immaculate attention to detail </li> <li>Influential leadership </li> <li>Analysis and problem-solving skills </li> <li>Ability to assess risks and set out contingency plans </li> <li>Proactivity, dynamism, tact </li> <li>Result oriented and ability to work effectively under pressure </li> <li>Creative ear and awareness of latest audio technology </li> </ul> <h2>Additional Information</h2> <strong>Minimum requirements:</strong> <ul> <li>7 years of experience in audio creation</li> <li>Worked on major entertainment projects </li> <li>Team management is a plus </li> <li>Experience in audio for videogames and creative service business an asset </li> <li>Bilingual (French and English)</li> </ul> </p> </div> <div class="btnFix"><a class="btnJobs" href="https://jobs.smartrecruiters.com/GameOnStudio/743999726077049-audio-team-lead" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://twitter.com/SchoolGameAudio/status/1366807991866052609" target="_blank" rel="noopener noreferrer">Game On 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-modul Audio Jobs Audio Designer Audio Director Audio Engineer Audio Programmer Audio Team Lead Dialogue Designer Games Sound Designer Junior Audio Engineer Lead Audio Designer Lecturer Music Curator Music Editor QA Tester Research Associate Senior Audio Designer Senior Audio Engineer Sound Designer Technical Sound Designer Voice-Over Manager Adriane Kuzminski New features in REAPER v6.24 – Razor Edits https://reaperblog.net/2021/03/624-update/ The REAPER Blog urn:uuid:a71838dc-f558-d163-bcc6-b3f761d83a00 Thu, 04 Mar 2021 07:59:31 +0100 <p>Learn about the new Razor Editing feature and everything else that's new in REAPER v6.24</p> The post <a href="https://reaperblog.net/2021/03/624-update/">New features in REAPER v6.24 – Razor Edits</a> first appeared on <a href="https://reaperblog.net">The REAPER BLOG</a>. Uncategorized Admin 161 – Judas & The Black Messiah https://tonebenderspodcast.com/161-judas-the-black-messiah/ TonebendersPodcast.com urn:uuid:900f44d5-1c7a-26c7-3a2e-50f9f37d66b5 Wed, 03 Mar 2021 16:27:02 +0100 In this episode we talk with the sound team behind the excellent new film Judas and The Black Messiah. We dig deep into a standout&#8230; Case Study episodes Interview Timothy Muirhead Reader Q&A: Pivoting from Live Sound/AV to Post-Production https://apriltucker.com/reader-qa-pivoting-from-live-sound-av-to-post-production/ April Tucker urn:uuid:66b3fc7b-7c00-0d14-d026-6d9234976e26 Mon, 01 Mar 2021 15:03:18 +0100 <p>Could you give me advice on how to get started in post (if my goal is to move to LA)? LA is definitely the place to be for post-production sound, but I wouldn’t move until you have some groundwork laid first. People won’t hire you unless you’re here, but you can definitely start networking and ... <a title="Reader Q&#038;A: Pivoting from Live Sound/AV to Post-Production" class="read-more" href="https://apriltucker.com/reader-qa-pivoting-from-live-sound-av-to-post-production/" aria-label="More on Reader Q&#038;A: Pivoting from Live Sound/AV to Post-Production">Read More</a></p> <p>The post <a rel="nofollow" href="https://apriltucker.com/reader-qa-pivoting-from-live-sound-av-to-post-production/">Reader Q&#038;A: Pivoting from Live Sound/AV to Post-Production</a> appeared first on <a rel="nofollow" href="https://apriltucker.com">April Tucker</a>.</p> <h2><strong>Could you give me advice on how to get started in post (if my goal is to move to LA)?</strong></h2> <p>LA is definitely the place to be for post-production sound, but I wouldn’t move until you have some groundwork laid first. People won’t hire you unless you’re here, but you can definitely start networking and building relationships with people in LA in the meantime. In theory, you could move to LA and try to survive on live sound or AV income while laying groundwork. But, the cost of living is so high here, and in-person networking and events (where you might meet people who could help) aren&#8217;t happening during COVID. I don&#8217;t see a reason to be burning money to learn skills you could be doing from somewhere else.</p> <h4>By laying groundwork, I&#8217;m referring to two things: <strong>credits and relationships.</strong></h4> <p>Find projects to work on where you can earn credits that can be put on <a href="http://imdb.com/" target="_blank" rel="noreferrer noopener">iMDB.com</a> (you may have to add the credits yourself). Student films or short films are good. Free work is totally fine because it’s about building experience and getting credits. </p> <p>The idea is if I look you up on iMDB (and I don’t know you), I&#8217;m looking for at least 5 credits. That&#8217;s how I know you&#8217;re not just dabbling and trying to pursue it. Even 5-10 credits sets you way ahead of the pack. It also shows you&#8217;re trying to work with other people. You can target your local area for this (vs looking at Craigslist in LA). Check with film schools, and people in your network (even people in roles adjacent to sound like camera or lighting) for projects, especially if you&#8217;re willing/able to offer your time for free.</p> <p>Then, hang out in social media groups for post-production sound or re-recording mixers (Facebook has some great ones).&nbsp;The idea is if you move to LA down the road and you’ve been asking great questions and participating positively, someone will probably be willing to meet you once you move or come for a visit.<a href="https://www.facebook.com/groups/774808419197163" target="_blank" rel="noreferrer noopener"></a></p> <h2><strong>How should I choose reference material for mixing certain types of post, i.e. (surround sound, film, or broadcast)? Should I find a well-mixed movie or tv show and play it back on my home setup?&nbsp;</strong></h2> <p><br>Listen to as much as possible just to build an ear for what your room/setup sounds like. One thing about being a re-recording mixer is you have little control over the quality of what you&#8217;re mixing. Often the goal is just to be intelligible vs sounding &#8220;good.&#8221; Your typical big-budget major Hollywood film is probably going to have amazing production dialog, full of ADR, and months to mix. A reality tv show (or documentary) there&#8217;s no do-overs in production. You can get stuck with really crappy audio at times, and the mix might turn around in a week. Entry-level mixing work does tend to fall more on that end. But, you quickly gain chops on how to deal with problem audio. So, you need both as a reference.</p> <p><br>Action movies are a great reference for sound fx mixing. You can learn things like standards for 5.1 panning, what goes in the rears and how much, etc. If you solo the center channel on a 5.1 mix, you&#8217;ll mostly hear dialog and Foley. You can learn a lot by doing that. Then, maybe compare a big Hollywood movie vs an indie movie that was a hit. What&#8217;s the difference in the sound fx? Or, the quality of the dialog (especially background noise or noticing when it&#8217;s off-axis/off-mic)? And so forth.</p> <h4><br>Meters</h4> <p>Another thing that may be helpful is starting to watch meters (peak and loudness) while listening to other people&#8217;s mixes. As an assistant, I was in the back of the room (not optimal for listening). But, I was able to see everything that was happening on the meters. That visual guide was a good supplement to my ears when I was first getting started. Waves has a Dorrough surround metering plugin that occasionally goes on sale for very low, and is worth picking up. That&#8217;s my go to meter.</p> <h2><br>How do I learn the standard way of setting up a session for the different post mixings? Should I build a template for different styles of projects?</h2> <p>Seek out templates (ask people in groups). I&#8217;ve had to work in different templates over the years (belonging to other people or studios). There&#8217;s a lot to learn looking at how different mixers do it.<br></p> <p>I now have one template that&#8217;s basically a foundation for everything I do. Even if I&#8217;m doing a small mix, my basic template has more tracks than I need. Most tracks are hidden until I need them. </p> <p>One template might be a better approach early on. You&#8217;ll probably want to make changes after every mix you do as you&#8217;re learning. If you find a mistake, it&#8217;s a pain to have to correct multiple templates. I do have a 5.1 template and a stereo template, but a lot of times I&#8217;m mixing in stereo within my 5.1 template. It&#8217;s a pain to have to convert a stereo session into 5.1 but not the other way around. It comes up for me a lot where I&#8217;m mixing in 5.1, a producer is reviewing somewhere else in stereo, and I&#8217;m delivering stems in 5.1 and stereo. I need both stereo and 5.1 within my 5.1 template either way.</p> <h2>What are the steps that you took to get to where you are now? And what made you want to be a re-recording mixer?</h2> <p>I actually wanted to pursue music production. When I moved to LA (in 2004) everyone I met in music was telling me how hard it had become to make a living at it. At that point, post-production was a path where you could still land a studio job and use that to propel your career. I worked at a studio for three years where I learned a ton and met a lot of people, and I used that foundation to go freelance. I was freelance for around 10 years, working for a lot of studios and companies in LA plus taking on my own clients at my home studio. Then, I went to a stable mixing position working primarily for one client.</p> <p>The steps to building a career are definitely different now. The mountain you have to climb at the beginning of your career is so much higher than it used to be (this goes for most disciplines in the audio industry). You’re pretty much freelance and finding your own clients one by one from the beginning. It&#8217;s just harder to build relationships with professionals because everyone is siloed. If you can find an entry-level studio job, that&#8217;s amazing, but it&#8217;s definitely not the norm for getting into the industry now.</p> <p>On the one hand, it&#8217;s made that old school barrier to get into the industry go away. Learning is much more self-directed and a lot less in person. </p> <h4>One major piece of advice: <strong>learning from others (in-person) is a special occasion, not an expectation.</strong> </h4> <p>COVID has moved this even further that direction because no one is coming together for mixes unless they absolutely have to be there. </p> <p>The advantage of this change is you can get opportunities in bigger roles much earlier in your career. I had to work in a machine room for a year before I was allowed to engineer a VO session. It was another year before I started mixing (I was maybe 26 years old). Today, you could start mixing from day one &#8211; if you can land the gigs (easier said than done!). Plus, there’s way more content than ever before. It only takes one recognizable credit to help you land other work. When you take on independent films and shows, anything good has the potential to end up on Netflix, Apple TV or Amazon. I think it’s easier to build credibility, but it is harder to find work.</p> <h2>How did you choose the company that you work at?</h2> <p>I’ve always just considered opportunities that have come my way. Even me becoming a re-recording mixer was a matter of opportunity over desire. I was working towards being a dialog editor. Then, I got an opportunity to mix a major tv show. I couldn’t turn that down! I’ve been mixing ever since (and still doing other roles on the side).</p> <p>It’s the same as being freelance in live sound or AV where you take an opportunity to work a show or at a venue. Maybe it&#8217;s because you need the money, or it&#8217;d be a good gig to practice your chops, or to meet people. Then, some other venue asks you to work for them. Maybe you work for both (if you have time/availability) or you have to pick one. Then, you get offered a gig that pays double what you&#8217;re earning and you drop both gigs for that instead! People are generally understanding when a great opportunity comes along, especially if you can help find a replacement.</p> <p>I think a lot of it is your priorities at the time. Early in my career, I was focused on opportunities that would allow me to learn, practice my skills, and build my credit list. I did this even if the hours were very demanding (in tv, you’re pretty much on-call to when your clients need you). Years later, my goal was more to work with people who I liked on projects I enjoyed. Now, it’s more about jobs that give me life/work balance (mainly because I’m a parent).</p> <h2>What career accomplishments are you most proud of?</h2> <p>This may sound strange, but just staying in! It definitely is an industry where you have to be passionate to stay in it because of the difficulties &#8211; the hours/demands, the ongoing need to find work when you’re freelance, or working on shows or content you don&#8217;t like at times. I’ve been extremely lucky to be working (and busy) through COVID, which I’m very humbled by when so many of my colleagues outside of post-production aren’t.</p> <p>The post <a rel="nofollow" href="https://apriltucker.com/reader-qa-pivoting-from-live-sound-av-to-post-production/">Reader Q&#038;A: Pivoting from Live Sound/AV to Post-Production</a> appeared first on <a rel="nofollow" href="https://apriltucker.com">April Tucker</a>.</p> Post-Production Sound Business av live sound los angeles templates april Western Black Powder Guns – Sound Designer, Barney Oram https://www.thesoundarchitect.co.uk/tsap-s04e03/ urn:uuid:fdf8ed7b-c0b4-e9e5-e616-73f7e727c203 Mon, 01 Mar 2021 12:13:20 +0100 <a href="https://www.thesoundarchitect.co.uk/tsap-s04e03/" title="Western Black Powder Guns &#8211; Sound Designer, Barney Oram" rel="nofollow"><img width="699" height="700" src="https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/03/BO-Western-Black-Powder-Guns-Artwork-700x700-1.jpg" class="webfeedsFeaturedVisual wp-post-image" alt="Barney Oram Western Black Powder Guns" 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/2021/03/BO-Western-Black-Powder-Guns-Artwork-700x700-1.jpg 699w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/03/BO-Western-Black-Powder-Guns-Artwork-700x700-1-300x300.jpg 300w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/03/BO-Western-Black-Powder-Guns-Artwork-700x700-1-150x150.jpg 150w" sizes="(max-width: 699px) 100vw, 699px" /></a><p><a rel="nofollow" href="https://www.thesoundarchitect.co.uk">The Sound Architect - All Audio, All For You</a></p> <p>(TSAP S04E03) Sam chats with Barney Oram, sound designer at Sweet Justice Sound, about his recent sound library, Western Black Powder Guns. They discuss everything about the sound library process; from prep and gear management, all the way to post processing and price. Barney also shares his learnings from making his third sound library as...</p> <p>The post <a rel="nofollow" href="https://www.thesoundarchitect.co.uk/tsap-s04e03/">Western Black Powder Guns &#8211; Sound Designer, Barney Oram</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 barney oram black powder guns gun library interview library sounds Podcast sound design Sound Designer sound designer library sweet justice sweet justice sound the sound architect podcast tsap western black powder guns western guns Sam Hughes Learning C# Notes - Part II: Variables & Collections http://javierzumer.com/blog/2021/2/27/learning-c-notes-part-ii-variables-amp-collections Javier Zúmer - Sound Design urn:uuid:6eab73a7-b5a4-a083-068c-06dc71366983 Sat, 27 Feb 2021 12:30:58 +0100 <p class="">After seeing classes in part 1, here are my notes on <strong>variables</strong>, which we will use to hold different data that we want to use somehow. Collections are just different ways of grouping variables.</p><h1><strong>Variable Declaration &amp; Definition</strong></h1><ul data-rte-list="default"><li><p class="">Variables must be <strong>declared</strong>. This is simply “anouncing” which type the variable uses and <strong>giving it a name.</strong></p></li><li><p class="">Optionally, we can also<strong> define</strong> a variable, that is, we give it an <strong>specific value.</strong></p></li></ul><pre class="source-code"><span class="cm-variable">int</span> <span class="cm-variable">number</span>; <span class="cm-comment">//We declare a variable.</span> <span class="cm-variable">string</span> <span class="cm-variable">greeting</span> <span class="cm-operator">=</span> <span class="cm-string">"Hello"</span>; <span class="cm-comment">//We declare and define a value.</span></pre><h1><strong>Basic Variables Types</strong></h1><ul data-rte-list="default"><li><p class=""><strong>Int -&gt;</strong> Stores whole numbers (can be negative). </p></li><li><p class=""><strong>float -&gt;</strong> Stores numbers with decimals. An “f” is written after the number.</p></li><li><p class=""><strong>double -&gt;</strong> Same as a float but can hold twice as many decimals. A “D” is written after the number.</p></li><li><p class=""><strong>string -&gt;</strong> Stores a chain of characters and is always surrounded by double quotes.</p></li><li><p class=""><strong>char -&gt;</strong> Stores a single character and uses single quotes.</p></li><li><p class=""><strong>bool -&gt;</strong> Only holds two posiible states: true and false.</p></li></ul><pre class="source-code"><span class="cm-variable">int</span> <span class="cm-variable">aNumber</span> <span class="cm-operator">=</span> <span class="cm-number">45</span>; <span class="cm-variable">float</span> <span class="cm-variable">aFloatNumber</span> <span class="cm-operator">=</span> <span class="cm-number">0.3</span><span class="cm-variable">f</span>; <span class="cm-variable">double</span> <span class="cm-variable">aDoubleNumer</span> <span class="cm-operator">=</span> <span class="cm-number">3.59</span><span class="cm-variable">D</span>; <span class="cm-variable">string</span> <span class="cm-variable">aText</span> <span class="cm-operator">=</span> <span class="cm-string">"Hello"</span>; <span class="cm-variable">char</span> <span class="cm-variable">aSingleLetter</span> <span class="cm-operator">=</span> <span class="cm-string">'J'</span>; <span class="cm-variable">bool</span> <span class="cm-variable">aBooleanVariable</span> <span class="cm-operator">=</span> <span class="cm-atom">true</span>; </pre><ul data-rte-list="default"><li><p class="">Remember that string variables can look like a number as any number is just a chain of characters but this doesn’t mean you can do mathematical operations with them. For this, you need to convert them to an int or float.</p></li><li><p class="">Sometimes, the variable type is implicit by context and you can just use “<strong>var</strong>” as the type.</p></li><li><p class="">We say a variable is <strong>local</strong> when is declared and used within a method, so the rest of the class has no notion of it.</p></li><li><p class="">There are a few rules when naming variables:</p><ul data-rte-list="default"><li><p class="">You should start with a lowcase letter.</p></li><li><p class="">You can then use letters, numbers and underscores but NO spaces.</p></li><li><p class="">Names are case sensitive.</p></li><li><p class="">A usual convention is to use camelCase.</p></li></ul></li></ul><h1><strong>Constants </strong></h1><ul data-rte-list="default"><li><p class="">You can add the keyword “<strong>const</strong>” to make any variable contant.</p></li><li><p class="">A constant hold a value that never changes, like Pi or <a href="https://en.wikipedia.org/wiki/Gravitational_constant">G</a></p></li><li><p class="">If anything then tries to change the value of a constant an error will be produced.</p></li></ul><pre class="source-code"><span class="cm-keyword">const</span> <span class="cm-def">int</span> <span class="cm-variable">number</span> <span class="cm-operator">=</span> <span class="cm-number">5</span>;</pre><h1><strong>Enums </strong></h1><ul data-rte-list="default"><li><p class="">Enums are a special type of variable. Well, they are actually a class but you can think of them as variable type.</p></li><li><p class="">They hold a group of constants that, once you define them, won’t change.</p></li><li><p class="">Enums really just <strong>hold intigers</strong> (whole numbers) but <strong>they give you the option of labeling each of them with a meaningful name.</strong></p></li><li><p class="">So basically Enums offer <strong>more ease of use and readibility</strong> than just using numbers.</p></li><li><p class="">A classic example is that, instead of using 0, 1, 2, 3 to represent the coordinates in a compass, you use North, West, South, East.</p></li></ul><pre class="source-code"><span class="cm-variable">enum</span> <span class="cm-variable">Coordinates</span> { <span class="cm-variable">North</span>, <span class="cm-comment">// 0</span> <span class="cm-variable">West</span> <span class="cm-operator">=</span> <span class="cm-number">1</span>, <span class="cm-comment">// 1</span> <span class="cm-variable">South</span>, <span class="cm-comment">// 2</span> <span class="cm-variable">East</span> <span class="cm-operator">=</span> <span class="cm-number">23</span>, <span class="cm-comment">// 23</span> }</pre><ul data-rte-list="default"><li><p class="">We declare an enum starting with a capital letter (since they are really classes).</p></li><li><p class="">We then declare the elements within the curly braces, using a comma after each one.</p></li><li><p class="">See how, by default, a value of 0 is given to the first element, 1 to the second and so on.</p></li><li><p class="">We can also define our own values if we prefer.</p></li><li><p class="">If you use Fmod, an enum would correspond to a “Labeled” type paramter.</p></li></ul><h1><strong>Value Types VS Reference Types</strong></h1><ul data-rte-list="default"><li><p class="">Something that confused me at the start is that <strong>many things that you can do with a variable, you can also do with a class</strong>. This is because both classes and variables are “types”.</p></li><li><p class="">So you can store classes in collections and pass them through methods, for example.</p></li><li><p class="">The main difference between the two, is that a variable is a “<strong>Value Type</strong>” while classes are a <strong>“Reference Type”</strong>.</p></li><li><p class="">Value types pass a <strong>copy of the value inside them</strong> while reference types pass the <strong>type instance itself.</strong></p></li><li><p class="">If we want to pass a variable as a reference type, we can use the keyword “<strong>ref</strong>” before the variable.</p></li><li><p class="">This means that changes made to the variable by the method will affect the original that was passed in.</p></li><li><p class="">So an example below.</p></li><li><p class="">See more: https://docs.microsoft.com/en-us/dotnet/csharp/language-reference/builtin-types/value-types</p></li></ul><pre class="source-code"><span class="cm-keyword">class</span> <span class="cm-def">DoMath</span> { <span class="cm-property">int</span> <span class="cm-def">num</span> <span class="cm-operator">=</span> <span class="cm-number">8</span>; <span class="cm-variable">int</span> <span class="cm-variable">DoSomething</span>(<span class="cm-variable">int</span> <span class="cm-variable">number</span>) { <span class="cm-comment">//Something is done...</span> } <span class="cm-variable">DoSomething</span>(<span class="cm-variable">num</span>); <span class="cm-comment">// Here we are passing hte 8 value.</span> <span class="cm-variable">DoSomething</span>(<span class="cm-variable">ref</span> <span class="cm-variable">num</span>); <span class="cm-comment">//Here we are passing num itself.</span> }</pre><h1><strong>Structs</strong></h1><ul data-rte-list="default"><li><p class="">Think about them as a <strong>custom data type</strong>. They are like a container for any number of variables. So for example, we could have a struct called Car which contains a string variable for the model, an int for the year and a bool for availability.</p></li><li><p class="">So structs are basically <strong>a variable that can contains more variables</strong>. In a way, they are like a<strong> light class</strong> as they can use variables, methods and constructors.</p></li><li><p class="">They can be useful when you want to manage data in certain ways (queues, dictionaries...) and want to <strong>refer to a few different variables in one go.</strong></p></li><li><p class="">Struct <strong>can't have defaults on their constructors and their variables can't be initialized.</strong></p></li></ul><pre class="source-code"><span class="cm-variable">struct</span> <span class="cm-variable">House</span> { <span class="cm-variable">public</span> <span class="cm-variable">int</span> <span class="cm-variable">Elevation</span>; <span class="cm-variable">public</span> <span class="cm-variable">bool</span> <span class="cm-variable">Ocupied</span>; <span class="cm-variable">public</span> <span class="cm-variable">string</span> <span class="cm-variable">StreetName</span>; <span class="cm-variable">public</span> <span class="cm-variable">CalculateDistance</span>(<span class="cm-variable">int</span> <span class="cm-variable">elevation</span>) { <span class="cm-comment">//We do some maths...</span> } }</pre><h1><strong>Collections</strong></h1><ul data-rte-list="default"><li><p class="">Collections simply <strong>hold a number of variables</strong> at the same time.</p></li><li><p class="">This is useful because you can look through them and do dynamic operations like you can see below.</p></li></ul><h1><strong>Arrays</strong></h1><ul data-rte-list="default"><li><p class="">They hold <strong>multiple variables</strong> of the same type.</p></li><li><p class="">When defining the array, <strong>you must define its size and this can’t change dynamically.</strong></p></li><li><p class="">Is possible to create <strong>multi-dimensional arrays (arrays of arrays).</strong></p></li></ul><pre class="source-code"><span class="cm-comment">//We can declare an array by directly defining its contents:</span> <span class="cm-variable">int</span>[] <span class="cm-variable">numberArray</span> <span class="cm-operator">=</span> [<span class="cm-number">1</span>, <span class="cm-number">2</span>, <span class="cm-number">3</span>, <span class="cm-number">4</span>, <span class="cm-number">5</span>]; <span class="cm-comment">//Or we can just specify its size:</span> <span class="cm-variable">int</span>[] <span class="cm-variable">numberArray</span> <span class="cm-operator">=</span> <span class="cm-keyword">new</span> <span class="cm-variable">int</span>[<span class="cm-number">5</span>]; <span class="cm-comment">//We can access any variable using its index.</span> <span class="cm-comment">//The first elements always uses 0.</span> <span class="cm-variable">numberArray</span>[<span class="cm-number">0</span>]; <span class="cm-comment">//We can also check the size with:</span> <span class="cm-variable">numberArray</span>.<span class="cm-property">Lenght</span>;</pre><h1><strong>Lists</strong></h1><ul data-rte-list="default"><li><p class="">They function like arrays but<strong> they can be dynamically sized </strong>so you can add and substract elements during run time.</p></li><li><p class="">Lists are a generic type class and <strong>we must instantiate them</strong> so the sintax is a bit different as you can see below.</p></li><li><p class="">Lists can contain nulls.</p></li><li><p class="">Lists can do many other things: https://www.tutorialsteacher.com/csharp/csharp-list</p></li></ul><pre class="source-code"><span class="cm-comment">//We declare a new list. No need to specify the size.</span> <span class="cm-variable">List</span><span class="cm-operator">&lt;</span><span class="cm-variable">int</span><span class="cm-operator">&gt;</span> <span class="cm-variable">myNumberList</span> <span class="cm-operator">=</span> <span class="cm-keyword">new</span> <span class="cm-variable">List</span><span class="cm-operator">&lt;</span><span class="cm-variable">int</span><span class="cm-operator">&gt;</span>(); <span class="cm-comment">//We add elements by using the Add method.</span> <span class="cm-variable">myNumberList</span>.<span class="cm-property">Add</span>(<span class="cm-number">17</span>); <span class="cm-comment">//We can remove an specific element like so.</span> <span class="cm-comment">//This woud remove the first 5 found in the list.</span> <span class="cm-variable">myNumberList</span>.<span class="cm-property">Remove</span>(<span class="cm-number">5</span>); <span class="cm-comment">//Alternatively, we can also remove using the index.</span> <span class="cm-comment">//So this would remove the third element in the list:</span> <span class="cm-variable">myNumberList</span>.<span class="cm-property">RemoveAt</span>(<span class="cm-number">3</span>);</pre><h1><strong>Dictionaries</strong></h1><ul data-rte-list="default"><li><p class="">Similarly to lists, they can be <strong>dynamically sized</strong> but they always contain a <strong>pair of variables which can be of any type.</strong></p></li><li><p class="">The first type is called the <strong>Key</strong>, while the second is the <strong>Value.</strong></p></li><li><p class="">We use a dictionary in a similar way as a List since they are also clases.</p></li><li><p class="">An important difference is that <strong>dictionaries don’t use indexes since the key value acts as the index.</strong></p></li><li><p class="">When iterating through a dictionary with a for or foreach loop (more on this in future posts), <strong>you should not remove entries directly</strong> or you will create errors. You can store whatever you want to remove in a list, for example.</p></li></ul><pre class="source-code"><span class="cm-comment">//For example, we can declare a new dictionary which will contain</span> <span class="cm-comment">//an int as the key and a string as the value.</span> <span class="cm-variable">Dictionary</span><span class="cm-operator">&lt;</span><span class="cm-variable">int</span>, <span class="cm-variable">string</span><span class="cm-operator">&gt;</span> <span class="cm-variable">numberNames</span> <span class="cm-operator">=</span> <span class="cm-keyword">new</span> <span class="cm-variable">Dictionary</span><span class="cm-operator">&lt;</span><span class="cm-variable">int</span>, <span class="cm-variable">string</span><span class="cm-operator">&gt;</span>(); <span class="cm-comment">//We add value in a similar way to a list, but we need to specify both values.</span> <span class="cm-variable">numberNames</span>.<span class="cm-property">Add</span>(<span class="cm-number">1</span>,<span class="cm-string">"One"</span>); <span class="cm-variable">numberNames</span>.<span class="cm-property">Add</span>(<span class="cm-number">2</span>,<span class="cm-string">"Two"</span>); <span class="cm-comment">//To remove, we only specify the key.</span> <span class="cm-variable">numberNames</span>.<span class="cm-property">Remove</span>(<span class="cm-number">2</span>); <span class="cm-comment">//Use TryGetValue() when you are not sure if a certain key </span> <span class="cm-comment">//is in the dictionary. This will be false if there is no such key value.</span> <span class="cm-variable">numberNames</span>.<span class="cm-property">TryGetValue</span>(<span class="cm-number">2</span>);</pre><h1><strong>Queues</strong></h1><ul data-rte-list="default"><li><p class="">They store any number of items and these item can be of any type.</p></li><li><p class="">Queues work with a <strong>FIFO</strong> rule, so the first element to enter the queue is also the first to exit.</p></li><li><p class="">Queues are classes so they use a similar syntax as lists and dictionaries.</p></li></ul><pre class="source-code"><span class="cm-comment">//We declare a queue </span> <span class="cm-variable">Queue</span><span class="cm-operator">&lt;</span><span class="cm-variable">int</span><span class="cm-operator">&gt;</span> <span class="cm-variable">callerIds</span> <span class="cm-operator">=</span> <span class="cm-keyword">new</span> <span class="cm-variable">Queue</span><span class="cm-operator">&lt;</span><span class="cm-variable">int</span><span class="cm-operator">&gt;</span>(); <span class="cm-comment">//We use the Enqueue() method to add to it.</span> <span class="cm-variable">callerIds</span>.<span class="cm-property">Enqueue</span>(<span class="cm-number">1</span>); <span class="cm-variable">callerIds</span>.<span class="cm-property">Enqueue</span>(<span class="cm-number">2</span>); <span class="cm-variable">callerIds</span>.<span class="cm-property">Enqueue</span>(<span class="cm-number">3</span>); <span class="cm-variable">callerIds</span>.<span class="cm-property">Enqueue</span>(<span class="cm-number">4</span>); <span class="cm-comment">//And Dequeue() to will always remove the first element.</span> <span class="cm-variable">callerIds</span>.<span class="cm-property">Dequeue</span>(); <span class="cm-comment">//This would remove the 1 value.</span> <span class="cm-comment">//We can use Peek() to see the first element without removing it.</span> <span class="cm-variable">calledIds</span>.<span class="cm-property">Peek</span>();</pre><h1><strong>Hashsets</strong></h1><ul data-rte-list="default"><li><p class="">This is a collection of<strong> unique elements</strong> (no repetition) that is particularly <strong>high performance.</strong></p></li><li><p class="">Is useful to store a set of unique data so you can search it quickly.</p></li><li><p class="">You delcare them, add and remove from them is the same way as lists.</p></li></ul> Javier Zumer 23 great new audio jobs at Microsoft, IO Interactive, Facebook, Arrowhead, Sony San Diego, Hi-Rez, Turn 10, Massive, The Chinese Room, Formosa Group, Deck Nine, Vertigo, Stratos, Crytek, Blizzard, UNC Wilmington, Archetype, Evolution, Sumo Sheffield, Reme https://soundlister.com/23-great-new-audio-jobs-at-microsoft-io-interactive-facebook-arrowhead-sony-san-diego-hi-rez-turn-10-massive-the-chinese-room-formosa-group-deck-nine-vertigo-stratos-crytek-blizzard-unc/ Soundlister.com urn:uuid:8d95901e-7c7d-daab-1c08-b8dbca15ac72 Thu, 25 Feb 2021 15:15:37 +0100 <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: Senior Audio Designer (Mixed Reality), Lead Sound Designer, Audio Experiences Prototyper, Audio Programmer, Audio QA Tester, Audio Producer, Audio Programmer, Senior Sound Designer, Audio Lead, Audio Engineer, Audio Director, Audio Production Coordinator, Visiting Assistant Professor - Music Composition/Theory, Audio Director, Audio Specialist, Music Production Lecturer, Sound Designer, and Associate Technical Sound Designer</p> <p>The post <a rel="nofollow" href="https://soundlister.com/23-great-new-audio-jobs-at-microsoft-io-interactive-facebook-arrowhead-sony-san-diego-hi-rez-turn-10-massive-the-chinese-room-formosa-group-deck-nine-vertigo-stratos-crytek-blizzard-unc/">23 great new audio jobs at Microsoft, IO Interactive, Facebook, Arrowhead, Sony San Diego, Hi-Rez, Turn 10, Massive, The Chinese Room, Formosa Group, Deck Nine, Vertigo, Stratos, Crytek, Blizzard, UNC Wilmington, Archetype, Evolution, Sumo Sheffield, Remedy, Sony Santa Monica, and Sledgehammer</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="46df3c4914" /><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 Microsoft, IO Interactive, Facebook, and Arrowhead Games Studios &#8211; and they&#8217;re looking for a Senior Audio Designer (Mixed Reality) (WA, US), Lead Sound Designer (007) (Denmark/Sweden), Audio Experiences Prototyper (WA, US), and Audio Programmer (Sweden).</p> <p>We also found openings for an <a href="https://boards.greenhouse.io/sonyinteractiveentertainmentplaystation/jobs/1816484" target="_blank" rel="noopener noreferrer">Audio QA Tester</a> at Sony San Diego (CA, US), <a href="https://www.hirezstudios.com/careers/" target="_blank" rel="noopener noreferrer">Audio Producer</a> at Hi-Rez Studios (GA, US), <a href="https://careers.microsoft.com/professionals/us/en/job/995441/Sound-Designer-Turn-10-Studios" target="_blank" rel="noopener noreferrer">Sound Designer</a> at Turn 10 Studios (WA, US), <a href="https://www.massive.se/job/audio-programmer-743999733224275/" target="_blank" rel="noopener noreferrer">Audio Programmer</a> at Massive Entertainment (Sweden), <a href="https://jobs.lever.co/sumo-digital/2762216e-20d9-4666-8022-0983489156ff" target="_blank" rel="noopener noreferrer">Senior Sound Designer</a> at The Chinese Room (England), <a href="https://workforcenow.adp.com/mascsr/default/mdf/recruitment/recruitment.html?cid=32e918ef-0f50-4621-9139-ca3cf61c36b5&#038;ccId=168008779729_2723&#038;type=MP&#038;lang=en_US&#038;selectedMenuKey=CurrentOpenings" target="_blank" rel="noopener noreferrer">Audio Lead</a> at Formosa Group (WA, US), <a href="https://www.paycomonline.net/v4/ats/web.php/jobs/ViewJobDetails?job=5899&#038;clientkey=C95E79A35425A848D5979DA09B770E45" target="_blank" rel="noopener noreferrer">Audio Director</a> at Deck Nine Games (CO, US), <a href="https://vertigo-games.com/jobs/audio-engineer/" target="_blank" rel="noopener noreferrer">Audio Engineer</a> at Vertigo Games (Netherlands), for a <a href="https://www.stratos-ad.com/index.php?job=50561" target="_blank" rel="noopener noreferrer">Sound Designer</a> at Stratos (France), <a href="https://jobs.lever.co/crytek/6b8a1ce8-a3b4-4117-b8a0-14836d4c1f92" target="_blank" rel="noopener noreferrer">Audio Director</a> at Crytek (Germany), <a href="https://careers.activision.com/job/R005112/Audio-Production-Coordinator" target="_blank" rel="noopener noreferrer">Audio Production Coordinator</a> at Blizzard (Ireland), <a href="https://jobs.uncw.edu/postings/19970" target="_blank" rel="noopener noreferrer">Visiting Assistant Professor &#8211; Music Composition/Theory</a> at University of North Carolina Wilmington (NC, US), <a href="https://boards.greenhouse.io/archetypeentertainment/jobs/4987494002" target="_blank" rel="noopener noreferrer">Audio Director </a> at Archetype Entertainment (TX, US), <a href="https://www.linkedin.com/jobs/view/2432760782" target="_blank" rel="noopener noreferrer">Audio Specialist</a> at Evolution (MI, US), <a href="https://career.ioi.dk/ad/lead-sound-designer/shosdd" target="_blank" rel="noopener noreferrer">Lead Sound Designer (Unannounced)</a> at IO Interactive (Denmark), <a href="https://jobs.lever.co/sumo-digital/b742f050-1336-4993-befd-01c90c1be48f" target="_blank" rel="noopener noreferrer">Sound Designer</a> at Sumo Sheffield (UK), <a href="Associate Technical Sound Designer" target="_blank" rel="noopener noreferrer">Associate Technical Sound Designer</a> at Sony Santa Monica (CA, US), <a href="https://careers.demonware.net/job/R002829/Associate-Technical-Sound-Designer-Sledgehammer-Games" target="_blank" rel="noopener noreferrer">Associate Technical Sound Designer</a> at Sledgehammer Games (CA, US), and a <a href="https://twitter.com/semmanchester/status/1364897944332365824/photo/1" rel="noopener noreferrer" target="_blank">Part-Time Music Production Lecturer</a> at the School of Electronic Music (UK). This opening for a <a href="https://jobs.lever.co/remedyentertainment/25a1585a-9fb2-4687-97e1-2a0a1bf6a3b9" rel="noopener noreferrer" target="_blank">Dialogue Designer</a> at Remedy Entertainment (FI) is also still available.</p> <p>And be sure to check out the <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> Hear stories from <a href="https://www.asoundeffect.com/wild-recording-adventures/" target="_blank" rel="noopener noreferrer">George Vlad&rsquo;s wild recording expeditions</a> around the world (and get 9 exclusive recordings as a bonus). Learn how to <a href="https://www.asoundeffect.com/game-audio-gear/" target="_blank" rel="noopener noreferrer">build a lean, effective game audio setup</a> that gets you off the ground &ndash; without breaking the bank. Check out new sound effects of <a href="https://www.asoundeffect.com/great-new-sound-effects-quadcopters-chess-hens-trains-ui-sounds-wind-rain-ambiences/" target="_blank" rel="noopener noreferrer">quadcopters, chess moves, hens and roosters, Sri Lankan trains</a>, UI sounds, and lots of weather. Read an interview with Oscar-winning sound supervisor/sound designer Glenn Freemantle and MPSE award-winning sound supervisor/sound designer Ben Barker about <a href="https://www.asoundeffect.com/the-undoing-sound/" target="_blank" rel="noopener noreferrer">the sound of </a></em><a href="https://www.asoundeffect.com/the-undoing-sound/"><em>The Undoing</em></a>. <hr> <br> <div class="note"><strong><span style="font-size: 24px;">Senior Audio Designer (Mixed Reality)</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Microsoft</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Remond, WA, US</span><br> <div class="jobDesc"><strong>Job description</strong> <p><p>In Mixed Reality, people—not devices—are at the center of everything we do. Our technology moves beyond screens and pixels, creating a new reality aimed at bringing us closer together—whether that’s scientists “meeting” on the surface of a virtual Mars or some yet undreamt-of possibility. To get there, we’re incorporating groundbreaking technologies, from the revolutionary Holographic Processing Unit to computer vision, machine learning, human-computer interaction, and more.</p> <p>We’re a growing team of talented engineers, program managers and artists putting technology on a human path, across all Windows devices, including Microsoft HoloLens, the Internet of Things, phones, tablets, desktops, and Xbox. Our team has people from a wide variety of backgrounds, identities, previous work histories, life experiences, and we are eager to maintain and grow that diversity. Our varied backgrounds and unique experiences enable us to be better at building the best solutions for our customers and make for dynamic and joyful collaborations with colleagues!</p> <p>If you are passionate about groundbreaking Mixed Reality technology and want to work on a team dedicated to a culture of inclusion, growth mindset and collaboration, we need you!</p> <strong>Responsibilities</strong> <ul> <li>Work on the creation of audio content, audio implementation, scripts, middleware integration towards the delivery of our products. </li> <li>Partner with industry-leading Engineers, Artists, Designers and Producers </li> <li>Work with state-of-the art next generation hardware, sensors, and software </li> <li>Incorporate the latest AI, Machine Learning and Computer vision capabilities into the design of our products</li> </ul> <strong>Qualifications</strong> <ul> <li>10+ year(s) experience or equivalent in Audio designing and programming, or equivalent career. </li><li>Substantial knowledge of node-based scripting tools and workflow (Familiarity with C# a plus) </li><li>Working with the latest content creation and game engine tools </li><li>Understanding the technical audio constraints regarding audio implementation of XR &amp; PC to understand dependencies </li><li>Strong cross-discipline collaboration skills </li><li>Great communication, written and verbal&nbsp;</li></ul><p>Ability to meet Microsoft, customer and/or government security screening requirements are required for this role. These requirements include, but are not limited to the following specialized security screenings:<br><br> Microsoft Cloud Background Check: This position will be required to pass the Microsoft Cloud Background Check upon hire/transfer and every two years thereafter.&nbsp;</p><p></p><p>This position requires access to export-controlled commodities, technical data, technology, software, and services governed by the International Traffic in Arms Regulations (ITAR). Due to contractual limitations and ITAR obligations associated with this role, U.S. citizenship, U.S. legal permanent resident status, or protected person status under 8 U.S.C. § 1324b(a)(3) is required.&nbsp;</p><p></p><p>#MixedReality<br> #IVAS</p><p></p><p>Microsoft is an equal opportunity employer. All qualified applicants will receive consideration for employment without regard to age, ancestry, color, family or medical care leave, gender identity or expression, genetic information, marital status, medical condition, national origin, physical or mental disability, political affiliation, protected veteran status, race, religion, sex (including pregnancy), sexual orientation, or any other characteristic protected by applicable laws, regulations and ordinances. We also consider qualified applicants regardless of criminal histories, consistent with legal requirements. If you need assistance and/or a reasonable accommodation due to a disability during the application or the recruiting process, please send a request&nbsp;via the <a href="https://careers.microsoft.com/us/en/accommodationrequest" target="_blank" rel="noopener noreferrer">Accommodation request form</a>.</p><p></p><p>Benefits/perks listed below may vary depending on the nature of your employment with Microsoft and the country where you work.</p></li> </ul> </p></div> <div class="btnFix"><a class="btnJobs" href="https://careers.microsoft.com/professionals/us/en/job/987300/Senior-Audio-Designer" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://careers.microsoft.com/professionals/us/en/job/" target="_blank" rel="noopener noreferrer">Microsoft Careers</a></div> </div> <div class="grayBreak"></div> <div class="note"><strong><span style="font-size: 24px;">Lead Sound Designer (007)</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> IO Interactive</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Copenhagen, Denmark / Malmö, Sweden</span><br> <div class="jobDesc"><strong>Job description</strong> <p><p> Define, lead, and implement the iconic sound of the James Bond universe! IO Interactive is looking for a full-time Lead Sound Designer to join Project 007, a brand new James Bond video game to be developed and published by IOI. Featuring a wholly original Bond story, players will step into the shoes of the world&#39;s favourite Secret Agent to earn their 00 status in the very first James Bond origin story.</p> <p>Give life to game vision by setting the audio direction for our Bond universe, this legendary title, known for its iconic sound. You will be a key player between sound design and game vision and will marry the two into one immersive and realistic sound experience. We will count on you not only as a specialist sound designer, but also a creative thinker who sees opportunities within sound for achieving the best player experience.</p> <p>As a Lead, apart from setting the audio direction, you will also get to mentor a team of sound designers, set out new standards for sound systems, lead the team by example by being the go-to expert for sound design layout and implementation. As a specialist we will trust you and give you the space to be hands-on daily, like the rest of your sound team.</p> <p>If this sounds like a match, we would love to meet you! We’re looking for the very best talent from all over the world to join our studio and work on Project 007. This role requires relocation to either Copenhagen (Denmark) and Malmo (Sweden).</p> <strong>What you will do:</strong> <ul> <li>You will create and own the audio direction and sound implementation that aligns with the general game vision, established in collaboration with the game management team.</li> <li>Set benchmarks for sound design quality for the internal and external teams.</li> <li>Ensure that game audio playback is as intended and fit for commercial release.</li> <li>Define workflows, structures and the organization of all audio related content.</li> <li>Mentor and coach a team of sound designers to deliver on the assignments at hand and within the established quality standard.</li> <li>Take part in the recruitment process and train new sound designers in the proper use of our tools.</li> <li>Work with programmers and designers to ensure outstanding audio reflecting the game vision.</li> <li>Use IOI’s proprietary tools setting up audio (Wwise, Glacier2).</li> <li>Create prototypes and sound intentions, proving audio set-ups and technical choices while identifying needs.</li> <li>Create sound effects and audio assets using pre-recorded material or synthesis, recording, foley recording etc.</li> <li>Mixing – you will be the owner of the final quality in sound design and implementation.</li> <li>Focus on technical development and implementation of sound, collaborate with audio programmers and spar on solution iteration.</li> </ul> <strong>Who you are:</strong> <ul> <li>Accomplished sound designer with 5+ years of experience working in the AAA film or video game industry, having produced work for at least one published title, in a leading role.</li> <li>You have leadership acumen, able to manage an in-house team of sound designers, and guide them with qualified and constructive feedback.</li> <li>Excellent sound design skills both in regard to technical understanding and creative solutions.</li> <li>Experience working with one or more established game audio systems (F-Mod, WWise, Miles Sound System etc.).</li> <li>Professional recording experience – location and studio-based.</li> <li>Experience recording, integrating and mixing audio for game projects.</li> <li>You are both autonomous and collaborative, and can both set the direction for the team and also be a true team player.</li> <li>You are self-motivated and hold a very high standard for the sound direction and your team’s work.</li> <li>Ability to respond elegantly to difficult creative changes, and work solution-oriented.</li> <li>A deep passion and enthusiasm for making and playing games, and a very good understanding of the industry’s competitive landscape.</li> <li>Work showcases (E. g. in published games, on personal website or on youtube).</li> </ul> <strong>We would love if you had:</strong> <ul> <li>Experience with linear sound or a sandbox storytelling game.</li> <li>A fan of the James Bond universe.</li> <li>Familiarity with and enthusiasm for IO Interactive games.</li> <li>Experience supervising orchestral recording.</li> <li>Experience supervising dialogue recording</li> <li>Degree in sound/audio design.</li> </ul> <p><strong>Who we are:</strong><br> We are a team, above all. If you join our studio, expect to be encouraged, listened to and have your efforts and insightful impact recognized and valued. We take pride in the friendly haven we built at IOI, and we expect you to take part in cultivating that. We are also highly international, with people from over 28 nationalities working in both our Copenhagen and Malmö offices.</p> <p>We also have a reputation for being a very friendly workplace with highly talented people. That is why the members we welcome in our team never fail to integrate, and are supported, valued and listened to at all steps. We are dedicated to quality and have fun while doing it. We welcome you to join us and do the same.</p> <p>The position is open in both our Malmö and Copenhagen offices, and we will take your location preference into consideration. We welcome candidates from all over the world, and we support VISA and relocation for you and your family.</p> <p>Please include a portfolio with your application. For any questions, drop an email to Marina, at &#x6d;&#x61;&#x72;&#105;&#110;as&#x40;&#x69;&#x6f;&#105;&#46;dk</p> <p><em>We are looking forward to your applications!</em></p> </p> </div> <div class="btnFix"><a class="btnJobs" href="https://career.ioi.dk/ad/lead-sound-designer/j4g69j" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://career.ioi.dk/" target="_blank" rel="noopener noreferrer">IOI Careers</a></div> </div> <div class="grayBreak"></div> <div class="note"><strong><span style="font-size: 24px;">Audio Experiences Prototyper</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Facebook</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Redmond, WA, US</span><br> <div class="jobDesc"><strong>Job description</strong> <p><p> Facebook&#39;s mission is to give people the power to build community and bring the world closer together. Through our family of apps and services, we&#39;re building a different kind of company that connects billions of people around the world, gives them ways to share what matters most to them, and helps bring people closer together. Whether we&#39;re creating new products or helping a small business expand its reach, people at Facebook are builders at heart. Our global teams are constantly iterating, solving problems, and working together to empower people around the world to build community and connect in meaningful ways. Together, we can help people build stronger communities &#8211; we&#39;re just getting started.</p> <p> As an Audio Experiences Prototyper on the Design team at Facebook Reality Labs, you’ll work with world-class scientists, designers, and engineers developing breakthrough technologies necessary for virtual, mixed, and augmented reality. You will develop spatial and perceptual audio experiences for AR and VR projects that demonstrate the full potential of 3D audio using future-state research technology. Your work will span both AR and VR domains, and be incorporated into larger multi-sensory and multi-modal experiences to be used in user research studies, technology demos, and functional prototypes.</p> <strong>Responsibilities</strong> <ul> <li>Collaboration with research scientists to transform experimental hardware, software, and services into prototype interactive experiences</li> <li>Implementation support for audio features within multi-modal experience development</li> </ul> <strong>Minimum Qualification</strong> <ul> <li>BS in computer science, music &amp; technology, acoustical engineering, or a related degree</li> <li>Communication and presentation experience and experience working in a highly collaborative, ambiguous environment</li> <li>3+ years of demonstrated proficiency with Unity 3D or Unreal</li> <li>3+ years of demonstrated proficiency with C#</li> <li>3+ years of demonstrated proficiency with DAWs (Ableton Live, ProTools, Logic Pro, etc.)</li> </ul> <strong>Preferred Qualification</strong> <ul> <li>MS or PhD in computer science, music &amp; technology, acoustical engineering, or a related degree</li> <li>Demonstrated experience with Max/MSP</li> <li><p>Demonstrated experience Audio Jobs Associate Technical Sound Designer Audio Director Audio Engineer Audio Experiences Prototyper Audio Lead Audio Producer Audio Production Coordinator Audio Programmer Audio QA Tester Audio Specialist Lead Sound Designer Music Production Lecturer Senior Audio Designer (Mixed Reality) Senior Sound Designer Sound Designer Visiting Assistant Professor Adriane Kuzminski 160 – The Trial of the Chicago 7 with Renée Tondelli & Michael Babcock https://tonebenderspodcast.com/160-the-trial-of-the-chicago-7-with-renee-tondelli-michael-bobcock/ TonebendersPodcast.com urn:uuid:dd91a9c4-1d77-622e-32e2-d57e3edd4491 Tue, 23 Feb 2021 21:41:50 +0100 In this episode we talk about the sound work done on the latest Aaron Sorkin film The Trial of the Chicago 7. We are joined&#8230; ADR Case Study episodes Interview Timothy Muirhead My fascination with soundscape recording https://mindful-audio.com/blog/fascination-soundscape-recording Blog - Mindful Audio urn:uuid:8ca45254-deca-ba16-4b69-9bb00e9d38ed Tue, 23 Feb 2021 10:00:13 +0100 One of my favourite soundscapes to listen to and record is that of rainforest hills. Rainforest because, well, it's a rainforest! Incredibly biodiverse, dense, lush and full of life. You don't really see a lot but you can hear an amazing variety of sounds. Hills because, unlike a flat, lowland rainforest, the sound is allowed to travel much further (even though not unimpeded). <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1614070307710-HWPFSDENQVAP8J63SW9O/ke17ZwdGBToddI8pDm48kPTrHXgsMrSIMwe6YW3w1AZ7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0k5fwC0WRNFJBIXiBeNI5fKTrY37saURwPBw8fO2esROAxn-RKSrlQamlL27g22X2A/DSC_1171-1-2.jpg" data-image-dimensions="2500x1406" data-image-focal-point="0.5097276264591439,0.8031386973205983" alt="DSC_1171-1-2.jpg" data-load="false" data-image-id="6034c21ff74ea746b205a83a" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1614070307710-HWPFSDENQVAP8J63SW9O/ke17ZwdGBToddI8pDm48kPTrHXgsMrSIMwe6YW3w1AZ7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0k5fwC0WRNFJBIXiBeNI5fKTrY37saURwPBw8fO2esROAxn-RKSrlQamlL27g22X2A/DSC_1171-1-2.jpg?format=1000w" /> </figure> <p class="">I originally wrote this as a description for one of my long soundscape videos (embedded below). I’d been thinking about my fascination for soundscape recording since I had a chat with my friend Rob a few days prior, and these thoughts were bouncing around in my head waiting to be wrote down on paper (or pixels, rather). </p><p class="">One of my favourite soundscapes to listen to and record is that of rainforest hills. Rainforest because, well, it's a rainforest! Incredibly biodiverse, dense, lush and full of life. You don't really see a lot but you can hear an amazing variety of sounds. Hills because, unlike a flat, lowland rainforest, the sound is allowed to travel much further (even though not unimpeded). </p><p class="">By the time sounds from different distances reach you - the listener - they interact with the space and take on new meaning. A bird call coming from a distance sounds more washed out but also offers information about local geography, the absence or presence of vegetation, the levels of humidity in the atmosphere etc. Certain calls mask one another and result in new, more interesting sounds. Many sounds bouncing from the same reflective surfaces create a beautiful sense of space. </p><p class="">We as humans are wired to glean this information from sounds on a subconscious level. A lot of it gets lost when living in an urban location however, but fortunately we can regain it by immersing ourselves in a wild place like the Borneo rainforest. It just takes some time for our ears to get accustomed to the lack of man-made sound and conversely, the presence of so much natural sound. </p> <figure class=" sqs-block-image-figure intrinsic " > <img class="thumb-image" data-image="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1614070638928-CIMCDG3DAU5MDT071TMP/ke17ZwdGBToddI8pDm48kPTrHXgsMrSIMwe6YW3w1AZ7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0k5fwC0WRNFJBIXiBeNI5fKTrY37saURwPBw8fO2esROAxn-RKSrlQamlL27g22X2A/DSC_0036-1.jpg" data-image-dimensions="2500x1406" data-image-focal-point="0.49635036496350365,0.7143630074245014" alt="DSC_0036-1.jpg" data-load="false" data-image-id="6034c36ca8075a246e23c73d" data-type="image" src="https://images.squarespace-cdn.com/content/v1/55a157c5e4b0796a90f7bfe8/1614070638928-CIMCDG3DAU5MDT071TMP/ke17ZwdGBToddI8pDm48kPTrHXgsMrSIMwe6YW3w1AZ7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0k5fwC0WRNFJBIXiBeNI5fKTrY37saURwPBw8fO2esROAxn-RKSrlQamlL27g22X2A/DSC_0036-1.jpg?format=1000w" /> </figure> <p class="">The layers I mentioned can be heard in most of the recordings I made in Borneo, including this one. Just listen out for Gibbon or Black hornbill calls coming from miles away and contrast them with the calls of small songbirds skulking in the undergrowth. Even the sounds of water dripping on vegetation are a good example of this latter layer. Sitting somewhere in between, the constant, high frequency calls of insects are a bit more difficult to locate in space but still very pleasant to listen to. A beautiful highlight is the 4-second whistle of Black-and-crimson pittas that seem suspended in space.</p><p class="">End of Youtube video description. I will leave you with another soundscape recording I made in a similar spot in Borneo but at a different time of day. The various layers are less evident but with a little attention and time for your ears to accustom, you will hear them. </p> Field recording tips George Vlad My fascination with soundscape recording How to Reset REAPER Settings – And why you shouldn’t https://reaperblog.net/2021/02/how-to-reset-reaper-settings-and-why-you-shouldnt/ The REAPER Blog urn:uuid:2d88197b-d10d-7008-8ed0-25784d67b7fd Tue, 23 Feb 2021 02:20:24 +0100 <p>I see this advice too often on the forums, and it's all wrong.</p> The post <a href="https://reaperblog.net/2021/02/how-to-reset-reaper-settings-and-why-you-shouldnt/">How to Reset REAPER Settings – And why you shouldn’t</a> first appeared on <a href="https://reaperblog.net">The REAPER BLOG</a>. Uncategorized Admin 18 great new audio jobs at Apple, GIANTS, Wabi Sabi, Frictional, The Chinese Room, Blizzard, Insomniac, IO Interactive, Respawn, Bugbear, Roblox, Sucker Punch, Activision, DIY Recording Equipment, Shenandoah Conservatory, Lionbridge, and Embark https://soundlister.com/18-great-new-audio-jobs-at-apple-giants-wabi-sabi-frictional-the-chinese-room-blizzard-insomniac-io-interactive-respawn-bugbear-roblox-sucker-punch-activision-diy-recording-equipment-she/ Soundlister.com urn:uuid:5cee7add-18a4-ae6a-3969-d4486a8f8987 Fri, 19 Feb 2021 12:59:28 +0100 <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: Audio Designer, Contract Game Sound Designer, Audio Designer, Sound Designer, Senior Technical Sound Designer, Technical Sound Designer, Lead Sound Designer, Senior Sound Designer, Contract Sound Designer, Audio Programmer, Audio Production Coordinator, Social Media Manager, Assistant Professor of Sound Reinforcement and Design, Audio Director, Audio Technologist, Senior Audio Software Engineer, and Game Audio Producer</p> <p>The post <a rel="nofollow" href="https://soundlister.com/18-great-new-audio-jobs-at-apple-giants-wabi-sabi-frictional-the-chinese-room-blizzard-insomniac-io-interactive-respawn-bugbear-roblox-sucker-punch-activision-diy-recording-equipment-she/">18 great new audio jobs at Apple, GIANTS, Wabi Sabi, Frictional, The Chinese Room, Blizzard, Insomniac, IO Interactive, Respawn, Bugbear, Roblox, Sucker Punch, Activision, DIY Recording Equipment, Shenandoah Conservatory, Lionbridge, and Embark</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="ab5d24005e" /><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 GIANTS Software, Wabi Sabi Sound, Frictional Games, and The Chinese Room &#8211; and they&#8217;re looking for an Audio Designer (Germany), Contract Game Sound Designer (GA, US), Audio Designer (Sweden / Remote), and Sound Designer (England).</p> <p>We also found openings for a <a href="https://boards.greenhouse.io/insomniacgames/jobs/2829530" target="_blank" rel="noopener noreferrer">Senior Technical Sound Designer</a> at Insomniac Games (CA, US), <a href="https://boards.greenhouse.io/insomniacgames/jobs/2440446" target="_blank" rel="noopener noreferrer">Technical Sound Designer</a> at Insomniac Games (CA, US), <a href="https://career.ioi.dk/ad/lead-sound-designer/shosdd" target="_blank" rel="noopener noreferrer">Lead Sound Designer</a> at IO Interactive (Denmark/Sweden), <a href="https://www.respawn.com/careers/senior-sound-designer-star-wars-3" target="_blank" rel="noopener noreferrer">Senior Sound Designer</a> at Respawn (CA, US), <a href="https://bugbeargames.com/careers/" target="_blank" rel="noopener noreferrer">Senior Sound Designer</a> at Bugbear Entertainment (Finland), <a href="https://corp.roblox.com/careers/listing/?gh_jid=2805418" target="_blank" rel="noopener noreferrer">Contract Sound Designer</a> at Roblox (CA, US), <a href="https://gamejobs.co/PROGRAMMING-Audio-Programmer-at-Sucker-Punch" target="_blank" rel="noopener noreferrer">Audio Programmer</a> at Sucker Punch (WA, US), <a href="https://gamejobs.co/Audio-Production-Coordinator-at-Activision" target="_blank" rel="noopener noreferrer">Audio Production Coordinator</a> at Activision (Ireland), <a href="https://www.linkedin.com/jobs/view/2405786129" target="_blank" rel="noopener noreferrer">Audio Director</a> at Lionbridge (Japan), <a href="https://www.linkedin.com/jobs/view/2406682823" target="_blank" rel="noopener noreferrer">Audio Technologist</a> at Apple (CA, US), <a href="https://gamejobs.co/Senior-Audio-Software-Engineer-at-Embark" target="_blank" rel="noopener noreferrer">Senior Audio Software Engineer</a> at Embark (Sweden), and <a href="https://gamejobs.co/Game-Producer-Audio-World-of-Warcraft-at-Blizzard-Entertainment" target="_blank" rel="noopener noreferrer">Game Audio Producer</a> at Blizzard (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://www.facebook.com/diyrecordingequipment/posts/3783054308421694" target="_blank" rel="noopener noreferrer">Social Media Manager</a> at DIY Recording Equipment (Remote), <a href="https://www.facebook.com/shenandoahconservatory/posts/4045697645480786" target="_blank" rel="noopener noreferrer">Assistant Professor of Sound Reinforcement and Design</a> at Shenandoah Conservatory (VA, US). Happy job hunting!</p> </div> <hr> <strong>Highlight &#8211; sound stories this week:</strong> Get the story on <a href="https://www.asoundeffect.com/the-undoing-sound/" target="_blank" rel="noopener noreferrer">how the sound for HBO&#39;s hugely popular mini-series &#39;The Undoing&#39; </a>was done, hear how a <a href="https://www.asoundeffect.com/better-audio-work-habits-standing-desk/" rel="noopener noreferrer" target="_blank">standing desk can improve your sound studio ergonomics</a> &ndash; and tips on how to reduce RSI,&nbsp; + get the <a href="https://www.asoundeffect.com/dice-awards-audio-design-finalists/" target="_blank" rel="noopener noreferrer">sound stories behind <em>all</em> the D.I.C.E. Awards Audio Design Finalists</a>.</em> <hr> <br> <div class="note"><strong><span style="font-size: 24px;">Audio Designer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> GIANTS Software</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Erlangen, Germany</span><br> <div class="jobDesc"><strong>Job description</strong> <p><p>GIANTS Software is one of the most successful game developers in Europe, with offices in Zürich, Switzerland, Erlangen, Germany, Brno, Czech Republic and Chicago, USA. It is well known for its “Farming Simulator” series, a worldwide best-selling game and real-time simulation, for many years.</p> <p>We are looking for a motivated <strong>Audio Designer</strong> to support our team in Erlangen, Germany.</p> <strong>What qualifications and skills do we expect from you?</strong> <ul> <li>You have a degree in game audio or equivalent</li> <li>You are experienced in creatively producing sound effects for video games</li> <li>You are experienced in working with professional audio editing tools</li> <li>You possess good discipline in following a predefined process</li> <li>You are experienced in field recording and field recording techniques</li> <li>You have no problem to meet tight deadlines while maintaining a high quality output</li> <li>You enjoy working in a team as well as independent<br></li> </ul> <strong>What would be a plus?</strong> <ul> <li>You already have gained experience in the gaming industry</li> <li>You already have gained experience in vehicle audio recording</li> <li>You have a strong passion for video games</li> <li>You have good communication skills in German (spoken &amp; written)</li> <li>You have a farming or technical background</li> </ul> <strong>What do we offer?</strong> <ul> <li>Variety: A challenging job and exciting projects with plenty of room for creativity and innovative ideas</li> <li>Work-life balance: Flexible working hours</li> <li>Great working atmosphere: Flat hierarchies and everyone at eye level</li> <li>Personal development: Individual opportunities for professional advancement, tailored to your needs and wishes </li> <li>Modern workplace: Office in a top location with good public transport connections<br> Security: Permanent employment contract, attractive salary and bonuses </li> <li>Extras: Drinks, snacks and fruit are of course free in our company&lt;</li> </ul> <p><strong>To apply for this position, please send us a resume and a cover letter.</strong></p> </p> </div> <div class="btnFix"><a class="btnJobs" href="https://jobs.smartrecruiters.com/GIANTSSoftwareGmbH/743999735303671-audio-designer-m-f-d-" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://discord.com/channels/743023892003684382/743030779591786537/811121098749378601" target="_blank" rel="noopener noreferrer">Izmotion (Discord)</a></div> </div> <div class="grayBreak"></div> <div class="note"><strong><span style="font-size: 24px;">Contract Game Sound Designer</span></strong><br> <span style="font-size: 16px;"><strong>Company:</strong> Wabi Sabi Sound</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Atlanta, GA, US</span><br> <div class="jobDesc"><strong>Game Sound Designer Position – Mid to Senior Level – Contract</strong> <em>application deadline 2/28/21</em></p> <p>Howdy, Andy here from Wabi Sabi Sound. We need you. Well, that is if you rock at this stuff below. Take a look:</p> <strong>Project Description</strong> <p> We are mid-development on a super saucy post-apocalyptic online P-v-P-v-E team based coopetition shooter with mutant bears. The dev team you will join is very – everything. Top level talent, track record for days, and cool (ie work hard, go home).</p> <p>The game is announced and in closed beta. Check it out-<img src="https://o0cf45o48l-flywheel.netdna-ssl.com/wp-content/uploads/BearBattle_4k-scaled.jpg&gt; =2560x1440" alt=""><br> <a href="http://www.scavengersgame.com">www.scavengersgame.com</a><br><br> <strong>The Audio Team:</strong><br> Wabi is vertically integrated into our client’s team. We are one with them. This requires us to have creative skills AND technical skills AND fabulous people skills. The Scavengers audio team is 1 Audio Director/Designer, 2 Sound Designers, 1 audio programmer with an outsourced composer and casting partner. Our designers have areas of ownership, but we support each other based on milestone needs. We’re small and agile.<br> <br><strong>The Role:</strong><br> Depending on the skills you bring to the table, you could be doing weapons, dialog integration, foley, ambiences, music integration, creatures, UI etc. As I mentioned, we are already in closed beta so all of these systems are in place with reasonably decent base content. We are gearing up for our final push and as VFX, Weapon Skins, MoCap, level design, characters and UI get their next round of updates we’d like someone to run with a few of these categories.<br><br> <strong>Requirements:</strong><br> Do you know Perforce well?<br> Do you know Unreal testing and basic BP workflows well?<br> Do you know Wwise well?<br> <em>If no-ish on any of these then sorry this opportunity probably isn’t for you.</em><br><br> <strong>If yes to all three, here are some other things to know. </strong><br> The team works remotely using Slack.<br> You will need a solid gamer PC. i7, gtx 1080, 32gigs of ram, ssd drives at least. If you don’t have this, I might be able to send you one. Let me know in your email.<br> You can work in any DAW you want. Most existing sessions were made in Nuendo or Reaper, so that’s a plus if you know those.<br> We primarily use Wabi Sabi Sound’s proprietary sfx library. We take this case by case…but we try to stay away from commercial libraries as much as possible. If sound design for you is using already designed libraries…then this might not be for you.<br> We have a daily audio team huddle/playtest at 10:31 am EST. (GMT-4)<br><br> <strong>Time Frame:</strong><br> Start: ASAP<br> End: June 2021<br> (roughly 4 months) In general, Wabi is looking for more partners. If this contract goes well, there WILL be more. <br><br> <strong>If you’re interested, GREAT! Please do the following:</strong><br> Email your resume to: <a href="&#x6d;&#97;&#105;l&#x74;&#x6f;&#58;d&#x65;&#x70;&#108;o&#x79;&#x40;&#119;a&#x62;&#x69;&#115;a&#x62;&#x69;&#115;o&#x75;&#x6e;&#100;&#46;c&#x6f;&#x6d;">&#x64;&#x65;&#112;&#108;oy&#x40;&#x77;&#x61;&#98;is&#x61;&#x62;&#x69;&#115;&#111;u&#x6e;&#x64;&#x2e;&#99;&#111;m.</a><br> Write us something about your experience with Unreal, Wwise and Perforce.<br> List your top game audio ninja skills…things you enjoy and feel really good at.<br> Looking forward to hearing from you.<br> Please reach out to me with any questions: andrew (at) wabisabisound (dot) com<br> Toodles,<br> Andy <br> </p> </div> <div class="btnFix"><a class="btnJobs" href="https://wabisabisound.com/game-sound-designer-position-contract/" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://twitter.com/escarbanzo/status/1359894837798068224" target="_blank" rel="noopener noreferrer">Eric Lorenz @escarbanzo</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> Frictional Games</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Malmö, Sweden / Remote</span><br> <div class="jobDesc"><strong>Job description</strong> <p><strong>Title:</strong> Audio Designer<br> <strong>Focus:</strong> Driving implementation of sound in our future games<br> <strong>Type: </strong>Full time permanent position<br> <strong>Last day to apply:</strong> This is an ongoing application without a last day to apply. We will update the ad when the position is filled.<br> <strong>Location:</strong> Remote or in Malmö office<br><br> The creak of wood beneath your feet; the scrape and thud of a drawer as you open it, searching for a clue. Your breath gently stirs the air; dripping water echoes down a long-forgotten corridor. You step into it, and your boot hits stone with just the right level of reverb – you feel as if you are truly there.</p> <p>Great audio design has long been one of the hallmarks of Frictional’s games, and now we are looking for an Audio Designer to join our team to focus on the nitty gritty, the implementation of audio in our games. <h2 id="what-will-you-work-on-">What will you work on?</h2> <p>You will work together with the audio team to define, create, and especially implement Audio and Sound Design in our new and upcoming games. We are a small studio, and see that as one of our core strengths. You will have a great impact on how our games sound and evoke emotions, and you will tackle a wide variety of challenges and tasks throughout our projects.</p> Even though we are a small team, and you will have to be prepared for a great variety of tasks, your main focus will be: <ul> <li>Implementing SFX and music in our games through Wwise.</li> <li>Working closely with the rest of the audio team and our designers to define our games’ soundscapes and audio needs, and how to implement them.</li> <li>Working directly in the level editor to set up reverb zones and other audio related assets and set ups.</li> <li>Researching and defining our audio tech needs (from an audio design perspective), and collaborating with our developers to have those needs accounted for.</li> <li>Taking part in designing custom sound effects, both by recording from scratch and processing already existing sound library material.</li> </ul> <h2 id="what-are-we-looking-for-">What are we looking for?</h2> <p><strong>You have to be a EU/EEA resident for us to be able to offer relocation.</strong> We do consider applications from outside the EU/EEA, but prefer them to be located in similar time zones to ease communication.</p> <p>The person we’re looking for is creative, driven, self-sufficient, and a problem solver. Being a remote team such as ours, organizing your own work and communicating clearly with the rest of the team are fundamental skills we require.</p> <p>We welcome applicants regardless of background, situation, sexual orientation, religion, and similar, so don’t let anything like that hold you back from applying!</p> <strong>Here are some essential skills we require:</strong> <ul> <li>At least 2 years experience as an audio designer for games</li> <li>Good understanding of and experience in using Wwise to implement music and SFX for games</li> <li>A good understanding of sound and music, and how they affect the player experience</li> <li>A critical approach to your work, where you think things through, reflect and improve</li> <li>Ability to challenge yourself and tackle new obstacles head-on</li> <li>A strive for structure, efficiency, and clarity</li> <li>Interest in, and ability to do, research for interesting sound and music implementation solutions</li> <li>Love for working on a variety of tasks</li> <li>Good communication skills</li> <li>Fluency in English</li> </ul> <strong>Here are some hardware essentials.</strong> This is important even if you eventually would like to work from the office in Malmö, as we have the office closed for the time being as a precaution due to covid: <ul> <li>A Windows PC that runs AAA games that came out the last few years on high quality.</li> <li>Hardware and equipment to work with.</li> <li>We don’t expect you to have a fully equipped home studio, but enough to get started, and work on most sounds. Additional equipment can be provided if needed, but it is important that you have the hardware needed to start working.</li> <li>A fast and stable internet connection</li> </ul> <strong>If you really want to impress us:</strong> <ul> <li>You have been responsible for audio implementation in at least one game from its conception to its launch.</li> </ul> <strong>These things will be considered a plus:</strong> <ul> <li>You live in Sweden. Especially a plus if you live in or around Malmö.</li> <li>Basic understanding of programming and code</li> <li>Game design skills</li> </ul> <h2 id="what-do-we-offer-">What do we offer?</h2> <p>We are a small team, which means you will be able to work on a wide variety of things and contribute to our future games in a meaningful way.</p> <p>We also believe a healthy balance between work and life reflects positively on your work. We offer a variety of perks for our full-time employees, especially those who live in or relocate to Sweden. We also don’t encourage crunch.</p> <strong>Here’s what we offer:</strong> <ul> <li>Flexible working hours</li> <li>Relocation support to Malmö if you would like to move here</li> <li>Opportunities to influence your workflow</li> <li>Variety in your work tasks, and ability to influence your workload</li> <li>Participation in our internal game Show &amp; Tell sessions, so you’ll have input into all aspects of the game</li> <li>Social security and holidays that are up to the Swedish standards</li> <li>An inclusive and respectful work environment</li> <li>An office in central Malmö you can use as much as you please</li> <li>Fun workmates, game and movie nights, and other outings!</li> </ul> <h2 id="how-to-apply-">How to apply?</h2> Did the position pique your interest? Are you the person we’re looking for? Then we would love to hear from you!<br> Please note that the application period will be ongoing until we find the right person for the position. Therefore it might take some time for us to reply to your message.<br><br> <strong>Please send us your:</strong> <ul> <li>Cover letter (why you should work with us, what do you bring to the table)</li> <li>CV</li> <li>Portfolio (or links to your works)</li> </ul> Send your application to <strong>&#x61;&#x70;&#112;ly&#x40;&#x66;&#114;&#105;c&#x74;&#x69;&#111;&#110;a&#x6c;&#x67;&#x61;&#109;es&#x2e;&#x63;&#111;&#109;</strong> </p> </div> <div class="btnFix"><a class="btnJobs" href="https://frictionalgames.com/2021-02-hiring-audio-designer/" target="_blank" rel="noopener noreferrer">More about this job</a></div> <div class="source">Source: <a href="https://twitter.com/tobiashellkvist/status/1362067268386107394" target="_blank" rel="noopener noreferrer">TOBIAS HELLKVIST @tobiashellkvist</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> The Chinese Room</span><br> <span style="font-size: 16px;"><strong>Location:</strong> Brighton, UK</span><br> <div class="jobDesc"><strong>Job description</strong> <p><p> The Chinese Room has established a reputation as one of the most creative and exciting studios in the UK. We’re proud to be internationally recognised as pioneers of storytelling with a flair for creating atmospheric, rich and imaginative games.</p> <p> As a Sumo Digital studio, The Chinese Room is built on passion, on finding amazing people and letting them shine. It’s an exciting time to be part of Sumo, winners of the Develop: Star Awards 2019 Best Studio and GI Biz 2020 Best Places to Work; big things are on the horizon and we want you to be part of our continued journey. Join us!</p> <p> The Chinese Room is made up of a diverse mix of fantastic people, although sometimes, some groups are still under-represented. We are working to remove obstacles that can make it difficult for those groups to progress their careers in the games industry. We welcome applications from under-represented people in the gaming industry, including, but not limited to BAME, LGBQT+, women, people with physical disabilities, neurodiversity or mental health issues, and parents or carers. <br></p> <strong>The Project</strong> <p>As a studio we develop our own original games, as well as ‘TCR’ takes Audio Jobs Assistant Professor Audio Designer Audio Director Audio Production Coordinator Audio Programmer Audio Technologist Contract Game Sound Designer Contract Sound Designer Game Audio Producer Junior Audio Producer Lead Sound Designer Senior Audio Software Engineer Senior Sound Designer Senior Technical Sound Designer Social Media Manager Social VR/XR Intern Sound Designer Technical Sound Designer Adriane Kuzminski 159 – Nomadland with Sergio Diaz and Zach Seivers https://tonebenderspodcast.com/159-nomadland-with-sergio-diaz-and-zach-seivers/ TonebendersPodcast.com urn:uuid:78b94be0-ec8a-6c7b-80c3-bf87ca086272 Thu, 18 Feb 2021 04:30:38 +0100 In this episode we sit down with Sergio Diaz (Supervising Sound Editor) &#38; Zach Seivers (re-recording mixer) about their work on director Chloé Zhao&#8217;s new&#8230; Case Study episodes Interview Timothy Muirhead Ghost of Tsushima Audio Director, Rev. Dr Bradley Meyer (Sucker Punch Productions) https://www.thesoundarchitect.co.uk/tsap-s04-e02/ urn:uuid:7bc08d50-f57f-f51d-85ee-ecd15d681185 Wed, 17 Feb 2021 18:18:05 +0100 <a href="https://www.thesoundarchitect.co.uk/tsap-s04-e02/" title="Ghost of Tsushima Audio Director, Rev. Dr Bradley Meyer (Sucker Punch Productions)" rel="nofollow"><img width="2560" height="1279" src="https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/02/Ghost_Keyart_wide-scaled.jpg" class="webfeedsFeaturedVisual wp-post-image" alt="" 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/2021/02/Ghost_Keyart_wide-scaled.jpg 2560w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/02/Ghost_Keyart_wide-300x150.jpg 300w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/02/Ghost_Keyart_wide-1024x512.jpg 1024w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/02/Ghost_Keyart_wide-768x384.jpg 768w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/02/Ghost_Keyart_wide-1536x768.jpg 1536w, https://www.thesoundarchitect.co.uk/wp-content/uploads/2021/02/Ghost_Keyart_wide-2048x1023.jpg 2048w" sizes="(max-width: 2560px) 100vw, 2560px" /></a><p><a rel="nofollow" href="https://www.thesoundarchitect.co.uk">The Sound Architect - All Audio, All For You</a></p> <p>(TSAP S04E02) In this episode, Sam is joined by Sucker Punch Productions Audio Director, Rev. Dr Bradley Meyer to chat about the audio for Ghost of Tsushima. They discuss the soundscapes of the environments, the detail in the Foley, voiceover, dynamic systems, creating authentic sounds for the world of 13th Century Japan and so much...</p> <p>The post <a rel="nofollow" href="https://www.thesoundarchitect.co.uk/tsap-s04-e02/">Ghost of Tsushima Audio Director, Rev. Dr Bradley Meyer (Sucker Punch Productions)</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 audio director brad meyer bradley meyer ghost of tsushima interview japan japanese Podcast PS4 ps5 rev dr bradley meyer rev dr meyer Sony sound design sucker punch sucker punch productions the sound architect podcast tsap tsushima Sam Hughes Are Opportunities a Matter of Luck? https://apriltucker.com/are-opportunities-a-matter-of-luck/ April Tucker urn:uuid:706e0b25-6bfc-5200-92a0-7d8f996b0130 Wed, 17 Feb 2021 17:08:00 +0100 <p>A lot of people use the saying opportunities are &#8220;a matter of luck.&#8221; In actuality, it&#8217;s not as entirely random or unpredictable as it may seem. Opportunities can increase by being strategic where you put your efforts. It is possible to put yourself in a position to be more likely to receive the types of ... <a title="Are Opportunities a Matter of Luck?" class="read-more" href="https://apriltucker.com/are-opportunities-a-matter-of-luck/" aria-label="More on Are Opportunities a Matter of Luck?">Read More</a></p> <p>The post <a rel="nofollow" href="https://apriltucker.com/are-opportunities-a-matter-of-luck/">Are Opportunities a Matter of Luck?</a> appeared first on <a rel="nofollow" href="https://apriltucker.com">April Tucker</a>.</p> <p>A lot of people use the saying opportunities are &#8220;a matter of luck.&#8221; In actuality, it&#8217;s not as entirely random or unpredictable as it may seem. Opportunities can increase by being strategic where you put your efforts. It is possible to put yourself in a position to be more likely to receive the types of opportunities you are looking for. </p> <p>It’s like riding on the subway &#8211; even if you don’t know how to get to your final destination, you probably know if you’re riding in the right direction. Or, if you know you&#8217;re going in the wrong direction, you can get off at the next stop and turn around. </p> <p>This analogy also applies to networking. You could be meeting a lot of people in the area you want to be working (going on the subway the right direction) but no one is hiring you (you don&#8217;t know what stop you&#8217;re supposed to take, or you&#8217;re taking the wrong ones). The subway is still going in the right direction &#8211; you just have to learn a bit more about the stops, and what it looks like when you come out of the subway. Over time, you&#8217;ll get a better sense of how to get from one place to another even if you don&#8217;t have the exact directions. </p> <p>The more people you meet (and who know the quality of work), the more likely you are to be recommended for gigs. </p> <h2>Is it better to have a goal to work towards or to focus more on the present (being on the subway in the right direction)? </h2> <p>Having a dream gives you something to work towards and motivates even when things get hard. On the other hand, things change, including our own preferences. Working on amazing music 80 hours a week might sound great when you’re getting started but it’s incredibly difficult to sustain a decades-long career at that pace. Some people don&#8217;t reach those original goals because of preference changes or reality sets in. For an assistant at a recording studio, working with famous artists or getting your name on a major album doesn’t help you if you can’t pay the rent. </p> <p> We aren’t going to be able to control everything in the trajectory of our lives and careers. We can’t choose whether someone hires us or even likes us. But, we do have a choice. We have the choice to look for opportunities, to take opportunities, or to ignore them. </p> <p>With opportunities (especially early in your career) there can be a lot of fears &#8211; like the fear that you’ll miss a good opportunity or that you’ll never get another. But it’s just like that subway where there’s always another train. Sometimes there’s delays and you can wait, or you can find another route to get where you’re going.</p> <p>One mistake is the need to always be in motion. Just because your career isn’t progressing right now doesn’t make it permanent. Having a drive for progress can be incredibly motivating, and it can help you keep working hard when things are tough. But, if that drive for progress is making you feel depressed or you&#8217;re unable to enjoy the successes you do have, it may be time for some introspection.</p> <p>The post <a rel="nofollow" href="https://apriltucker.com/are-opportunities-a-matter-of-luck/">Are Opportunities a Matter of Luck?</a> appeared first on <a rel="nofollow" href="https://apriltucker.com">April Tucker</a>.</p> Business & Audio Careers goals opportunities april Introduction to ReaLearn 2 https://reaperblog.net/2021/02/introduction-to-realearn-2/ The REAPER Blog urn:uuid:d51c2934-d295-6a15-9cf4-fb38c3efb4d6 Mon, 15 Feb 2021 19:53:30 +0100 <p>A huge update for the advanced MIDI learn tool for REAPER.</p> The post <a href="https://reaperblog.net/2021/02/introduction-to-realearn-2/">Introduction to ReaLearn 2</a> first appeared on <a href="https://reaperblog.net">The REAPER BLOG</a>. Uncategorized Admin Reader Q&A: High Schooler Looking to Pursue Audio https://apriltucker.com/reader-qa-high-schooler-looking-to-pursue-audio/ April Tucker urn:uuid:eb9d2fdf-9fd8-24ba-dab7-14917f1ef58a Sun, 14 Feb 2021 02:52:08 +0100 <p>In tv/film sound, is it more common to take a variety of different roles rather than focusing on and mastering one? Yes, definitely! People do tend to grow into a speciality (at least in LA) but that&#8217;s after a few years in the field and seeing what kind of work you can land. But part ... <a title="Reader Q&#038;A: High Schooler Looking to Pursue Audio" class="read-more" href="https://apriltucker.com/reader-qa-high-schooler-looking-to-pursue-audio/" aria-label="More on Reader Q&#038;A: High Schooler Looking to Pursue Audio">Read More</a></p> <p>The post <a rel="nofollow" href="https://apriltucker.com/reader-qa-high-schooler-looking-to-pursue-audio/">Reader Q&#038;A: High Schooler Looking to Pursue Audio</a> appeared first on <a rel="nofollow" href="https://apriltucker.com">April Tucker</a>.</p> <h2>In tv/film sound, is it more common to take a variety of different roles rather than focusing on and mastering one?</h2> <p>Yes, definitely! People do tend to grow into a speciality (at least in LA) but that&#8217;s after a few years in the field and seeing what kind of work you can land. But part of that variety is because sometimes you just take whatever work you can find. Full-time jobs in post-production sound are a rarity, so you&#8217;re usually only hired as-needed. It&#8217;s the norm now to have a setup at home where you can edit, mix, etc. Starting out, a lot of people just do indie work &#8211; so finding work gig by gig. </p> <h2>How can I continue to develop my skills specifically in film and TV before going to school for it?</h2> <p>If you have any friends doing any sort of videos for fun (anything from a vlog to Youtube videos to short films or whatever) try to work on their audio. Play around with it and see what it takes to make it better. A lot of times in film/tv you&#8217;re picking up on someone else&#8217;s work &#8211; whether it&#8217;s editing dialog that was recorded on set (by someone else), or a picture editor doing a little sound design (where it&#8217;s not their speciality) and you have to make it better.</p> <p>One thing that could help no matter what direction you go would be to take business classes. So many people (who put a lot of time and effort into learning audio) have to leave the industry because they go broke! From the day you get out of college you&#8217;re basically in business for yourself, which means you may need to put together a budget or make an invoice. Let&#8217;s say you want to rent a PA or mics for a show &#8211; what&#8217;s your budget, and what can you afford? If a theater wanted to hire you as an A2 and asked your rate, how would you figure that out? (what&#8217;s your rent/expenses, what&#8217;s the going rate at other theaters, etc?) Do you have enough income to afford that new plugin, software, etc this month or do you need to wait til next? All of that has to do with money management.</p> <p>In terms of audio/tech, you could try doing a project where you strip off the sound of a movie clip and redo it all yourself. If you might be interested in pursuing video games, play around with wWise, which is the tool game sound designers use to put sounds into a game (it&#8217;s a&nbsp;free download). There&#8217;s free sound fx libraries available online for educational use. Explore as much as possible from tv/film to video games to VR to podcasts. Join Facebook groups of professionals and just see what they&#8217;re talking about and what they&#8217;re like. Sometimes people find an area of work they love but they don&#8217;t really connect with the people, and that&#8217;s important when our industry is so relationship-oriented.</p> <h2><br>Is it beneficial to go to a school on the east or west coast of the U.S. for later opportunities?</h2> <p><br>The only reason I&#8217;d favor one coast over the other would be if you have a strong sense where you want to live after school. Like, if you knew without a doubt you wanted to do film/tv and move to Los Angeles, it might benefit to go to school here cause you can attend professional events, network, and get internships while in school. It can help you get a head start while you&#8217;re still in school. </p> <p>If you could see yourself in New York City doing theater, then maybe going to a theater school program like Yale might be a good choice cause it&#8217;s an hour subway ride into the city. For VR or video games, maybe it&#8217;s Seattle, and you could go to meetups and do hackathons while in school. </p> <p>But, there&#8217;s also something to be said about getting the best audio education you can for cheap (tuition and cost of living) even if it means you&#8217;re moving somewhere new after graduating and needing time to build a support network to help you find work. There&#8217;s no wrong answer, and people change their minds all the time. I was planning to move to New York for years (and even had a job lined up) but I visited LA my last semester of college and loved it. It was ultimately my &#8220;personal preferences&#8221; that lead me to LA over NY. Sitting in traffic never bothered me, but I hated riding the subway and being too close to smelly people first thing in the morning. I knew I&#8217;d be living in a small and loud apartment in NY, vs privacy and room for a home studio in LA.&nbsp;</p> <h2>Is it more beneficial to start at a large company and work your way up, or take on larger roles on lesser known productions?</h2> <p>Today, audio is more like trying to land work as an actor than finding a job as a doctor or accountant. Those kinds of jobs have openings, you apply, interview, and you can stay in the job for 30 years or quit anytime. In film/tv, most jobs do not come by job ads, and full-time jobs are rare. So you really are like an actor where you&#8217;re just constantly seeking out auditions, trying to meet as many people as possible (to hear about auditions &#8211; especially the ones that aren&#8217;t advertised), and then you do some other work while you&#8217;re taking all these auditions. Even if you land the gig, it might only be a day, week, or couple months or work. TV/film is exactly the same &#8211; even if a studio hires you, it might only be for 2 days a week for 12 weeks. So, you have to find a way to fill in the rest of the week plus you&#8217;re out of work in 12 weeks. The instability is something you get used to, but all that &#8220;audition seeking&#8221; is constantly happening on top of doing actual work.</p> <p>This exists in theater, video games, music&#8230; pretty much any of the creative side of the audio industry. In theater, you may only get hired for a show or tour run. Video games and VR has the same thing but the time frames tend to be longer (like a 6 month or 1 year contract, and at the end of the contract they may renew it for another year). </p> <p>For a high schooler, I wouldn&#8217;t have any plan at all for your career path or who to work for, and there&#8217;s not much you can do strategically other than to build skills. So, keep following your interests and going down those rabbit holes. Once you get out of high school, there&#8217;s going to be other people starting to dictate what your rabbit holes are, so take advantage while you still can go as wide, deep or upside down as you want. This goes for anything outside of audio, also!</p> <p>The post <a rel="nofollow" href="https://apriltucker.com/reader-qa-high-schooler-looking-to-pursue-audio/">Reader Q&#038;A: High Schooler Looking to Pursue Audio</a> appeared first on <a rel="nofollow" href="https://apriltucker.com">April Tucker</a>.</p> Business & Audio Careers audio school careers job roles location april