Sound Story Network

25 great new audio jobs at Lightspeed LA, Bungie, Certain Affinity, Lemonpie, Zenimax, Barbican, IOI, Creative Assembly, Deep Silver FISHLABS, Black Library, HARMAN, Keyword, Karanyl Sounds, Wildbear Entertainment, Voice Reels, Respawn, Sledgehammer, Peab

Adriane Kuzminski — Thu, 06 May 2021 21:48:29 +0200

We came across interesting new jobs at Lightspeed LA, Bungie, Certain Affinity, and Lemonpie – and they’re looking for an Audio Lead (CA, US), Marketing Mixer and Music Editor (WA, US), Advanced Technical Audio Designer (TX, US), and Audio Engineer (Remote).

We also found openings for an Audio Engineer at Zenimax Online Studios (MD, US), Sound Artist at Barbican Audio Trail (England), Audio Director at IO Interactive (Denmark/Sweden), Lead Sound Designer at Creative Assembly (England), Audio Programmer at Deep Silver FISHLABS (Germany), Audio Producer / Engineer at Black Library (England), Senior Acoustic Engineer at HARMAN International (GD, China), Vehicle Sound Designer Level 1 at Keyword Studios (WA, US), Dialogue Designer at Respawn (CA, US), Senior Sound Designer at Sledgehammer Games (CA, US / VIC, Australia / ON, Canada), Game Audio Lecturer at Peabody Institute (MD, US), 7 Audio Tools Dev Roles at Muse/Audacity (Remote), and Senior Technical Sound Designer at Riot LA (CA, US).

Bonus: The Audio Jobs group also has opportunities for a Preset Designer / Demo Composer at Karanyl Sounds (Remote), and a Sound Designer / Mixer at Wildbear Entertainment (NSW, Australia). Happy job hunting!

Highlight – sound stories this week: Award-winning composer Inon Zur, on what it takes to get started and succeed in the game industry. Be sure to take part in the sound quiz for your chances to win sound effects libraries from BOOM Library worth $1000. How The Mandalorian found the new Star Wars sound + 10 other Star Wars Sound Stories. A Sound Effect wins a Game Audio Network Guild Award for our The Last of Us Part II sound story!

Audio Lead
Company: Lightspeed LA
Location: Los Angeles, CA, US

Job description

This is an exciting opportunity for an experienced, passionate, creative and technical Audio Lead to join
our in-house sound team and help create world-class audio content on a new and exciting open-world
AAA game.

Responsibilities:

Design and implement immersive, next-gen audio content and systems to engage players and enrich game narrative.
Design, edit, mix and master audio assets.
Implement and author interactive, real-time sound using middleware and scripting tools to bring soundscapes to life.
Author and integrate audio assets through middleware and in-engine.
Manage a team of sound designers, providing guidance and feedback on audio standards, quality, consistency, and implementation.
Create and edit new sound effects using various recording techniques, professional audio editing tools, plug-ins, hardware and props.
Work closely with Audio engineers to design systems and methodologies with the goal to raise the bar in game audio.
Collaborate with the Audio Director to execute and deliver on audio features and ensure defined aesthetic is met throughout production.
Engage in the planning and execution of recording sessions in the field, studio and mocap stage, recording real-world sounds and foley.
Sound design and mix cinematic audio content to blend seamlessly with gameplay audio.
Direct recording sessions with actors as needed.

Qualifications:

Understand emotion and tension in storytelling, and be able to design narrative-driven audio.
Excellent sound design aesthetic with a keen ear for detail.
5+ years of experience in AAA game audio.
3+ years’ experience leading a team.
A desire to push game audio further with new ideas and methodologies.
A grasp of logic and scripting methods for interactive audio implementation within a game engine.
Imaginative and creative use of audio production tools, foley performance and capture, props, and recording techniques to create high-quality original content.
Fluent in interactive audio and post production techniques.
Expert command of sound design & mixing techniques, processes and tools.
Ability to create world-class audio content spread across multiple styles and genres.
WWISE middleware proficiency.
Field and studio recording experience.
Proficiency in Nuendo, Pro-Tools or Reaper
Experience/familiarity with industry standard plugins (Fab Filter, Altiverb, Waves, Izotope, etc)

Desirable skills and Experience

Experience designing sounds and sound systems for weapons, vehicles, physics, and weather.
Experience working on environmental audio, sound propagation and 3D audio
Technical skills and understanding of audio rendering and compression technologies, and codecs.

More about this job

Source: Tencent Jobs

Marketing Mixer and Music Editor
Company: Bungie
Location: Bellevue, WA

Job description

Do you have the “golden ears” and organizational skills to help an audio team to achieve their full potential? Can you ensure that production schedules and scopes can be met predictably and within expectations, and can you keenly craft and evaluate audio content to ensure that it meets a high quality and consistency bar? Most importantly, do you enjoy audio production and want to contribute to the creation of memorable media? Bungie currently has a unique opportunity that requires these skills.

Our current mission is to add a bold new member to our Audio Team. Bungie is looking for a multi-talented mixer and music editor with strong post-production and technical audio skills. Your work will help deliver media to be enjoyed by our community. If you enjoy playing games, bring your enthusiasm to the Audio Team at Bungie.

With the uncertainty and rapidly changing circumstances surrounding COVID-19, most positions at Bungie are expected to onboard and work from home for a significant portion of 2021. In 2022, most Bungie employees will adopt a flexible schedule working from home part time (outside of positions identified as either 100% onsite or fully remote in WA & CA). Currently only a select range of positions are available for full-time remote work in WA & CA (please review location for details). Prospective employees located outside of CA & WA will need to establish WA state residency within 45 days of a start date. Bungie’s work from home, flexible work schedule, and remote policy is subject to change at the company’s discretion.

RESPONSIBILITIES

Coordinate between the Audio and Marketing Teams to provide audio support for marketing assets
Edit music, sound design, and dialogue/voiceover for linear and non-linear media
Final mix for marketing media and game use
Provide feedback and approval of audio and mix for external media
Locate and provide relevant game assets, music, and sound design for marketing asset production

REQUIRED SKILLS

Collaborative team player with strong communication skills
A proven track record in music editing and mixing for multimedia
Proficient with digital audio production techniques
Excellent mixing and mastering skills
A basic understanding of music and keen ears
Good technical computer skills and capable of quickly learning new software
An interest in interactive audio
Advanced Pro Tools ability required

NICE-TO-HAVE SKILLS

Experience with implementation in Audiokinetic Wwise is a plus
Experience with Reaper is a plus
An enthusiasm for games

More about this job

Source: School.VideoGameAudio.com @SchoolGameAudio

Advanced Technical Audio Designer
Company: Certain Affinity
Location: Austin, TX, US

Job description

Would you like to work on some of the greatest franchises in gaming history? Certain Affinity is the largest independent developer in Texas, based out of Austin, and a growing presence in Toronto, Canada. Our culture reflects the values and the vibrant nature of the cities we call home. This includes a commitment to evolution, diversity, excellence, and work-life balance. We're best known for co-developing numerous AAA FPS games, though we're also creating compelling new games of our own. We're always on the lookout for amazing talent to join our team.

We are seeking a Technical Audio Designer to join our top-tier audio team. While very strong sound design skills are expected, your focus is supporting the audio team similar to the capacity of an Audio Programmer. Heavy, complex scripting solutions that yield industry-leading, run-time audio is the focus of this role. Although not technically a programmer, some background in programming/scripting is a must.

Responsibilities

Design and script systems to play and mix audio at an industry-leading quality
Work with the engineering team to turn scripted systems into code as needed
Create audio assets of high quality using a wide array of tools and libraries
Act as a lead on various aspects/features of the game, and represent audio to other disciplines
Define and document needed features for audio technology
Work with engineers to craft solutions to challenging audio needs
Ability to set up and maintain audio equipment

Requirements

3+ shipped AAA titles
5+ years of directly related industry experience
Excellent communication and leadership skills
Master-level understanding of interactive audio
Ability to manage lead-level duties on the production timeline
Can demonstrate previous work in a high-quality portfolio
Must have experience with Wwise and Unreal Engine
A desire to work and support a diverse and inclusive environment

Extra Credit

Credited engineering work

Certain Affinity or its partners or affiliates run background checks on candidates or employees with the written authorization from the candidates or employees. These may be done for the purposes of offering employment or determining eligibility to work on a specific project. Multiple searches may be required.

Certain Affinity does not accept unsolicited referrals or resumes from any source other than directly from candidates.

More about this job

Source: Mark Kilborn @markkilborn

Audio Engineer
Company: Lemonpie
Location: Remote

Job description

Hey there! We’re Lemonpie, a world-class podcast production agency, and we’re in search of a brilliant Audio Engineer to join our fast-growing team!

Note: This is a full-time, remote position.

What You'll Do

Join the first few minutes of every client interview each week to do a pre-interview tech check with our hosts and guests (and ensure everything is setup correctly and everyone feels comfortable)
Full episode production process (interview, solo, and even the some narrative style)
- Dialog editing
- Sound design
- Mixing/mastering
- ID3 tagging
- Ordering and sending equipment to clients and guests
- File management
  - Retrieving raw files from recording platforms
  - Labeling and organizing
  - Archiving
  - Creating transcripts using Descript
  - Linking deliverables in Airtable
  - Initial setup of podcast distribution
  - Episode publishing
  - Episode task management in Asana

Here are a few ways to know if you and this role could be friends:

You have 2+ years of podcast editing experience (or 1+ year and credible people call you a prodigy The Composer Success Series: Composing for Games – insights from Inon Zur: appeared first on A Sound Effect.

Can you guess what’s making this sound? 3 new clues added! (Prizes from BOOM Library worth up to $1000)

Asbjoern Andersen — Tue, 04 May 2021 23:22:31 +0200

Be sure to take part in the sound quiz for your chances to win sound effects libraries from BOOM Library worth $1000 in total:

The post Can you guess what’s making this sound? 3 new clues added! (Prizes from BOOM Library worth up to $1000) appeared first on A Sound Effect.

Can you guess the Mystery Sound? 3 new clues added! (Prizes from BOOM Library worth up to $1000)

Asbjoern Andersen — Tue, 04 May 2021 23:22:31 +0200

Be sure to take part in the sound quiz for your chances to win sound effects libraries from BOOM Library worth $1000 in total:

The post Can you guess the Mystery Sound? 3 new clues added! (Prizes from BOOM Library worth up to $1000) appeared first on A Sound Effect.

Does headphone mixing software actually work? (Dsoniq Realphones)

Admin — Tue, 04 May 2021 17:40:38 +0200

Does headphone calibration and virtual mix room software actually work?
Jon tries out Realphones with a few pairs of headphones and sees if it helps get hmixes that are close to studio monitors.

The post Does headphone mixing software actually work? (Dsoniq Realphones) first appeared on The REAPER BLOG.

#StarWarsDay: How ‘The Mandalorian’ found the new Star Wars sound + 10 other Star Wars Sound Stories:

Asbjoern Andersen — Tue, 04 May 2021 11:26:30 +0200

Join us on this deep-dive into the world of incredible Star Wars sound:

The post #StarWarsDay: How ‘The Mandalorian’ found the new Star Wars sound + 10 other Star Wars Sound Stories: appeared first on A Sound Effect.

I have Beef with Caelum Audio

Admin — Sat, 01 May 2021 17:40:10 +0200

Beef is the new dirty tone box plugin from Caelum Audio. With controls for EQ, 6 types of distortion, dynamic noise, bit crushing, transient shaping and limiting, this is powerful tone shaper.

The post I have Beef with Caelum Audio first appeared on The REAPER BLOG.

19 great new audio jobs at Jagex, Blizzard, Lunar Animation, Sound and Music, PUBG, Ubisoft (Multiple Locations), Funcom, 343, Roblox, Mythical Games, Keywords Tokyo, Quantic Dream, DICE LA, The Washington Post, and Bosch México

Adriane Kuzminski — Thu, 29 Apr 2021 22:25:52 +0200

We came across interesting new jobs at Jagex, Ubisoft Bucharest, Blizzard Irvine, and Kickstart (Splash Damage, Jagex, Futurlab, etc. – UK-only) – and they’re looking for a Junior Audio Designer (England), Junior Sound Designer (Romania), Sound Designer (CA, US), and Junior Audio Designers (England).

We also found openings for an Audio Designer at Ubisoft Montréal (QC, Canada), Freelance Summer School Producer at Sound and Music (England), Senior Sound Designer at PUBG San Ramon (CA, US), Audio Programmer at Ubisoft Winnepeg (MB, Canada), Audio Director at Ubisoft Newcastle (England), Audio Designer at Funcom (Norway), Audio Technical Designer at 343 Industries (WA, US), Global Music Partnerships Intern at Roblox (CA, US), Contract Senior Sound Designer at Mythical Games Seattle (WA, US), Audio Manager at Keywords Tokyo (Japan), Audio Lead at Quantic Dream (France), Sound Designer / Mixer at Lunar Animation (UK), Assistant Voice Over Designer at DICE LA (CA, US), Audio Engineer at The Washington Post (DC, US), and Lead Product Owner for Audio at Bosch México (JA, México).

And be sure to check out the The Audio Jobs group for more opportunities. Happy job hunting!

Highlight – sound stories this week:
→ Behind the sound for Zack Snyder’s Justice League, with Scott Hecker, Chuck Michael, & Gary Hecker
→ A Sound Effect wins a G.A.N.G Award!
→ How 344 Audio made their great ‘Geese’ sound effects library (includes free sound effects!)
→ Behind Sound of Metal’s extraordinary – and ‘Best Sound’ Oscar-winning – audio
→ Can you guess what’s making this sound? If so, you could win sound effects worth up to $1000!

Junior Audio Designer
Company: Jagex
Location: Cambridge, UK

Job description

To our wonderful friends and followers around the world, Jagex is not pausing its search for the most talented people to join its ranks. We’re a successful, robust and growing business, after all.

In light of the current situation concerning coronavirus, we have already made changes to the way we recruit, and of course are mindful of following all necessary processes to ensure the safety of our staff and anyone we might come into contact with.

Jagex has switched to working almost entirely remotely, and in line with that our recruitment and selection process has moved to an entirely remote one with video calls being the preferred method of interview.

Our hiring managers are engaged, we are well-prepared and we sincerely look forward to talking to you soon. Our team of expert recruiters will be in touch with you to talk you through the process and changes and what to expect.

So, don’t delay, get that application in today!

Company Overview:
A leader in creating deep and engaging experiences on PC and mobile, Jagex was founded in 2001 and is today one of the UK’s biggest and most respected video game developers and publishers.

Famed for its flagship MMOs RuneScape and Old School RuneScape, Jagex has welcomed more than 260million player accounts to its world and created a $1bn lifetime franchise revenue. Today the RuneScape franchise exists beyond running games in live operations; our titles are living games that connect and inspire millions of players, with content and experiences both inside and outside of inexhaustible game worlds.

Both RuneScape and Old School RuneScape, on PC and mobile, offer ever-evolving, highly-active worlds and our community-focussed development ethos empowers players to have a real say in how each game is shaped.

Jagex is expanding and extending its portfolio with fresh franchise titles, new IP and, in 2018 launched Jagex Partners, delivering third-party publishing and operational services exclusively for the living games of the future.

Jagex employs more than 400 people at its Cambridge headquarters and is on the hunt for talented people to work across the business to help the company to achieve yet another year of record growth and player satisfaction.

Job Purpose:
Under supervision assists with the design and creation of music/sound design/voiceover in assigned areas of product development that meets the audio direction criteria and quality bar.

Main Duties and Responsibilities:

Delivery of professional level sound design, music and dialogue for Jagex’s games and marketing material, under supervision.
Working closely with designers and level designers to ensure that the audio design supports the game design
Recording, editing and cataloging audio for the game projects and team’s central sound library.
Taking ownership of all audio for certain areas of content.
PLEASE NOTE WE WOULD LIKE TO SEE BOTH A COVER LETTER AND SHORT DEMO REEL WITH EACH APPLICATION

What we are looking for:

Has a passion for games and the desire to make them
Understands sound design concepts and music theory and concepts and their application in game audio.
Has a good working knowledge of industry standard audio tools for creating audio assets
Has knowledge of game audio techniques and audio production fundamentals
Has a good understanding of the game development process
Has some basic level game engine experience
Demonstrates a willingness and ability to learn and give and accept constructive feedback
Has the ability to develop and communicate basic ideas and concepts
Has strong communication skills
Willingness to work to a brief, adopt working practices and work within the stated boundaries, whilst also demonstrating initiative and creativity
Is proactive and self-organised

Even better if you have (but not essential):

Has some knowledge of coding/scripting
Has some experience of video editing
Has the ability to compose music in a wide range of styles

Company Benefits:

Flexible Working
- Bonus Scheme
- Private Health Care
- Gym Membership
- Generous Pension Contributions
- Life Insurance
- Free Cycle Repair
- Income Protection
- Dental Plan
- Free Fruit and Drinks
- Subsidised Canteen

Feel like you fit this role, but don’t meet all the requirements? We strive for fresh perspectives, so as long as you can demonstrate how your attitude and other abilities might make up for any gaps we would welcome your application!

Jagex are an equal opportunities employer and positively encourages applications from suitably qualified and eligible candidates regardless of sex, race, disability, age, sexual orientation, gender reassignment, marriage or civil partnership, pregnancy or maternity, religion or belief.

More about this job

Source: Jobs Lever

Junior Sound Designer
Company: Ubisoft Bucharest
Location: Bucharest, Romania

Job description

Ubisoft Bucharest has been an important pillar for the local gaming industry since 1992, being the first Ubisoft production studio outside France. It has a strong history of contributing to iconic AAA franchises such as Assassin’s Creed, Tom Clancy's Ghost Recon, Watch Dogs and Just Dance, and has helped develop a total of over 60 games. Today, the studio is the 2nd largest Ubisoft studio worldwide and continues to tackle the biggest challenges in gaming and technology, contributing to the creation of new and amazing games

Job Description

Participates in creating audio content (sound design, music, and voiceover) under supervision and supports their integration.

Your main mission:

Analyze high-level game mechanics and determine an appropriate audio treatment
Work closely with game designers, level designers and programmers to ensure that the audio design supports the design intention
Use your knowledge of audio tools and game editors in order to integrate audio content, fix bugs and create new functionalities
Ensure that the audio content you produce functions as intended, once implemented in the game
Apply audio concepts (sound manipulation tools, music theory etc.) as part of your working audio designs
Respect the imposed deadline for finalizing the received tasks

What you’ll bring as experience:

Production Pipelines and Technology
- Understands the basic processes and typical game production life cycles
- Understands and is able to work with deadlines
Audio documentation:
- Knows the importance of documentation and planning for game productions and create additional documentation if needed.
Music and Audio Design
- Solid skills in various DAWs (Reaper – is preferred, Nuendo, Cubase, Pro Tools, Ableton…) and Audio Editing Tools (Sound Forge, Wavelab…)
- Has basic knowledge of music theory and concepts (rhythm, harmony, etc)
- Is able to create and implement audio content – SFX, Foley, UI/Menu, Music etc
Game Audio Production Tools
- Is comfortable working with audio pipeline packages
- Understands the basic functions of an audio engine
- Has basic knowledge about field recording (ambiance sounds)

What You'll Bring As a Colleague:

Must be motivated and passionate about sound design and video games
Self-driven, team player and willingness to learn
Fluent in English, both verbally and written

Ubisoft Romania is defined by three main pillars:

Production: creates amazing games that have a strong impact on tens of millions of players around the world;
IT: delivers reliable services and engineers products for Ubisoft’s community of players, game development teams and employees;
Quality Control: guarantees a smooth and non-interrupted experience by maximizing the quality of the games.

You will have the chance to work with the latest technologies and collaborate with our talented teams from around the world.

We aspire to offer our employees an environment and culture where everyone can thrive. We offer a variety of perks that support physical, emotional and intellectual well-being such as health and benefit packages, opportunities for career development and learning, free access to bikes and a library at your disposal.

Find out more about Ubisoft Romania: https://www.ubisoft.com/en-US/studio/bucharest.aspx
Facebook: https://www.facebook.com/UbisoftRomania/
Instagram: https://www.instagram.com/ubisoftro/
LinkedIn: https://www.linkedin.com/company/ubisoft-bucharest

About Ubisoft
Ubisoft’s 19.000 team members, working across more than 40 locations around the world, are bound by a common mission to enrich players’ lives with original and memorable gaming experiences. Their dedication and talent has brought to life many acclaimed franchises such as Assassin’s Creed, Far Cry, Watch Dogs, Just Dance, Rainbow Six, and many more to come. Ubisoft is an equal opportunity employer that believes diverse backgrounds and perspectives are key to creating worlds where both players and teams can thrive and express themselves. If you are excited about solving game-changing challenges, cutting edge technologies and pushing the boundaries of entertainment, we invite you to join our journey and help us Create the unknown.

If this sounds like you, please apply via our career portal. The application should include your resume, highlighting your experience, education and skills.

More about this job

Source: Ubisoft Careers

Sound Designer
Company: Blizzard Irvine
Location: Irvine, CA, US

Job description

Blizzard Entertainment is looking for a full-time sound designer to bolster our ranks. We are looking for a champion of audio with a strong creative vision and an internal desire to wield a mighty sonic arsenal in their pursuit of audio perfection. Come join our audio guild and help us define the future sound of an unannounced project for mobile.

The ideal candidate needs to have extensive experience with sound design and environmental audio for mobile. As a member of the team, you will work directly with both the creative lead and game producer to align creative vision and goals. You must be comfortable operating in a professional manner while constantly interfacing with the various artists, designers, and engineers in bringing their characters, creatures, and environments to life. The sound designer engages with music compatriots to explore aesthetic opportunities and resolve any possible sonic conflicts. The sound designer also contributes to a game's user interface to present players with audio feedback as they interact with the interface. The ideal candidate is also able to collaborate with game designers in crafting an audio experience that complements and melds seamlessly with the gameplay. This person should also have an outstanding ability to not only create excellent, original content, but to successfully integrate it into the final product—working with other designers, actors, artists, producers, and programmers to make sure that great concepts make the transition from the microphone to the game.

If you’re ready to tackle the challenge of helping realize a new epic Blizzard experience, we want to hear from you!

COVID-19 Hiring Update: We’ve transitioned to a work-from-home model and we’re continuing to interview and hire during this time. This role is expected to begin as a remote position. We understand each person’s circumstances may be unique and will work with you to explore possible interim options.

Requirements

Shipped multiple titles in the role of sound designer
Experience specifically in creating outstanding soundscapes and sound assets for mobile games
A proven legacy of utilizing one’s artistic "voice" in furthering a storyline via the medium of sound
Experience utilizing sound effect recording sessions to gather resources for audio production
Experience creatively producing sound effects, backgrounds, and Foley for games
Experience working with commercial and/or proprietary audio implementation tools
Experience working in DAW workstations, such as Nuendo, Pro Tools, REAPER, etc.
Able to work with equal effectiveness in both team and solo creative environments
Experience editing and conforming sound-to-picture
Experience mixing in stereo and surround-sound formats
Experience using and troubleshooting Windows and Macintosh operating systems
Demo reel or audio portfolio including representative examples

4 Ways to reduce CPU load in REAPER

Admin — Thu, 29 Apr 2021 17:33:14 +0200

Four things you can do to dramatically lower the CPU load in a REAPER project.

The post 4 Ways to reduce CPU load in REAPER first appeared on The REAPER BLOG.

A Sound Effect wins a Game Audio Network Guild Award for our ‘The Last of Us Part II’ sound story!

Asbjoern Andersen — Thu, 29 Apr 2021 12:25:52 +0200

We're thrilled to have won a G.A.N.G Award for our sound story on The Last of Us Part II

The post A Sound Effect wins a Game Audio Network Guild Award for our ‘The Last of Us Part II’ sound story! appeared first on A Sound Effect.

Serving up Super Sound for ‘Zack Snyder’s Justice League’

Jennifer Walden — Wed, 28 Apr 2021 14:52:42 +0200

Behind the sound for Zack Snyder's Justice League - with supervising sound editor Scott Hecker, sound designer Chuck Michael, and Foley supervisor Gary Hecker:

The post Serving up Super Sound for ‘Zack Snyder’s Justice League’ appeared first on A Sound Effect.

How 344 Audio made their great ‘Geese’ sound effects library (includes free sound effects!)

Jennifer Walden — Tue, 27 Apr 2021 15:01:16 +0200

What it took to capture the sounds of geese for 344 Audio's new sound effects library:

The post How 344 Audio made their great ‘Geese’ sound effects library (includes free sound effects!) appeared first on A Sound Effect.

165 – Recording Deserts Roundtable

ReneC — Tue, 27 Apr 2021 13:46:41 +0200

We talked with an amazing lineup of recordists for this one: Bethan Kellough Zach Goheen Thomas Rex Beverly George Vlad Some gear recommended in this…

Resurface Opens in Latin America // Resurface Abre en America Latina

Ben Nemes — Tue, 27 Apr 2021 09:22:32 +0200

Within a few short weeks of Resurface opening an LA-based operation, we are excited to announce our in-person presence in Latin America.

Once again fuelled by increased demand, Resurface is now represented in the region by Omar Martinez, based in Mexico City.

Already well known to the Resurface team in his former role as Technical Sales Specialist, Latin America at Avid, Omar is an experienced Sound Technology Specialist with more than 25 years in the media and entertainment industry.

Omar’s deep knowledge of the technology and local markets will bring enormous benefit to buyers and sellers hoping to trade within Latin America and from around the world.

Omar loves audio, technology, football, coffee and good wine. He’ll fit in just fine.

Get in touch with Omar

A solo unas semanas de la apertura de Resurface en Los Angeles, estamos muy emocionados de anunciar nuestras operaciones en America Latina.

Debido a la alta demanda en operaciones, Resurface será representado en America Latina por Omar Martinez, basado en Ciudad de México.

Un viejo conocido del equipo de Resurface en su rol anterior como Especialista en Ventas Técnicas para America Latina de Avid, Omar es un Especialista en Tecnologías de Audio con más de 25 años en la industria del entretenimiento. Con su amplio conocimiento del mercado latinoamericano y la tecnología traerá un gran beneficio a los compradores y vendedores de América Latina y del resto del mundo.

Omar ama el audio, la tecnología el café y un buen vino. Estamos seguros que es una gran adición al equipo.

Conatactar a Omar

The post Resurface Opens in Latin America // Resurface Abre en America Latina appeared first on Resurface.

Control Surface Integrator FAQ (& my config)

Admin — Mon, 26 Apr 2021 19:57:12 +0200

Frequently asked questions about the Control Surface Integrator for REAPER.

The post Control Surface Integrator FAQ (& my config) first appeared on The REAPER BLOG.

Behind Sound of Metal’s extraordinary – and ‘Best Sound’ Oscar-winning – audio:

Asbjoern Andersen — Mon, 26 Apr 2021 10:05:14 +0200

How the Oscar-winning sound for 'Sound of Metal' was created:

The post Behind Sound of Metal’s extraordinary – and ‘Best Sound’ Oscar-winning – audio: appeared first on A Sound Effect.

Okefenokee Swamp: Sounds From One of the Largest Swamps In The World

Jared Blake — Mon, 26 Apr 2021 01:22:52 +0200

Join me on a field recording trip to the Okefenokee Swamp in Georgia where I capture the sounds of this primeval landscape.

While searching for quiet places for my road trip, I stumbled on the Okefenokee Swamp and instantly fell in love. The Okefenokee is one of the largest, intact swamps in the entire world. There’s only one road into the swamp and it terminates at Stephen C. Foster State Park, a Gold-tier International Dark Sky Park.

I was very excited to hear and record the sounds of this remote location filled with a great diversity of life. I booked a three-night trip from April 9th - 12th with some help from my supporters on Ko-fi.com.

Behind The Sounds

In the “Behind The Sounds” series, I take you behind the scenes and show you what it’s like to be a nature field recordist. I show you how I setup my gear in the field and why I am doing so. I try to make these videos resources for like-minded individuals, so please let me know what you want to see more (or less) of.

If you enjoy this kind of content, please consider supporting me with a one-time or monthly donation. Your support goes a long way in helping me keep this website running. Thank you to everyone who has donated already!

Trip Goals

The Okefenokee Swamp has one of the highest concentrations of alligators in the United States. After recently having captured the sound of a bellowing gator at the Santee Coastal Reserve, I was excited to be at the Okefenokee during the beginning of alligator courtship.

I also wanted to capture the natural ambiences of this ancient swamp during different times of day.

Recording Gear & Drop Rigs

Each of the recording setups pictured below used the SASS microphone that I built using 4 EM272 microphone capsules. These capsules are very low-noise and affordable and compete with much more expensive microphones. They are also very resistant to high humidity.

LS-10 Drop Rig
D100 Drop Rig
LS-10 Thunderstorm
D100 Thunderstorm

LS-10 Drop Rig

The first drop rig recording I setup was on the raised boardwalk trail. This trail is the furthest from the campground and provides the deepest look into the swamp without watercraft. While hiking, I kept hearing a low, explosive frog call that I did not recognize.

I positioned my SASS microphone pointing towards 2 of the unknown frogs to give the soundscape strong, up-front presence for each left and right channel. I plugged in my LS-10 and hoped that the frogs would stay generally in the same location throughout the night. Luckily, this was the case.

This setup gave me several really unique and peaceful ambiences of the Okefenokee at night.

The stars of the show sonically are pig frogs, Rana grylio. Their powerful, low grunts echo across the swamp. In the background are southern cricket frogs, Acris gryllus, whose call sounds like glass marbles hitting one another. Another layer deeper in the soundscape are chirping crickets. Still deeper, are the occasional calls of barred owls.

Sounds In Chronological Order:

Acoustic Nature · Cricket Frogs and Pig Frogs (8:44pm) - LS10 w/SASS Acoustic Nature · Explosive Pig Frogs at Night (10:12pm) - LS10 w/SASS Acoustic Nature · Pig Frog + Barred Owl Ambience (10:50pm) - LS10 w/SASS

D100 Drop Rig

When setting up this recording, my idea and hope was for very close proximity owl calls. The area I chose had three nice snags for owls. While no individuals made themselves known from the perches, this location did yield a soundscape that is the epitome of nature sounds at night. This recording is pure peace to my ears as crickets and owls sing boldly. The pig frogs in the background make this recording unique and ties the soundscape to the Southeastern United States.

Acoustic Nature · Stereotypical Ambient Cricket Sounds At Night (11:07pm) - D100 w/SASS

LS-10 Thunderstorm

Around 3pm on my second day, a powerful thunderstorm from the west approached the Okefenokee. While everyone was leaving the water and heading back to camp, I set out into a small pine forest on the edge of the swamp to record the storm.

To deaden the sound of raindrops hitting the SASS microphone, I put a generous pile of spanish moss on top of the mic enclosure. This ended up working really well and was actually pretty acoustically transparent! I wish I could use this solution everywhere but it only grown in the Southern United States and in other subtropical and tropical climates.

Acoustic Nature · Thunderstorm from Pine Forest POV (3:17pm) - LS10 w/SASS

D100 Thunderstorm

As the storm came closer and closer, the thunder became increasingly loud and I worried that the LS-10 levels were peaking. For insurance, I decided to setup a second recording using my D100. I also thought it would be interesting to hear the same storm from two locations, from the LS-10 pine forest and from the D100 cypress swamp.

Unfortunately I’ll never know because the D100 didn’t record anything. To start recording on the D100 you have to press the record button and then you have to press the play button. I only pressed record so the D100 stayed in stand-by mode for the entire storm. This is my own fault but I do wish the D100 didn’t have this quirk.

Anyways, the next morning also brought a severe thunderstorm to the Okefenokee. The storm caught me by surprise in the early morning but I was able to capture it while still in my tent. I simply put my D100 on a mini tripod, pointed it toward the thunder and tried to be as quiet as possible.

Acoustic Nature · Severe Thunderstorm Inside Tent (6:30am) - D100

Final Thoughts

Although the Okefenokee Swamp is one of the most remote and uninhabited places in the United States, Stephen C. Foster State Park is not the place for that experience. The campground is far from primitive and even has showers. These amenities make the park very popular with tourists and very noisy for recordists.

Although I was able to capture some beautiful sounds from this location, I would like to experience the Okefenokee more deeply in the future. When the time comes, I will spend a few nights canoe-camping within the wildness sections of the swamp.

If you enjoyed this post and would like to support me, please consider “buying me a coffee” with the donation button below.

Thank you for reading,
-Jared

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Learning C# Notes - Part IV: Methods

Javier Zumer — Sun, 25 Apr 2021 11:12:00 +0200

Here are my notes on eveyrthing related to methods.

Methods Basics

We can think of methods as the different actions that our classes can perform so they are the basic building blocks that determine how a class behaves.
Sometimes they are called ‘Functions’.
We first define a method using paretheses () after the name. Method names usually start with a capital letter.
After defining the method, we can call it from somewhere else.
See an example below. We first define a method and then it is called from some other method definition.

class Program
{
  void FirstMethod() 
  {
    // code to be executed
  }
  void OtherMethod() 
  {
    //Some More code
    FirstMethod();
  }  
}

Return Types & Passing Parameters

Methods can return a variable after they run, which needs to be specified when we define the method.
If a method returns no value, it will be of type void.
While return types are like outputs, we can also input information into a method. These inputs are called parameters.
For a method to take parameters, we must define them when we define the method.
A method can take multiple parameters.
We can give parameters a default value by using the equals sign when defining the method.
The ‘params’ keyword can also be used to make a parameter optional.
- To be precise, it allows you to pass any amount of elements in an argument's array and if you pass 0 elements this is in practice like making the argument optional.
- The params keyword can only be used once per method and must be the last argument.

int SumNumbers(int num1, int num2) 
{
  return num1 + num2;
}

void MyMethod(string country = "Norway") 
{
  Console.WriteLine(country);
}

Method Overloading

Multiple methods can have the same name and vary in how many parameters they take and even their return types.
This is useful when you need a method that can perform generally the same function but using different types of information.
We just define and call them as normal using the same method name.
See the example below. Both methods will just sum numbers but they can take different type of variables as values.

int SumNumbers(int num1, int num2) 
{
  return num1 + num2;
}
float SumNumbers(float num1, float num2) 
{
  return num1 + num2;
}

Calling Method from other classes & Static Methods

When working in Unity with C#, most of the time, each class lives in its own script file.
Is very common for a class to call another class’ method.
This is usually done by typing the name of the class followed by a full stop and then the name of the method, ending in paretheses.
If we want to call a method within a class without instatiating that said class, a possible solution could be to make the method static when defining it.

Unity Methods

Unity includes some important methods that we can use on Monobehaviour type scripts.
Awake() is the first method called and it should usually be used for initializing things. Is only called once.
Start() is also called once after Awake() but inly if the script component is enabled.
Update() is called on every frame that the script component is active.
LateUpdate() is called every frame but only after everything on Update() has finished executing.
FixedUpdate() is the same as above but it has the frequency of the physics system.
OnEnable() is called when the gameobject containing the script is enabled and becomes active.
OnDisable() is called when the gameobject containing the script is disabled or destroyed.

23 great new audio jobs at Disney, Facebook, Dolby, PlayStation, Gameloft, EA DICE, Phoenix Labs, Audacy, WayForward, Pod People, Sennheiser, SiriusXM+Pandora, Freakonomics Radio, CBS Interactive, Independent News & Media, Coventry University, Epic, Rocks

Adriane Kuzminski — Thu, 22 Apr 2021 21:35:25 +0200

We came across interesting new jobs at WayForward, PlayStation, Phoenix Labs, and Disney Publishing – and they’re looking for a Sound Designer (CA, US / Remote), Sound Designer (US / Canada / Remote), Audio Lead (BC, Canada), and Remote Audio Intern (Remote).

We also found openings for an Audio Director at Gameloft, Part-Time Audio Producer at Audacy (France), Product Owner of Professional Audio at Sennheiser (Germany), Senior Manager of Audio Production at SiriusXM+Pandora (CA, US), Audio Engineer at Freakonomics Radio (NY, US), Audio Engineer at CBS Interactive (CA, US), Staff Game Audio Engineer at Dolby Laboratories (CA, US), Sound Designer via Motion Recruitment (FL, US), Sound Engineer at Independent News & Media (Ireland), Assistant Voice Over Designer at EA DICE (CA, US), Audio Development Support at Rockstar Bengaluru (KA, India), Contract Audio Designer at WarnerMedia (QC, Canada), Sound Design Manager at Facebook, Composer (electronic/pop) at Hexany Audio, and Technical Audio Designer at Ubisoft San Francisco (CA, US).

Bonus: The Audio Jobs group also has opportunities for a Lecturer in Music Technology at Coventry University (England), Senior Sound Designer at Epic Games (NC, US), Remote Sound Designers for Pod People / Wondery, and Technical Sound Designer at Epic Games (NC, US). Happy job hunting!

Highlight – sound stories this week: Can you guess what’s making this sound? If so, here are your chances to win BOOM Library sound effects worth up to $1000! The 2021 MPSE Award winners have been found – here are the sound stories behind 10 of them. Chasing the rare sounds of Aurora Borealis, and other fascinating sounds of Lapland, with Niklas Eurén.

Sound Designer
Company: WayForward
Location: Valencia, CA, US / Remote

Job description

WayForward has been developing video games in Southern California for over 30 years. In that time, we have launched hundreds of games with partners such as Activision, Apple, Capcom, Disney, Konami, Sega, WB, Universal, and many more!

Our games are known for their classic, satisfying gameplay, beautiful art and animation, and compelling characters, story, and worlds. They have routinely received top scores on Metacritic and a multitude of awards and nominations from media outlets such as IGN, Gamespot, Destructoid, and Polygon.

Notable titles include: The Shantae series, Mighty Switch Force, A Boy and His Blob, DuckTales: Remastered, Aliens: Infestation, Contra 4, and games based on popular brands including Adventure Time, Batman, Silent Hill, Double Dragon, and Marvel.

Job Description
WayForward is seeking an experienced Sound Designer to join our audio team on a full time basis. The ideal candidate will have proven skills designing sound for multiple genres and a demonstrable understanding of the game audio pipeline. They will have great communication skills, a flexible skillset, and the ability to work well with other team members across multiple disciplines.

Core responsibilities include designing and creating sound effect assets, creating FMOD events, working with programmers to implement FMOD events in game, following naming conventions and best practices, and working with the audio team to create cohesive and immersive audio experiences for multiple titles.

Qualifications

A portfolio demonstrating high quality and versatile game sound design
Experience designing audio for games, and a knowledge of the specific challenges and considerations for non-linear audio
Mastery of at least one major DAW
Significant experience using FMOD Studio in all stages of the game design pipeline
Significant experience using VSTs and synthesis to design and create sound effect assets
Excellent organizational skills, and the ability to effectively track work
Ability to give and receive constructive feedback, and quickly iterate on sound effects
Passion for game audio, and a drive to constantly improve at your craft

Additional Considerations

Experience using Ableton Live and Sound Forge 10
Experience creating games in Unreal Engine and Unity

Additional Information
This is not a music composition position, nor will it lead to one. We are looking for people who are passionate about the discipline of sound design.

Due to the situation with COVID-19 WayForward is currently working remotely. Applicants that are located close enough to work onsite at our Valencia office are preferred, but we are also open to considering applicants that would need to work remotely indefinitely.

More about this job

Source: School.VideoGameAudio.com @SchoolGameAudio

Sound Designer
Company: PlayStation
Location: US / Canada / Remote

Job description

PlayStation isn’t just the Best Place to Play —it’s also the Best Place to Work. We’ve thrilled gamers since 1994, when we launched the original PlayStation. Today, we’re recognized as a global leader in interactive and digital entertainment. The PlayStation brand falls under Sony Interactive Entertainment, a wholly-owned subsidiary of Sony Corporation.

Sound Designer
This position can be based in Los Angeles, San Diego, or San Mateo/Bay Area; It can also be fully remote based anywhere in Canada.

You Are
A creative and experienced Sound Designer for interactive media who is interested in working with one of PlayStation's top AAA studios.

As It Turns Out
We are looking for a Sound Designer to join our award winning team to craft high quality audio content for 1st party product development projects. As part of our team, you will have the opportunity to work with some of the most respected developers in the industry and on some of the most exciting AAA games for PlayStation.

You will bring passion to the role of Senior Sound Designer, collaborating with sound and development teams, creating sonically rich content that pushes the industry quality bar. Your primary focus will be on sound design and implementation. Dialog, Foley, and field recording experience a plus.

You in?

Responsibilities

Designing immersive and rich sound effects to engage players and drive the title’s narrative
Implementation and authoring of sound design using middleware and scripting tools to bring soundscapes to life
Sound design and mixing of cinematics in multiple formats and specs
Collaborating with PD Sound leads to deliver cohesive and compelling audio experiences

Qualifications

3+ Years’ experience as Sound Designer for video games
At least one shipped AAA release
Fluent in interactive audio and post production techniques
Expert command of sound design & mixing techniques, processes and tools
Multi-specialized, able to create world class audio content spread across multiple styles
Imaginative use of audio production tools, Foley performance and capture, props, and recording techniques to create high quality original content
Familiar with authoring techniques within commercial middleware (WWISE, FMOD, etc…)
Experience working with game development teams and coordinating with various game departments such as animation, level design, AI, physics, mechanics, etc.
Ability to work under pressure and tight deadlines

Desired Qualifications

Knowledge or familiarity of scripting languages such as LUA, Python, etc.

Sony is an Equal Opportunity Employer. All persons will receive consideration for employment without regard to race, color, religion, gender, pregnancy, national origin, ancestry, citizenship, age, legally protected physical or mental disability, covered veteran status, status in the U.S. uniformed services, sexual orientation, marital status, genetic information or membership in any other legally protected category.

Reasonable Accommodation Notice Federal law requires employers to provide reasonable accommodation to qualified individuals with disabilities. Please tell us if you require a reasonable accommodation to apply for a job or to perform your job. Examples of reasonable accommodation include making a change to the application process or work procedures, providing documents in an alternate format, using a sign language interpreter, or using specialized equipment.

We strive to create an inclusive environment, empower employees and embrace diversity. We encourage everyone to respond.

We sincerely appreciate the time and effort you spent in contacting us and we thank you for your interest in PlayStation.

PRIVACY NOTICE TO SIE LLC’S JOB APPLICANTS

This Privacy Notice explains what personal information we at Sony Interactive Entertainment LLC collect from you, and why we collect it and use it. This Notice covers our practices regarding the personal information of all applicants to our job positions. Please review it carefully.

Categories of personal information we collect from you

Generally, We Obtain This Information Through Our Recruiting Team

We collect personal information about you throughout the recruiting process, in particular the following categories.

Identification and contact information
Direct identifiers such as your first and last name.
Indirect identifiers such as a government ID, your Social Security, work permit or passport #.
Contact information such as your email address, mailing address, telephone number.

Other information about you or that can be associated with you such as

Sensitive/Protected Data. During the recruitment process, you may (voluntarily) provide us with your ethnicity, gender, military service information, or physical or mental health information, as well as your national origin and citizenship.
Professional or job position-related information , including your past professional experience, references; background verification; talent management and assessment; information regarding any conflicts of interests; and the terms and conditions of your job offer.
Non-public education information , including information about your education records, such as grades and transcripts.

More about this job

Source: LinkedIn Jobs

Audio Lead
Company: Phoenix Labs
Location: Vancouver, BC, Canada

Job description

We are looking for a talented Audio Lead to join our San Mateo studio and work on an original new IP. We strive to work in nimble, empowered teams that are aligned around bringing players together through deep multiplayer games. People are our most important asset, and we look for each new person to add to our mosaic culture. Our goal is to be a place where a diverse group of driven, collaborative, and empathetic developers can do their best work.

As the Audio Lead, you will become the keystone developer for the audio discipline in the San Mateo studio. You will work with a cross-disciplinary team to establish the vision for audio in a new game, and build the disciplinary support to realize it.

Responsibilities

Work with the product director to create and implement audio assets across all aspects of the project.
Help craft a unique and iconic audio aesthetic.
Own technical implementation for audio assets across all aspects of the project.
Work closely with other disciplines to reinforce and enhance game mechanics, modular content and artistic direction.
Audio troubleshooting, bug identification, and fixing.
Create unique and expressive creature vocalizations.
Build and manage a team.

Required

Minimum 10+ years of sound design experience in the game industry.
Must have shipped at least two high quality PC or console titles.
Expert with Audiokinetic Wwise.
Proven ability to craft innovative and creative audio assets.
Strong communication and collaboration skills.
High level of ownership and self-sufficiency with assigned tasks.
Ability to operate effectively and positively in an open feedback environment.
Up-to-date on industry trends, new technologies, and best practices.
Experience with Unreal Blueprint.
Mastery of traditional and esoteric audio processing techniques.

Preferred

Familiarity with the Unreal Engine.

About Phoenix Labs
We make games because we love them, and because we love the way they bring people together.

Sound Awards Weekend

Timothy Muirhead — Tue, 20 Apr 2021 20:20:32 +0200

This past weekend, the Motion Picture Sound Editors (MPSE) and the Cinema Audio Society (CAS) gave out their awards for the bestsounding film, tv and…

The 2021 MPSE Award winners have been found – here are the sound stories behind 10 of them:

Jennifer Walden — Tue, 20 Apr 2021 19:10:37 +0200

Here are the sound stories behind 10 of the 2021 MPSE Award winners:

The post The 2021 MPSE Award winners have been found – here are the sound stories behind 10 of them: appeared first on A Sound Effect.

What does a tree hear?

George Vlad — Tue, 20 Apr 2021 17:16:23 +0200

One of the most relaxing soundscapes I've ever experienced is gentle rain falling in the rainforest. After a long day of hiking in a hot and extremely humid primary rainforest, I'm back at basecamp drenched in sweat but incredibly happy to be here. The atmosphere has been tense all day and the insects have been deafening. The birds quickly stopped calling after the dawn chorus and it feels like something has been building up ever since.

When the rain finally arrives, it feels slightly anticlimactic. Instead of a full-on storm we see gentle drizzle which eventually turns into soft rain. The air is decidedly cooler though, and some insects have started to call again. I'm sitting on a wooden platform, fully immersed in the land- and soundscape.

I've taped my microphones to the sides of a tree, slightly closer to each other on one side of the trunk. They're about 20cm apart, roughly the distance between human ears. The grooves and notches in the tree trunk act very much like the features on a human face, gently focusing or reflecting certain sounds.

This microphone technique is sometimes called tree ears (I'm not sure who coined the term but I've been using it along with my friends Thomas Rex Beverly and Andy Martin). I like to think about it as listening to the environment from the perspective of a tree, like the trees have been hearing it for millions of years. I hope hearing this pristine rainforest will help you feel more connected with it, and with nature and our planet.

Recorded in the Congo basin rainforest with Sony PCM M10, Sound Devices Mixpre-D and DPA 4060 microphones.

Ground Control – Free Audio Router for MacOS | Loopback Soundflower alternative

Admin — Mon, 19 Apr 2021 17:16:43 +0200

d Control is a free virtual audio cable app for Mac that allows you to route audio from one app to another, and comes with a monitor control interface.

The post Ground Control – Free Audio Router for MacOS | Loopback Soundflower alternative first appeared on The REAPER BLOG.

Chasing the rare sounds of Aurora Borealis, and other fascinating sounds of Lapland – Part 1: Introduction

Asbjoern Andersen — Mon, 19 Apr 2021 10:49:06 +0200

How Niklas Eurén plans to capture the rare sound of the aurora borealis:

The post Chasing the rare sounds of Aurora Borealis, and other fascinating sounds of Lapland – Part 1: Introduction appeared first on A Sound Effect.

Working in Sound: Alan Silvestri on the composing workflow behind his blockbuster scores

Asbjoern Andersen — Mon, 19 Apr 2021 09:31:07 +0200

Alan Silvestri – the award-winning composer behind scores for Back To The Future, Forrest Gump, The Avengers & more – shares workflow insights, tips and anecdotes in this great feature from Native Instruments:

Want to learn more about Alan Silvestri’s creative process? Check out these videos below:

Be the first to know about exciting new audio job posts: Get the Audio Jobs newsletter here

The post Working in Sound: Alan Silvestri on the composing workflow behind his blockbuster scores appeared first on Soundlister.com.

22 great new audio jobs at Netflix, Bungie, CNN, Playside, Mountaintop Studios, Frontier, Epic Games, Rare Ltd, Cloud Chamber, Visual Concepts, Vox, SB Nation, Vox Media, Axon, Jumbuck Film & TV, Amazon, EA Create Audio, BioWare, and IO Interactive

Adriane Kuzminski — Thu, 15 Apr 2021 23:19:24 +0200

We came across interesting new jobs at Playside Studios, Mountaintop Studios, Frontier Developments, and Rare Ltd – and they’re looking for an Audio Designer (Vic, Australia), Sound Designer (US/Canada), Music Supervisor (England), and Musician (England).

We also found openings for an Incubation Sound Designer at Bungie (WA, US), Senior Technical Audio Designer at Cloud Chamber (QC, Canada), Temp Audio Designer at Visual Concepts (CA, US), Creative Producer, Branded Audio at Vox Media (SF/LA/NY, US), Audio Producer at SB Nation (Remote), Senior Audio Producer at Vox Media (NY, US), Head of Audio/Podcast Programming, Editorial & Publishing at Netflix (CA, US), Sound Designer at Axon (WA, US), Product Designer, Audio at CNN Digital (NY, US), Audio Artist – Speech at EA Create Audio (BC, Canada), Senior Audio Designer at BioWare (Multiple Locations in Canada/US), and Dialogue Sound Designer at IO Interactive (Denmark/Sweden).

Bonus: The Audio Jobs group also has opportunities for a Foley Recordist at Jumbuck Film & TV (England), Contract Junior to Mid-Level Sound Designer for Jonathan Grover (Remote), a still-open opportunity for a Sound Designer at Amazon (CA, US), Technical Sound Designer and a Senior Sound Designer at Epic Games (Cary, NC). and Temp Audio Designer at BioWare (AL, Canada). Happy job hunting!

Highlight – sound stories this week: Hear what it takes to get started and succeed in composing for the TV industry, from Charlie Clouser, Sherri Chung & Cindy O’Connor. Learn about the year-long process of designing the ‘noise’ for Chaos Walking’s dystopian sci-fi world. And Oscar-winning supervising sound editor and sound designer Richard King takes you behind the sound of Tenet and Wonder Woman 1984.

Audio Designer
Company: Playside Studios
Location: Melbourne, Australia

Job description

We are looking for a super talented Audio Designer to help contribute to our exciting next-gen console titles.

In this role, the Audio Designer will be tasked with the production of high-quality audio assets across all areas; everything from SFX and foley recording to VO and music editing (please note we are not currently looking for a Composer at this time).

As part of the role, the Audio Designer will have the opportunity to add their own creative and technical touch to a wide variety of titles across multiple styles and platforms. They will be passionate about their work, an excellent communicator and an efficient problem solver, all the while ensuring that they adhere to PlaySide’s (and external parties’) design philosophies and standards. But most importantly; they’ll be a great team player and a fantastic addition to PlaySide’s awesome studio culture.

Please include a link to your Portfolio demonstrating outstanding visual and technical ability.

KEY RESPONSIBILITIES

Design exceptional audio content to create fun and engaging player experiences.
Contribute to all aspects of sound design, post-production and implementation as required. This applies to both linear and interactive content, and across multiple audio styles and game genres.
Work closely with the Audio Lead to establish unique sonic identities for all projects. Efficiently action feedback from department Leads or clients to suit project scope and timelines.
Optimize audio memory allocations and performance to suit individual release platforms
Collaboratively design, establish, and troubleshoot key audio system components within Unity and Unreal.
Efficiently handle asset management tasks and assistance in documentation where needed (asset management is a whole team effort).
Liaise with producers, Audio team members, and other department/project team members to ensure audio tasks are within time/budget.
Work alongside the other Audio team members in a professional manner, and provide thoughts on improvements to all projects studio-wide. Also expected to work at a technical level with all other members of staff in all areas of expertise.
Contribute to the continual improvement of Audio team workflow and efficiency by sharing relevant experience and skill, both verbally and through demonstration and/or documentation
Provide mentorship and onboarding of any junior members of the team.
To help in reinforcing great company-wide teamwork and amazing studio culture.

REQUIRED SKILLS

Intermediate audio editing, asset synthesis, processing and mixing skills – particularly with SFX and dialogue
Intermediate knowledge and experience with one or more current DAWs (Logic Pro X / Reaper a plus) and software/plugins (ie. iZotope, Waves, Kontakt etc)
Ability to work on multiple tasks and projects simultaneously, and quickly adapt to/manage competing priorities.
Proven track record of shipped titles both internal and/or external. Interactive film mediums also a consideration.
Strong technical and troubleshooting skills. Able to assess and identify further opportunities to improve workflows.
Deep understanding of both the game development process and working in Unity/Unreal. Moderate audio scripting abilities (C# / C++)
Strong attention to detail, and the ability to work independently to get the job done without day-to-day direction.
Excellent organizational and communication skills
A tertiary degree or equivalent professional qualification in a relevant field.
Understanding of mobile / console games, and the industry as a whole.
Ability to think on their feet and act quickly.
A good work ethic and a positive attitude
Quality demo reel

If you're ready to stand out from the crowd and deliver exceptional work please keep reading…

WHAT WE OFFER!

Incredible studios based in gorgeous Port Melbourne, right next to the city and many public transport options.
Amazing culture and team, we have some of the best people in Australia (we're not biased at all
The next stop on my field recording road trip brought me to the Santee Coastal Reserve on the coast of South Carolina. I was originally attracted to this area because of its size, distance from main roads and free camping. In total, I spent three nights here and was truly in awe of the beauty and diversity of this land.
This trip blessed me with many recordings but most notable were the monstrous sound of bellowing male alligators and the best barred owl calls I’ve captured to date.
Santee Coastal Reserve

Before the Santee Coastal Reserve (SCR) was protected, much of the land was used for rice farming. The habitat created by rice fields is invaluable to wildlife, and is especially so at the SCR now that the property is managed for the benefit of breeding, migratory and wintering waterfowl, shorebirds and wading birds.
In fact, the SCR has earned the designation as Important Bird Area by the American Bird Conservancy. For more information about Important Bird Areas, click here.
Besides the managed rice fields, the SCR also features upland forests of longleaf pine and live oak, bottomland cypress swamps, and freshwater, brackish and tidal wetlands.
There area also two islands in the reserve that are only accessible via boat and offer habitat to nesting loggerhead sea turtles.
I wasn’t able to explore either island on this trip but I hope to in the future.

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Behind The Sounds
The “Behind The Sounds” series are available to my supporters on Ko-fi. In the series, I take you behind the scenes and show you what it’s like to be a nature field recordist.
If you would like to watch this episode and others, please consider supporting me with a one-time or monthly donation. Your support goes a long way in helping me in my pursuit of quiet nature sounds.

Recording
Because I arrived late to the SCR my first day, I only had time to setup camp and explore one trail before sunset. I did capture some recordings of me walking on the raised boardwalk and of the soundscape there, but handling noise and noise pollution prevented me from recording anything great.
Over the next two days and nights, I had much more success setting up drop rigs with my SASS microphones paired with a D100, Olympus LS-10 and even a Tascam DR-05x to test it’s new scheduled recording feature.
Recording #1

First drop rig: SASS microphone with Olympus LS-10 recorder.

My first recording overlooked a large wetland densely populated with tall vegetation. The sound of the wind blowing through the grass caught my ear, as did the many species of birds calling at dusk.
After hearing both, I attached my SASS microphone to a tree and ran the audio into an Olympus LS-10 recorder in a drybag.
The recordings that resulted from this setup were my favorites. The star of the show was a close by alligator making territorial bellowing sounds.
When I first saw them on the spectrogram, they were such a low frequency that I thought they must be some kind of noise pollution. When I listened, I knew it must be an animal and I first thought it was a frog. After doing some research, I excitedly discovered that it was an alligator! I was surprised to hear that one was in this wetland with such thick vegetation.
Recordings In Chronological Order:
Acoustic Nature · Cardinal Dusk Chorus - LS10 Drop Rig (7:38pm)Acoustic Nature · Roaring Swamp Beast - Bellowing Alligator (11:57pm)

Insert Saved MIDI With SWS Resources

Admin — Thu, 15 Apr 2021 18:48:35 +0200

Save time programming MIDI by reusing your favorite patterns and instantly adding them to the project with keyboard shortcuts.
The post Insert Saved MIDI With SWS Resources first appeared on The REAPER BLOG.

The Composer Success Series: Composing for Television – with Charlie Clouser, Sherri Chung, & Cindy O’Connor

Jennifer Walden — Wed, 14 Apr 2021 13:58:19 +0200

Hear what it takes to get started and succeed in composing for the TV industry, from Charlie Clouser, Sherri Chung & Cindy O'Connor:

The post The Composer Success Series: Composing for Television – with Charlie Clouser, Sherri Chung, & Cindy O’Connor appeared first on A Sound Effect.

How I edit and master my field recordings

George Vlad — Tue, 13 Apr 2021 19:00:00 +0200

The studio side of field recording

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.
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.
In the field

Editing field recordings on expedition

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.
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.
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.
I prefer not to fiddle with the stereo image 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.
I usually record 24 bit 96 kHz. 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.
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.

Field recording data management

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.
In the studio
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.
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.
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.
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.
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.
Sound effects libraries
One of the more important purposes for my field recordings has always been sound effects libraries. 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 any 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.
Cutting 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.
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.

Setting up a drop rig in Borneo

Regardless how good I’ve become at setting gain levels (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.
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.
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 EQ/filtering can be very useful.
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.

Sennheiser Double Mid Side in Gabon

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.
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.
Compression and limiting 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.
Spectral editing 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.
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.
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.
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

164 – Sound Design for Series Animation Roundtable Part 2

Timothy Muirhead — 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…

New Features in REAPER 6.27 | per item channel mapping and more

Admin — Tue, 13 Apr 2021 00:56:38 +0200

Catching up on features and changes from the past 3 update including changes to Razor Editing, appearance on Mac, and Channel Mapping.
The post New Features in REAPER 6.27 | per item channel mapping and more first appeared on The REAPER BLOG.
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,

Adriane Kuzminski — Fri, 09 Apr 2021 10:56:53 +0200

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We came across interesting new jobs at Striking Distance Studios/PUBG, Facebook, Probably Monsters, and Ascendant Studios – and they’re looking for an Audio Lead (CA, US), Sound Designer (WA, US), Senior Sound Designer (WA, US), and Senior Sound Designer (CA, US).

We also found openings for a Sound Designer at People Can Fly (NY, US), Music Marketing Manager at Rockstar (NY, US), Audio Designer at Obsidian Entertainment (CA, US), Audio Producer at Psyonix (CA, US), Director of Audio at Morning Brew (NY, US), Audio Engineer at Radical Forge (England), Sound Designer at Gebr. Märklin & Cie. (Germany), Podcast Producer at Rebel Girls (CA, US), Sound Engineer at GradBay (England), Audio Engineer at LumiQ (ON, Canada), Lecturer in Video Game Sound Design at Manchester Metropolitan University (England), Technical Audio Designer at Triotech (QC, Canada), Audio and Acoustics Researcher at Dolby (US), Live Music Assistant Producer at the BBC (London, UK), and Sound Designer II at Piranha Games (BC, Canada).

Bonus: The Audio Jobs group also has opportunities for a Sound Designer at Posao (Belgrade), Freelance ADR / VO Engineer for a freelance gig (CA, US), and Advanced Technical Audio Designer at Certain Affinity (TX, US). Happy job hunting!

Highlighted sound stories this week:
• Behind the sound of Tenet
• Two audio interviews with Oscar-winning sound supervisor Richard King
• Behind the sonic magic for of the world’s most popular theme park rides at Disney World
• Dillon Bennett and Eilam Hoffman on the sound of HBO’s award-winning fantasy series His Dark Materials
Audio Lead
Company: Striking Distance Studios/PUBG
Location: San Ramon, CA, US
Welcome to Striking Distance Studios! 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.

What we need:
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.

Responsibilities:
- 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.
- Manage a team of audio designers, providing them with guidance and feedback on audio quality, consistency, and implementation
- Design next level audio content with foresight of implementation methodology for said content.
- Author, premix, and integrate audio assets within engine via WWISE and other audio middleware.
- Work within UE4 engine to further integrate authored and designed material.
- Work closely with various teams to achieve audio excellence across all disciplines.
- Engage with Audio Engineers to help refine \ align best practices with the aim of ultimately enhancing the product.
- Collaborate with Audio Director to execute and deliver upon audio feature sets, goals and ensure defined aesthetic is met throughout production.
- Engage in the planning and execution of complex recording sessions both in the field and on stage.
- Occasionally man or direct booth sessions if \ as needed.
- Edit, mix, and master audio materials.
Qualifications:
- Excellent Sound Design aesthetic with a keen ear for detail.
- Capable of delivering on multiple styles and capacities.
- 5+ years of experience in AAA game audio;
- 1+ years’ experience leading a team including people management
- A minimum of two AAA titles shipped as Sound Designer
- WWISE and game scripting experience.
- Field and studio recording experience.
- Experienced in UE4 and scripting.
- Masterful within Pro Tools.
- Experienced with most industry standard plugin and toolsets (Waves, Izotope, etc…)
- Solid grasp of broadcast and mix specifications.
More about this job

Source: PUBG Careers
Sound Designer
Company: Facebook
Location: Seattle, WA, US
Job description
Facebook'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'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'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 – we're just getting started.

As a Sound Designer at Facebook, you'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.
Responsibilities
- You are, first and foremost, a Sound Designer who has made and will continue to create iconic sounds
- Expert with your tools of choice and possess both a keen aesthetic understanding of audio and a strong background in audio technology
- Create audio content for Facebook apps, VR, AR, and more
- Contribute to the future of sound design by working with and refining new technologies with our technology teams
Minimum Qualification
- 5+ years experience in audio production for interactive experiences
- Communication and teamwork skills
- Experience working with commercial audio middleware such as Wwise and FMOD
- Experience working with game engines such as Unreal, Unity, etc. and asset management/version control systems such as Perforce, Git, etc
Preferred Qualification
- AR/VR sound design experience
- Mobile platform experience
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 accommodations-ext@fb.com.
More about this job

Source: LinkedIn Jobs
Senior Sound Designer
Company: Probably Monsters / Firewalk Studios
Location: Seattle, WA, US
Job description
Senior Sound Designer

ABOUT FIREWALK STUDIOS
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.

THE ROLE
Our studio is looking for a Senior Sound Designer who is incredibly passionate about games and bringing exceptional entertainment to millions of players. As our Senior Sound Designer, you will be responsible for creating and implementing world-class sound effects, helping our Audio Director and Game Director achieve their creative vision.
WHO YOU ARE
- You are an exceptional sound designer that has a diverse portfolio of outstanding content.
- You have a refined audio aesthetic with a keen ear for detail and nuance.
- 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.
- You are both creative and technical, understanding that implementation and mixing play a crucial role in the overall quality of the audio experience.
- You are a team player who can collaborate across disciplines but can also work semi-autonomously with minimal supervision.
- You are passionate about gaming and strive to create amazing audio experiences for gamers.
WHAT YOUR DAY MIGHT LOOK LIKE
- Designing and implementing sounds for cinematics and/or interactive content.
- Meeting with the Audio Director and/or Game Director to review your most recent work.
- Playtesting the game for both audio QA purposes and to give notes on the game as a whole.
- Working with a Gameplay Designer to make sure your sounds are supporting gameplay mechanics and feedback.
- Collaborating with both the Audio Programmer and the Audio Director to develop and refine our in-game audio systems and implementation pipeline.
- Field or foley recording to augment our proprietary SFX library.
QUALIFICATIONS
- You have a proven ability to create visceral and immersive audio experiences in games.
- You have a deep knowledge of game audio implementation tools and technologies.
- You have significant field and studio recording experience.
- You have shipped multiple AAA quality games.
- You have at least 5+ years of professional sound design experience in linear and/or interactive entertainment.
ABOUT PROBABLYMONSTERS INC.
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 probablymonsters.com
More about this job

Source: School.VideoGameAudio.com @SchoolGameAudio
Senior Sound Designer
Company: Ascendant Studios
Location: San Rafael, CA, US
Job description
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.

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.

Please include a link to a reel of your work when applying for this position.
Key Responsibilities
- 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.
- Work alongside and guide outsource partners for SFX and music creation.
- Work with other disciplines to make sure that audio department needs are met and audio is working and performant on various platforms.
- Implement new sound effects in engine for both real time gameplay and cinematics using Wwise and Unreal Engine 4.
- Collaborate with level designers and cinematic artists to create an engaging soundscape for both high octane action and emotive narrative moments.
- Help to record, mix, edit, and implement voice over audio.
- May occasionally direct voice actors.
Requirements
- 3+ years experience as an audio designer, AAA titles on modern consoles preferred
- Deep knowledge of sound design practices and audio theory.
- Expert proficiency with modern audio software and strong technical knowledge.
- Extremely creative – 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.
- Previous experience working with external teams on sound, music, and voiceover.
- Proficient in music, ambient, effect, and voice over editing.
- 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.
- Excellent problem solving skills, ability to identify and resolve issues, and understanding of technical dependencies.
- Understanding requirements and limits for audio on current and last generation consoles as well as PC. Comfortable working with next gen technology.
Good to Have
- Shipped title
How to easily backup REAPER settings with Automator (for MacOS)

Admin — Thu, 08 Apr 2021 17:43:13 +0200

How to use Automator to backup your REAPER settings (or anything) as a zip file and add to dropbox.
The post How to easily backup REAPER settings with Automator (for MacOS) first appeared on The REAPER BLOG.

163 – Sound Design for Series Animation Roundtable Part 1

Timothy Muirhead — 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…

How to install REAPER + Extensions on Apple M1 Mac | MacOS 11 Big Sur

Admin — Sat, 03 Apr 2021 18:55:32 +0200

How to install the apple silicon / ARM64 version of REAPER, SWS Extension, ReaPack Extension, and VLC.
The post How to install REAPER + Extensions on Apple M1 Mac | MacOS 11 Big Sur first appeared on The REAPER BLOG.
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

Adriane Kuzminski — Fri, 02 Apr 2021 22:54:49 +0200

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We came across interesting new jobs at Elevate Labs, Bioware, Wargming, and Zynga Austin – and they’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).

We also found openings for a Sound Designer at Ubisoft Bucharest (Romania), Junior Sound Designer at Ubisoft Bucharest (Romania), Lead Audio Designer at Remedy Entertainment (Finland), Senior Sound Designer at Ubisoft Ivory Tower (France), Junior Audio Designer at Ubisoft Singapore (Singapore), Audio Engineer at Jobot (CA, US), Podcast Audio Engineer at Vox Media (NY, US), and Audio Engineer at Iron Mountain (England), Music Internship at EA MCO (CA, US), Audio Engineer at Amplify Voices (WA, US), Podcast Producer at Sesame Workshop (NY, US), Senior Technical Producer at Turner Studios (Atlanta, GA, US), Production Design Prototyper – AI Voice at Facebook (CA, US), Audio Coordinator at HarperAudio (NY, US), Freelance A1 Audio Mixer at Fox Sports (CA, US), and Audio Application Specialist at Avid (England).
And be sure to check out the The Audio Jobs group for more opportunities. Happy job hunting!

Highlight – sound stories this week: Discover the sonic magic behind some of the world’s most popular theme park rides at Disney World. Dillon Bennett and Eilam Hoffman take you behind-the-sound of HBO’s award-winning fantasy series His Dark Materials.
Sound Designer
Company: Elevate Labs
Location: Atlanta, GA, US / Remote
Job description
Elevate Labs is on a mission to improve people's minds.

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'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.

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.

If our mission resonates with you, please consider applying!

About the role:
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.

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're also adaptable, self-motivated, highly organized, and eager for continuous feedback as we seek to innovate in the audio learning space.
What you'll do here:
- Handle post-production for meditation audio and new types of audio-based learning content, both in linear and interactive formats
- Organize audio files inside Dropbox, and keep meticulous records of file names and versions
- Continuously QA in-app audio and make minor adjustments to create a smoother listening experience
- Identify opportunities to add value with sound assets
- Work independently, but also collaborate with members of the content, design, engineering, and product teams
About you:
- You have 3+ years of professional sound design experience, ideally working on a blend of interactive and linear projects.
- You are an expert with Pro Tools.
- You have knowledge of field, studio, and remote/Zoom recording.
- You have extensive knowledge of recording equipment and understand how to produce consistent results in different conditions.
- You have a general grasp of the entire production process and how sound and animation can interact.
- You have a great ear and are adept at choosing the best takes.
- You work well under deadlines.
- You're meticulous, organized, and resourceful.
- You communicate often and effectively with diverse stakeholders.
- You have a strong bias toward action.
Bonus:
- Interest in educational technology, lifelong learning, and/or meditation
- Experience working on interactive mobile games or with mobile sound design
- Experience with linear storytelling and story assembly
- Experience with Descript or something similar
Benefits & perks:
- Fully remote environment
- Medical, dental, and vision insurance for you and your family
- 401(k) plan
- Fully paid parental leave
- Competitive salary and equity
- Home office upgrade stipend
- Annual learning stipend
- Wellness/Fitness Subscription Box
Why work at Elevate Labs?
- Do mission-driven work
- Skip the commute and enjoy the flexibility of working from home
- Develop your skills through a wide variety of challenging and impactful projects
- Accelerate your career through rapidly increasing levels of ownership
Our Commitment to Diversity, Equity, & Inclusion:
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.

We also know that diversity of identity, experience, and thought leads to more creativity, better problem-solving, and wiser decisions, which is why we'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'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.
More about this job

Source: Jobs at Lever
Audio Designer
Company: Bioware
Location: Edmonton, AL, Canada
Job description
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.

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.
Responsibilities:
- Design, create and deliver an innovative sound design that helps create amazing worlds for our players.
- Imagine, build, and implement your audio designs to deliver immersive, meaningful aesthetic behaviours.
- Embrace the established BioWare audio model of teamwork throughout the development process.
Qualifications:
- At least 2 years industry experience – has created sound, and/or music, hands-on for at least one AAA console titles.
- Proven experience with and a strong understanding of the entire audio process, including sound effects, voice-over, music, and middleware implementation.
- Proficient command of sound design & mixing with a variety of techniques, processes, and tools – able to competently produce any kind of audio required for a given task.
- Familiarity with Wwise, Fmod, or similar authoring environment – a grasp of programming fundamentals as they apply to scripting dynamic audio is a bonus.
- Field Recording experience – a passion for unique, inspired recordings with knowledge of recording gear, microphones, and techniques.
- Strong problem-solving skills – able to accurately assess issues and formulate creative solutions, whether design or technical.
- Excellent communication skills – showing humility in exposing roadblocks or requesting assistance.
- Great team attitude – open to collaboration and sharing – you are receptive to changes and direction in this dynamic atmosphere.
- A passion for video games and understanding of the role that audio plays in the player experience.
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.
More about this job

Source: School.VideoGameAudio.com @SchoolGameAudio
Sound Designer
Company: Wargming
Location: Chicago, IL, US
Job description
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.

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.
Reports To
Audio Director

What you will do?
- Author industry-best audio and technical sound systems for use in-game.
- Collaborate directly with Audio Director to develop, plan, and execute cutting edge audio features.
- Iterate and improve audio systems and mix to continually deliver legendary audio to our players.
- Participate in field recordings, foley sessions, audio development summits, and other audio excursions.
- Collaborate with rest of development team, acting as an exemplary representative of the WG global audio team at-large.
What we are looking for?
- Development experience with console games in the capacity of audio designer (min 1 shipped title)
- Experience with Wwise and/or FMOD designer
- Expertise with DAW and Wave editing software (Nuendo/Cubase, Ableton Live, Reaper, Pro Tools, Soundforge, Wavelab, etc.)
- Working knowledge of game development cycles, proficiency with both proprietary and standard game development tools.
- Proficiency using a variety of source control schemes.
- Passion for audio production and sound design in all types of media.
- Working knowledge of software engineering and scripting languages.
- Experience in large-scale Foley and Field Recording.
- 5+ years experience in AAA game development / pro audio / post production.
- Musical talent.
About Us
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.
Working in our company means always having interesting challenges and gaining valuable experience while working with top-class experts.

Take your place among our passionate and experienced team and bring out the best in yourself at Wargaming!
More about this job

Source: GameJobs.co
Franchise Audio Director (Star Wars)
Company: Zynga Austin
Location: Austin, TX, US

Job description
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 Star Wars 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.

If this sounds like you, we want to hear from you! Your passion and experience for building original games will be instrumental as w
Congaree National Park: Cackling Owls, Falling Trees, and Rangers on Patrol

Jared Blake — Thu, 01 Apr 2021 21:27:19 +0200

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 :-)


After recording upland chorus frogs 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 four nights in the wilderness region.
After my camping permit was approved, I headed for the Congaree on March 28th with great excitement.
Join me on this field recording trip where I record the sounds of the nation’s largest old growth bottomland forest.
While you read, please enjoy the sounds of the Congaree.

Congaree National Park

The main reason I wanted to visit the Congaree was to experience the old growth bottomland forest. Old forests of this type are extremely rare and the Congaree features the largest old growth bottomland hardwood forest in the entire United States.
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.
Old growth forests are the pinnacle in biodiversity. After being untouched for so long, many niches are created that are filled by unique species often endemic to the region.
The Congaree also has the highest concentration of champion trees in all of North America! A champion tree is the largest known tree of its species. Currently, there are 23 different species whose champion tree is in the Congaree.
I could not wait to get some recordings of these majestic forests.
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Arrival

Congaree current conditions at the Visitor Center.

Shortly after arriving, I realized that my camping plan was not possible. 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.
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.
Since the entire wilderness region was inaccessible, I called the park for advice. I learned that my only option was to book a campsite at either the Longleaf of Bluff Campgrounds, both in the front-country of the park and near the main road.
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.
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 three days short.
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Congaree National Park Trails View fullsize

Recording Upland Chorus Frogs in Virginia

Jared Blake — 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!


After spending a night in the Nation's National Radio Quiet Zone, my next stop was the White Oak Mountain Wildlife Management Area (WMA) in Southern Virginia.
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.
Not knowing what to expect from White Oak Mountain, I went in with an open mind. Boy was I blown away!
Upland Chorus Frogs

The call of the upland chorus frog sounds like someone running their fingers across the teeth of a comb.

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.
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.
Afterwards, and with a bit of an adrenaline rush, I eagerly drove the rest of the way, hoping that more frogs awaited.
Recording
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!
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Recording #1 View fullsize
Recording #2 View fullsize
Recording #3
Recording #1 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.

Recording #2 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.

I setup a pair of tree ears for recording #3 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.

Final Thoughts
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.
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.
The next stop on my trip will be the Congaree National Park.
For more posts like this one, click here to view all of my sound stories.
Thanks for reading,
-Jared
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Recording Nature in the National Radio Quiet Zone

Jared Blake — 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!


After a recommendation from one of my subscribers (thanks Chip!), I learned about the anomaly that is Green Bank, West Virginia.
In this town, there's no cell-service and WiFi and radio are forbidden. Additionally, if you want to use a microwave, it must be enclosed in a Faraday cage to prevent it from emitting electromagnetic waves.
Since these conditions repel most humans, this area should be relatively noise-pollution free. I did some research on this area and decided to spend the first night of my field recording road trip there.
Table of Contents:
• The Green Bank Telescope • The National Radio Quiet Zone • Device Restrictions • My Experience and Sound Recordings • Final Thoughts
The Green Bank Telescope

The Green Bank Telescope. By NRAO/AUI/NSF - https://public.nrao.edu/gallery/green-bank-telescope

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!
The telescope collects radio waves from space and uses them in observations, measurements, and discoveries of stars, galaxies, black holes, and other astronomical objects.
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.
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.
Radio telescopes are used for tracking celestial objects, determining elemental compositions of stars, and even for observing dark energy.
For more information about radio telescopes, see this article from the National Radio Astronomy Observatory.
National Radio Quiet Zone

The National Radio Quiet Zone (NRQZ). By Joel Bradshaw - Derivative of public-domain http://www.gb.nrao.edu/nrqz/nrqz.shtml

The radio waves observed by the Green Bank Telescope are over a billion times weaker 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.
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 Green Bank, West Virginia was the perfect location.
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 National Radio Quiet Zone (NRQZ) in 1958.
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.
Device Restrictions
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.
Within a 20 mile radius around the observatory, residents cannot use WiFi routers or microwave ovens. This area is actively policed with vehicles equipped with sensors for detecting electromagnetic radiation.
Within the observatory grounds, cell phones, digital cameras, and even gasoline engines are prohibited. Only vehicles with diesel engines may enter the facility due to interference caused by spark plugs in gas engines.
With strict limitations posed on residents of Green Bank, perhaps it’s no surprise that its population is about 150.
My Experience and Sound Recordings
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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).
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.
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.
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).

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.
Despite the 45°F temperature, my fingers were frozen by 18mph winds and high humidity.
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.
I was still quite close to a main route and the recording suffered from a lot of vehicle noise (and airplanes of course).
Acoustic Nature · Foggy, Windy Morning in the National Radio Quiet Zone [D100 w/SASS]
Final Thoughts
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.
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.
The next stop on my adventure will be a four-night stay in Virginia.
To see all of my sound story adventures, click here.
If you have any questions, feel free to ask me through the contact page on my website.
Thanks for reading, have a great day!
-Jared
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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

Adriane Kuzminski — Sun, 28 Mar 2021 19:39:11 +0200

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We came across interesting new jobs at Amazon Games, City State Entertainment, Stardock, and Fisher-Price – and they’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).

We also found openings for a Dialogue Supervisor at Microsoft (WA, US), Dialogue Coordinator at PlayStation Europe (England), Sound Designer II (Legends of Runterra at Riot Games (CA, US), Game Producer, Voice Over (Diablo IV) at Blizzard (CA, US), Associate Music Supervisor, Ubisoft Music (F/H) at Ubisoft Music (France), Software Engineer (Temporary) – Music at EA Vancouver (BC, Canada), Sound Designer at Scopely (CA, US), and Sound Designer at Tonik Studio (Germany), Sound Designer at Akorbi (CA, U), Sound Designer at ICONMA (CA, US), Senior Sound Designer at Wild Sheep (France), C++ Audio Developer at Elias (Sweden), Audio Tools Programmer at Frontier (England), Technical Audio Designer at Splash Damage (England), and Podcast Editor at FRQNCY Media (Remote).

Bonus: The Audio Jobs group also has opportunities for a Dialogue Supervisor at Microsoft (Redmond, WA). Happy job hunting!

Highlight – sound stories this week: Shannon Mills & Nia Hansen take you behind the sound for Disney’s Raya and the Last Dragon. 37 new sound effects libraries of magic, gore, classic vintage synths, roaring vehicles, ambiences from Australia, UK and Russia and more!

Sound Designer
Company: Amazon Games
Location: Irvine, CA, US

Job description
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?

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.

In this role, you will work with the Audio Lead to create top quality sound design and implementation. You'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.

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.

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.

About Us
Inclusive Culture, Work/Life Balance, & Career Growth
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.
BASIC QUALIFICATIONS
· 1+ shipped game title.
· 1+ years’ experience in a sound designer role.
· 1+ years experience recording both in the field and in the studio.
· 1+ years experience implementing audio with middleware.
· A passion for games and the role that audio plays in storytelling and player experience.
PREFERRED QUALIFICATIONS
· Experience with any commercial video game engine (Lumberyard, Unreal, Unity etc.)
· Experience with Wwise.
· Scripting experience in LUA, C# or any visual scripting system.
· Massive Multiplayer Online experience a plus.
· Music editing and composition experience a plus.
· Meets/exceeds Amazon’s leadership principles requirements for this role.
· Meets/exceeds Amazon’s functional/technical depth and complexity for this role.

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 https://www.amazon.jobs/en/disability/us.

More about this job

Source: Jean-Edouard Miclot
Contract Sound Engineer/Designer
Company: City State Entertainment
Location: Bothell, WA, US
Job description
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.
Job Description
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.
Job Responsibilities
- Create, edit, and implement game audio assets including music, sound effects and dialogue that matches the aesthetics of the game
- Oversee all audio mixing, music mixing, and sound effects
- Create and maintain audio pipelines and technologies (debugging and troubleshooting any audio issues)
- Create and implement any original audio needed: sound effects, voice effects, voiceovers, music, etc.
- Collaborate with other departments to help design, create, and implement new audio tools and features
Requirements
- Must have at least one shipped PC/Console title
- 3 year minimum experience working with game audio
- Excellent listening skills
- Strong knowledge and understanding of game audio production and techniques
- 3 year minimum experience working with AudioKinetic Wwise
- Experience with various audio tools (Sound Forge, ProTools, Nuendo, Sound Miner, etc.)
- Excellent verbal and written communication skills
- Strong work ethic and sense of ownership
- Knowledge of game development processes
- Passion for games
Pluses
- Experience with scripting and programming in C/C++
- Have your own recording/mixing studio (remote work is an option if you do)
- Already based in Fairfax or Seattle
Note:
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.
More about this job

Source: School.VideoGameAudio.com @SchoolGameAudio
Gameplay Audio Software Engineer
Company: Stardock
Location: Plymouth, MI, US
Job description
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.
Primary Responsibilities Include:
- Integrate gameplay and animation driven foley, UI sounds, ambient and music tracks, environmental audio effects.
- Work with Wwise and supporting systems.
- Collaborate with producers, designers, programmers, and audio content creators to design, prototype, and implement new audio features.
- Extend and improve audio-related data formats and tool pipeline.
- Review code written by programmers across the studio and collaborate with them to improve code quality and troubleshoot audio-related technology.
Education and/or Experience Desired:
- Bachelor's Degree in Computer Science, Engineering, Mathematics or relevant field.
- 3 years of working C++ experience, knowledge of modern C++ concepts.
- At least 3 years of experience in audio programming, preferably for games.
- Experience with principles of 3D audio, audio effects.
- Working knowledge of audio engineering required and basics of music theory is a bonus.
- Experience with Wwise or similar (FMOD, Miles, etc.) workflow.
- Familiarity with DSP and virtual analog algorithms for synthesis and effects.
If you're enthusiastic about the position and would like to tell us about it, please submit your resume and cover letter to jobs@stardock.com, with "Gameplay Audio Software Engineer" in the subject line.
More about this job

Source: Nathan Hanish
Sound Engineer
Company: Fisher-Price
Location: East Aurora, NY, US
Job description
CREATIVITY IS OUR SUPERPOWER. 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.

The Opportunity: 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 Sound Designer. Your primary responsibility will be to create music, sound and speech for our products' global consumption as we entertain children around the world.
What Your Impact Will Be:
- Compose and arrange lyric-based songs and instrumental music for product.
- Create and implement the music, sounds and speech for multiple audio projects simultaneously.
- Creatively consult with cross-functional teams (content producers, industrial designers, artists, marketers, managers) on operation & implementation of audio in products.
- 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.
- Obtain audio creative approvals by reviewing audio content with team. Make revisions as necessary.
- Support costing and scheduling efforts in the product deve
Learning C# Notes - Part III: Selection & Operation Statements

Javier Zumer — Sat, 27 Mar 2021 11:45:26 +0100

So up until now I’ve left my notes on classes, which work as functional units in c# and on variables which store all sorts of data.
Next thing would be to use that data residing within classes and do something with it. Selection statements allow us to so different thing depending on the data itself while operation statements gives you the ability of parsing through collections of data to read or modify them.
Conditional Statements (If-else)
- This is the most basic selection statement.
- We analyze a condition and determine what to do if it is true.
- Since a condition can only be either true or false, we must always analyze a boolean variable or any method that returns a bool.
- We can use any logic expression that would result in a boolean like 3 > number.
- We can also determine what we want to happen if the condition is not true with the else keyword.
- Additionally, we can check further conditions with the else if keyword.
- See examples:
```
int health;

if (health < 10) 
{
    //Player is hurt.  
}
else if (health < 50) 
{
    //Player is low health.  
}
else 
{
    //Player is healthy. 
}
```
Switch Statement
- The conditional structure explained above is good when you just have a few possible options but sometimes you have a bunch of cases and you want to do something different for each one.
- We can also include a default case which will be used if the expression passed is not found.
- The syntaxis is a bit different that conditional statements, see below:
```
enum playerState; //This struct contains a list of states the player can be in.

switch (playerState) 
{
  case playerState.poisoned
    //We play a poisend snapshot.
    break;
  case playerState.burning
    //We play a burning snapshot.
    break;
  case playerState.confused
    //We play a confused snapshot.
    break;
  case playerState.dead
    //We play a death snapshot.
    break;
  case default
    //We play the normal snapshot.
    break;
}
```
Logical Operators
- If we want to do more complex statements we can use logical operators to add certain conditions and logic.
- We use “&&” as an AND statement when we want to check that two or more conditions are true.
- We use “||” as an OR statement if we want to do something when either condition is true. Only one needs to be true.
- We use “!” as a NOT statement to signify that we want to check the opposite of a condition. In other words, the “!” operator inverts a bool, turning a true into false.
- When checking that something is bigger or smaller that our condition, we use “<“ and “>”.
- We can also use “<=” to check is something is smaller or equal and “>=” to check if it is bigger or equal.
- We use “==” to check if a variable equals another.
- See these in action below:
```
// NOT
bool result = true;
if (!result)
{
    Console.WriteLine("The condition is true (result is false).");
}
else
{
    Console.WriteLine("The condition is false (result is true).");
}

// Short-circuit AND
int m = 9;
int n = 7;
int p = 5;
if (m >= n && m >= p)
{
    Console.WriteLine("Nothing is larger than m.");
}

// AND and NOT
if (m >= n && !(p > m))
{
    Console.WriteLine("Nothing is larger than m.");
}

// Short-circuit OR
if (m > n || m > p)
{
    Console.WriteLine("m isn't the smallest.");
}

// NOT and OR
m = 4;
if (!(m >= n || m >= p))
{
    Console.WriteLine("Now m is the smallest.");
}
```
Iteration Statements: foreach
- We use this iterator to go through all the values on a list, dictionary or other collection.
- We use the “in” keyword to specify the type of element to be examined and where it comes from.
- Is important to note that “foreach” creates a copy of the collection when iterating through it so we can’t alter it directly.
- If we want to alter a collection as we loop through it we need to use a “for” loop (see below).
- "foreach” is more readable and clean but performs worst than a for loop.
```
var fibNumbers = new List<int> { 0, 1, 1, 2, 3, 5, 8, 13 };
int count = 0;
foreach (int element in fibNumbers)
{
    Console.WriteLine($"Element #{count}: {element}");
    count++;
}
Console.WriteLine($"Number of elements: {count}");
```
Iteration Statements: for
- This will execute the code inside as long as the condition evaluated is true.
- We initialize an iterator value and alter it on each cycle.
- It is very useful for checking all the elements in a collection or do something a certain number of times.
- It allows you to directly alter the values of the collection that you are examining.
- Is important to note that we first check the condition and then execute the code between { }.
```
int[] Numbers = {1,2,3,4,5,6}
contant someConstantValue;

for (int i = 0; Numbers.Length; i++) 
{
    Numbers[i] = Numbers[i]*someConstantValue;    
}
```
Iteration Statements: do while
- This basically works like a for loop but the main difference is that the code is executed first and then the condition is checked.
- So in other words a “do while” statement will always execute the code between { } at least once.
- You can use the keyword “break” to exit the loop at anytime.
```
int n = 0;
do
{
    Console.WriteLine(n);
    n++;
} while (n < 5);
```
Iteration Statements: while
- “while” can also be used by itself to to something while a certain condition is true.
```
int n = 0;
while (n < 5)
{
    Console.WriteLine(n);
    n++;
}
```
The Timekeeper: Recording A Clock Shop

Jared Blake — Tue, 23 Mar 2021 23:30:26 +0100

Join me on a field recording trip to a clock repair shop in this article!

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.
The Shop
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.

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.
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.
Asking To Record
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!
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.
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.
Setting Up The Gear
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.
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.
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.
The Sound
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.
Below is my favorite excerpt from the 12-hour recording. It’s during the midnight hour in the shop.
Acoustic Nature · Midnight In A Clock Shop | 4 Grandfather Clocks
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.
I also like how they go off from right-to-left, which creates a nice stereo-image.
There is some audible self-noise, especially when no clocks are chiming, but it is pretty minimal in my opinion.
In total, 8 different clocks can be heard in this short ≈ 6-minute recording.
Final Thoughts
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!
For more Sound Stories, click here or browse below.
Thanks for reading, have a great day!
-Jared
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2020 sound recording expedition to Kenya

George Vlad — 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.

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.

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).
Tsavo National Park

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.
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.
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.
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.
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.

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.
After a few failed attempts, I eventually get decent recordings of lions roaring. 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.

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.
Lake Naivasha

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.
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.

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.
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.

Masai Mara
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.
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.

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.
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.
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.
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.

How to use Startup Actions in REAPER first appeared on The REAPER BLOG.
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

Adriane Kuzminski — Fri, 19 Mar 2021 23:32:49 +0100

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We came across interesting new jobs at Supernatural, Supercell Shanghai, Epic Games, and WildBrain Spark – and they’re looking for an Audio Mixer (CA, US), Audio Lead (SH, China), Senior Sound Designer (NC, US), and Sound Designer (England).

We also found openings for an Audio Mixer at Within (CA, US), Head of Music at Wave (CA, US), Audio Programming Engineer at Harebrained Schemes (WA, US), Senior Audio Producer at Peloton Interactive (NY, US), Audio Director at Firesprite (England), Audio Engineer Internship at Spirit Consulting (Remote), Audio Engineer at Lenovo (FU, China), Director of Audio at WEFRAME (Germany), Audio Director at Ready at Dawn (CA / OR, US), Technical Sound Designer at Ubisoft Montreuil (France), Sound Engineer at Sri Venkateswara University (AP, India), Associate Podcast Producer at Marvel Entertainment (NY, US), Sound Designer at Scopely, and Audio Lead, Senior Technical Audio Designer and Senior Audio Programmer at Cloud Chamber (QC, Canada).

There are also 8 audio opportunities still open at Sumo Digital (England), including one for an Audio Director, Lead Sound Designer, Senior Sound Designer, Senior Technical Sound Designer, Sound Designer (Sumo Sheffield) and Sound Designer (The Chinese Room).

Bonus: The Audio Jobs group also has opportunities for a Sound Designer at Limitless Games (Spain). Happy job hunting!

Highlight – sound stories this week:
• Meet Thomas Rex Beverly – an extraordinary nature sound recordist.
• Go behind the sound for all the Best Sound Oscar nominees 2021
• Greg Lester takes a look at why carefully-crafted sound design in stealth games is so vital
• Get the stories behind the music for the Best Original Score Oscar nominees 2021 and hear the full scores
• Andy Hay and Bryan Parker take you behind the sound for One Night in Miami in this exclusive video
Audio Mixer
Company: Supernatural
Location: Los Angeles, CA, US
Job description
We are Supernatural! Recognized by TIME as one of the Best Inventions of 2020, Fast Company’s Best App, and covered in the New York Times! Supernatural 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.

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 – available on-demand in your home.

What you'll do:
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.
The impact you'll make:
- Process and prepare licensed music/audio tracks for our level design pipeline.
- Generate precise tempo track automation to sync up with music tracks.
- QC track tempo for final and in-progress game levels.
- Mix and process weekly batches of 7-10 final mixes in a consistent, high-quality manner.
- Finalize mix levels in headset and submit for final review/note pass by a creative director.
- Update and design environment ambiances as needed.
- Collaborate with the Studio team to adjust and improve sound recording/editing standards.
- Maintain, organize, and adjust audio processing plugin chains.
- Take on various tests and side projects with the team to better our offerings.
What you'll need to be successful:
- Entry-level, preferred 3+ years of experience in music mixing, audio engineering, or video game audio engineering (school, internship, studio, agency or freelance)
- Strong oral and written communication skills
- An eye for detail as well as great organizational skills
- Proficiency in Izotope RX
- Proficiency in a DAW of choice ex. Logic Pro X, Pro Tools, Reaper, etc.
- Ability to deliver high-quality assets with little oversight required
- Proficient with both macOS & Windows 10
- Experience thriving in a startup environment
Bonus points for:
- 1+ years of VR pipeline experience
- Experience mixing workout content
- Degree in Music Production, Audio Engineering, or related field
- Experience with Sound Design
- Baseline Unity experience
- Project Management (Airtable, Jira, etc.)
This is a part time position.

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.
More about this job

Source: Biru Jones @soundbybiru
Audio Lead
Company: Supercell Shanghai
Location: Shanghai, SH, China
Job description
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.

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.
Responsibilities
- As the Audio Lead on several new games, you will establish and articulate an audio vision for those games
- 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.
- 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
- 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
- You will build and maintain dedicated audio outsourcing partners for us, leveraging the depth of talent around our region
- Identify technical audio requirements to our engineering teams and assure they're met
- You will set up and manage sound studios, audio hardware, and equipment.
Requirement
- Love for games
- A positive attitude and an ability to work on numerous projects simultaneously.
- Proven ability to compose in a wide variety of musical styles and moods.
- Proven ability to create fully-fledged sound design for games.
- Proven successful direction, management, supervision, and mentoring of internal or external audio staff.
- Ability to proactively assess the needs of the game teams.
- Expert knowledge of sound design and mixing methods and tools.
- Working knowledge of daws such as Cubase, Logic, Ableton, reaper, etc.
- Working knowledge of audio effects and virtual instruments.
- Working knowledge of audio editors and adding audio to video.
- Knowledge of various audio engines such as Fmod, Audio in unity, Wwise, and so on.
- Ability to direct voice sessions and write scripts.
- Ability to work within various technical constraints.
- Ability to compose quickly and ability to take feedback.
- Mandarin language capabilities is a plus
Please note: Some form of "demo reel" "credits list" 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
About Supercell

We are a mobile game developer based in Helsinki, Finland, with offices in San Francisco, Seoul and Shanghai. Since our launch in 2010, we've released five games globally – Hay Day, Clash of Clans, Boom Beach, Clash Royale and Brawl Stars.

To make five games, we've killed dozens along the way. That's because we'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.
About Shanghai studio

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.
You might love it here…

If you love to think, talk, play and make games, Supercell is the place for you. We'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. Read More

This position is in Shanghai, but you're not?
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're here to make sure the process is as smooth as possible for you, your family and whoever and whatever you're bringing along.
More about this job

Source: School.VideoGameAudio.com @SchoolGameAudio
Senior Sound Designer
Company: Epic Games
Location: Cary, NC, US
Job description
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.

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.

What we do
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.
What you’ll do
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.

In this role, you will
- Engage with a world-class team to create amazing audio and gaming experiences.
- Help to raise the quality level of audio in Epic game titles and technologies.
- Push the development of audio features and for future Unreal audio engine development.
What are the skills and knowledge the ideal candidate in this role will have?
- Expert knowledge of sound design and mixing methods and tools.
- Extensive audio engineering and DAW skills and knowledge.
- Strong self-management and organization skills and ability to work independently.
- Experience with Unreal or Unity editors, including scripting, level editor, animation and linear editors.
- Experience with audio toolsets/middleware and implementation of audio assets into game builds.
- Mixing and mastering multitrack audio for use in linear or interactive contexts.
- Able to collaborate with diverse teams and disciplines to create amazing audio.
- Ability to design and implement audio scripting to achieve desired in-game audio features and dynamic playback.
- Troubleshooting audio issues and ability to optimize assets to meet memory budget and performance requirements across multiple platforms.
What we’re looking for
- Must have shipped at least two AAA titles and have 3 years as part of an audio team.
- Excellent knowledge and understanding of the video game development process.
- Must have experience with field recording.
- Must have experience creating audio for linear media.
- Must be a game player- should be able to talk about and deconstruct other current games’ audio quality and implementation.
- Someone who is user-focused, passionate, scrappy, solutions-focused, and innovative. These traits equal success at Epic and influence everything we do.
Nice to have skills
- Musical composition or production experience.
- Programming or scripting (Python, Lua) experience.
- VO recording and mastering skills.
Please note: A demo reel is required for this application. It should be
Careers In Audio 2021 – An EIPMA Event

Ben Nemes — Mon, 15 Mar 2021 12:40:02 +0100

This Saturday (20th March 2021) will see some of the audio industry’s leading practitioners host an online event designed to introduce and demystify the many and varied careers in audio.

Created and hosted by EIPMA (Entertainment Industry Professionals Mentoring Alliance), Careers In Audio 2021 provides a platform for a group of the industry’s most successful individuals to answer the age-old question:

What is it that you do?

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:

Production Mixing
Sound Supervision/Sound Design
Scoring Mixing
Re-recording Mixing
Live Sound Mixing
Mastering
Technical/Manufacturing

Careers in Audio 2021 Registration

Careers In Audio 2021 is free to attend and takes place online on Saturday 20th March 2021 at the following local times:

11:00 AM – 1:00 PM US Pacific
12:00 AM – 2:00 PM US Mountain
1:00 PM – 3:00 PM US Central
2:00 AM – 4:00 PM US Eastern
7:00 PM – 9:00 PM BST

CLICK HERE TO REGISTER

Stellar Speakers

Marcos Contreras CAS was born and raised in Puerto Rico and has 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 include the show The Real Housewives of Potomac and Shahs of Sunset for Bravo and Singapore Social and Made in Mexico for Netflix. Most recently he was the sound mixer on the revival of Reno911.

Greg Hedgepath works as a supervising sound editor at Warner Brothers Studios in Burbank. Greg’s formative years in the industry included spells at Skywalker Ranch and Sony Pictures. After Sony Greg became an independent Sound Supervisor and Sound Designer. He created the sound for the tornados in Twister, was a sound designer on the Academy Award winner Speed, and has worked on over 90 films including Frozen, The Incredible Hulk, The Hunger Games and Selma.

Recording engineer/mixer/producer Alan Meyerson CAS has spent most of his career since 1994 recording and mixing scores and soundtracks for motion pictures, television, and video games. Alan has worked extensively with James Newton Howard, Harry Gregson Williams, John Powell, Kris Bowers, Daft Punk, Danny Elfman, and many others; enjoying a long-standing relationship with Hans Zimmer with whom he’s done over 100 movies.

Sherry Klein CAS is a Post Production Re-Recording Mixer for Television and Film. She is currently living in Los Angeles, Ca. working with Smart Post Sound. Some of her credits include New Amsterdam, Queen of the South, Burn Notice, Sons of Anarchy, and The Shield. Sherry is on the Board of Directors for both the Cinema Audio Society (CAS) and the Entertainment Industry Professionals Mentoring Alliance (EIPMA).. She is also the Chairperson of the CAS Student Recognition Award ( SRA).

Michelle Sabolchick Pettinato is a professional concert sound engineer. For the past 30 years she has traveled the world working with artists like Gwen Stefani, Adam Lambert, Kesha, Goo Goo Dolls, Styx, Elvis Costello and many more. She is Co-Founder of Soundgirls.org and a Full Sail Hall of Fame inductee. In 2019 Michelle created MixingMusicLive.com to continue sharing her knowledge and expertise with aspiring sound engineers, musicians, and producers.

Los Angeles-based mastering engineer and vinyl cutter, Jett Galindo of The Bakery, has worked on albums spanning a wide array of genres and artists including Haley Reinhart, the La La Land OST, Barbra Streisand and the Jaded Hearts Club. After graduating from Berklee College of Music, Jett joined the famed Mastering Lab in 2013 as the sole right-hand woman to pioneer mastering engineer Doug Sax. Jett also serves as a contributing writer for various trade publications and organizations (iZotope’sLEARNportal, WomeninSound, SoundGirls).

Lauren Johnson 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.

Karol Urban CAS, MPSE, NATAS has worked alongside directors and producers as a re-recording mixer for television and feature films since 1999. She describes her job as “playing mind games with sound.” As a perpetual student of her craft, she enjoys exploring the power sound has to immersive the viewer in the narrative. Karol is an involved member of her community having served on the Television Academy’s Governor’s Peer Group for Sound Mixing, organized events for The LA Sound Group, and served as a blue ribbon panel judge for the Motion Picture Sound Editors Golden Reels. Karol acted as content editor of the CAS Quarterly and served as a board member for the Cinema Audio Society before being elected as President of the organization in 2019.

Bernard Weiser MPSE is a professional sound supervisor / editor / designer who has worked in Hollywood for the last 36 years. His passion, commitment and expertise have earned him a reputation as highly regarded and much in demand. As a result, he has worked on over 135 feature films including Steven Spielberg’s Schindler’s List and The Hurt Locker, earning Emmy nominations for Deadwood and True Detective. Bernard is President of the Entertainment Industry Professionals Mentoring Alliance, Vice-President of the Motion Picture Sound Editors, and teaches Sound Design at UCLA’s School of Theater, Film & Television’s Graduate Program.

What is EIPMA?

The Entertainment Industry Professionals Mentorship Alliance (EIPMA) provides expert guidance to young people seeking meaningful and productive careers in the entertainment industry.

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.

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.

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.

The post Careers In Audio 2021 – An EIPMA Event appeared first on Resurface.

162 – The Sound of Metal

Timothy Muirhead — 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…

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

Adriane Kuzminski — Fri, 12 Mar 2021 10:14:20 +0100

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We came across interesting new jobs at Hypixel Studios, Virtuos, Microsoft, and AVID – and they’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).

We also found openings for an Audio Engineer at Supreme Team (Remote), Freelance Sound Designer at Pixaera (Remote), Sound & Music Designer at Avataris (Austria), Media Production Manager at Apple (CA, US), Hardware QA Engineer at Ableton (Germany), Senior Product Manager, Audio at Belkin (CA, US), Podcast Producer at iHeartMedia (CA, US), Audio Operator at Disney (CT, US), Audio Technical Assistant at Blizzard (CA, US), Audio Designer at Raven Software (WI, US), Lecturer in Music Technology at University of the Arts Helsinki (Finland), and Contract Senior Sound Designer at ArenaNet (WA, US).

Bonus: The Audio Jobs group also has opportunities for a Lead Sound Designer at PlayStation UK (England), Senior Experience Designer – Audio Tools at Adobe (San Francisco, Seattle, San Jose, or New York, US), Senior Sound Designer at Limitless Games (Spain), Junior Sound Designer, and a Junior Technical Sound Designer at Cloud Imperium Games (England) Junior Sound Designer at Noiseworks (England). Happy job hunting!

Highlight – sound stories this week:
• Exclusive video: Behind the powerful sound of One Night in Miami – with Andy Hay and Bryan Parker
• How the sound team crafted the sounds of conflict and comedy for Lego Marvel Avengers: Climate Conundrum
• Audio Lead Joe Thwaites highlights the catchy theme tune for Sackboy: A Big Adventure
• Happy International Women’s Day! Meet some of the talented women in sound
• How Barney Oram created his excellent Western Black Powder Guns sound effects library

Senior Sound Designer
Company: Hypixel Studios
Location: Remote

Job description
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.

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.

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.
Who You Are

You are driven by discovering solutions to unique problems, and creating complex soundscapes from many different angles

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.

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.

You can successfully manage relationships with other teams and help them get the most out of working with Sound Design.

Desired Traits

5 Years of experience in audio for games

Experience with recording (both studio and field recording techniques), signal flow, processing, and mixing;

Wwise knowledge, audio post process plugins, mastering, performance optimization knowledge;

Extensive knowledge of DAW tools (e.g. Reaper, Pro Tools);

Experience championing the goals set with the Audio Director

Ability to implement simple, and efficient solutions to complex, and unique problems

Understanding of the technical constraints regarding audio implementation

Bonus Traits

Experience with scripting languages

Very good debugging skills

Passionate about audio in games

Experience working on shipped titles

Please note, a relevant showreel of your audio work is required;
We can offer:

A chance to work on a new game project with an extremely motivated team.

Opportunities to learn and grow personally and professionally.

A stable and secure work environment.

The ability to work remotely.

More about this job

Source: Kieran Fitzpatrick @kjfsound

Sound Designer
Company: Virtuos
Location: Shanghai, SH, China

Job description
PLAY, GROW and WIN: To be a part of Virtuos means to be a creator and aim at excellence.

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.

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.

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.

Location: China, Shanghai

Department: Sound
Responsibilities:

Conceptualize, schedule, design, and produce high quality audio assets in accordance with the requirement of the projects.

Record and create the audio sample according to the requirement of the projects

Optimize the audio post-production to meet the requirement of the projects

Work with team members to integrate and adjust the audio assets

为项目提供设计方案,包括音频技术方案与日程表

根据项目要求进行样本录音与创作

根据项目要求进行音频数据后期处理优化

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

Qualifications:

Professional quality audio production and all related acoustics technologies

Passionate about game development

Mastered the audio software, e.g. Sound Miner, Avid ProTools

Team player, Good communication skill

1 year sound design experience in game industry preferred

Good English ability preferred

具备声学与音频制作知识；对游戏开发有兴趣和热情

了解并能熟练使用专业音频软件，例如：Sound Miner，Avid ProTools。

善于沟通，团队工作协作能力强

有较好的英语听说读写能力者优先

1年以上的游戏声音设计经验

有游戏音频设计开发经验者优先

More about this job

Source: LinkedIn Jobs

Senior Audio Designer
Company: Microsoft
Location: Sunnyvale, CA, US

Job description
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.

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.

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.
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.
Responsibilities

Work with design and engineering teams to deliver on our customer promises

Deeply understand and fiercely advocate for the experience throughout all stages of the development process and customer journey.

Lead, guard and evolve the spoken style and aesthetic tone of the product

Evangelize Cortana voice output (TTS; text-to-speech) via creation of demos and related materials; present or assist in presentations

Develop teaching assets pertaining to voice design, TTS, and audio tools

Rationalize and clarify ambiguous problems and design solutions that illustrate and illuminate variable outcomes

Qualifications

8+ years of audio product design experience

5+ years of TTS design experience with 1+ yr in emerging Neural-TTS technology

Proven understanding of cloud/platform delivery of TTS voices at scale

Experience with general AI concepts,

voice-driven product design and conversational interfaces

Deep understanding of the creative process and general design fundamentals

Experience working directly with software developers and other creators

Skilled in developing and delivering presentations and teaching documents; excellent communication skills

Minimum BA/BS degree in music, audio, or equivalent experience & studies

Expert audio software skills; solid base in technical audio theory; recording studio experience (including working directly with voice actors and studio staff)

Broad audio design experience (dialogue, music, sound effects) a plus

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 Accommodation request form.

Benefits/perks listed below may vary depending on the nature of your employment with Microsoft and the country where you work.

More about this job

Source: Microsoft Careers

Consulting Product Manager (Professional Audio Systems)
Company: AVID
Location: Remote

Job description
ABOUT AVID 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 www.avid.com.

JOB SUMMARY 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.
RESPONSIBILITIES AND DUTIES

Understand the pro audio commercial landscape and how it fits into Avid’s business strategy; how the product will achieve financial results

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

Will work on increasing the profitability of existing products to developing new products for the company.

Works closely with and presents to sr. leadership the product roadmap and how it will achieve financial results

Be on top of general industry trends down to specific user requirements with an ability to effectively develop new products.

Understand and presents competitive industry data to sr leadership in order to gain support and investment to the business product plans.

Understand driving need behind customer requests; continue to ask questions to get to the root cause of problems

Serve as “voice of the customer” reinforcing customer perspective throughout product development cycle.

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.

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.

QUALIFICATIONS & SKILLS

Bachelor’s (BA or BS) in business, computer science, or related field

10+ years’ experience leading large design efforts and coordinating project teams<

Enable / Disable Edit Cursor Highlight (REAPER V6.25)

Admin — Mon, 08 Mar 2021 19:24:17 +0100

How to change the appearance of the edit cursor in REAPER.
The post Enable / Disable Edit Cursor Highlight (REAPER V6.25) first appeared on The REAPER BLOG.

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