Archive | Podcast RSS for this section

Sounding Out! Podcast #33: Flawless

Flawless Mix Image2

CLICK HERE TO DOWNLOAD: Flawless Mix

SUBSCRIBE TO THE SERIES VIA ITUNES

ADD OUR PODCASTS TO YOUR STITCHER FAVORITES PLAYLIST

We woke up like this!

#Flawless:

“Baddygirl” – M.I.A.
“The Walker” – Fitz and the Tantrums
“Watch Us Work It” – DEVO
“Summertime” – DJ Jazzy Jeff
“Givin’ Them What They Love” – Janelle Monae
“Mt. Olympus” – Big K.R.I.T.
“Inner City Breathin’ feat. Tammi Terrell” – Amerigo Gazaway
“MakeMoney” – Knxwledge.
“Corre, Corre Erê” – Karol Conká
“Magic” – Olivia Newton John
“Bongo Bong” – Manu Chao
“Datsun Spot” – Van Dyke Parks
“‘Pretty Girls” – Little Dragons
“Baby’s Coming Back to Me” – Jarvis Cocker
“I Don’t Wanna Go to Work” – Lizzie

Sounding Out! Podcast #32: The World Listening Update – 2014 Edition

Listen

CLICK HERE TO DOWNLOADSounding Out! Podcast #32: The World Listening Update – 2014 Edition

SUBSCRIBE TO THE SERIES VIA ITUNES

ADD OUR PODCASTS TO YOUR STITCHER FAVORITES PLAYLIST

-

Listen in as Eric Leonardson and Monica Ryan celebrate World Listening Day 2014 by reflecting on the work of R. Murray Schafer and the World Soundscape Project. Interviewees Professor Sabine Breitsameter of Hochschule Darmstadt (Germany) and Professor Barry Truax of Simon Fraser University (Canada) discuss the impact of Schafer’s ideas and offer commentary on contemporary threads within the field of Acoustic Ecology. How does does Acoustic Ecology help us to think through today’s complex environments and how can listeners like you make a difference?

-

Co-Authors of this podcast:

Eric Leonardson is a Chicago-based audio artist and teacher. He has devoted a majority of his professional career to unorthodox approaches to sound and its instrumentation with a broad understanding of texture, atmosphere and microtones. He is President of the World Forum for Acoustic Ecology and founder of the Midwest Society for Acoustic Ecology, and Executive Director of the World Listening Project. Leonardson is an Adjunct Associate Professor in the Department of Sound at The School of the Art Institute of Chicago.

Monica Ryan is an instructor and audio artist from Chicago. Currently her work explores spatialized sound recording and playback techniques along with interactive sound environments. She teaches in several institutions in Chicago, including The School of the Art Institute of Chicago and Columbia College.

Tom Haigh is a British post production sound mixer, composer, and phonography enthusiast, now residing in Chicago. As a staff engineer at ARU Chicago, he works with clients in advertising, media, and independent film.

-

Featured image: Used through a CC BY license. Originally posted by Ky @Flickr.

tape reelREWIND! . . .If you liked this post, you may also dig:

Sounding Out! Podcast #7: Celebrate World Listening Day with the World Listening Project- Eric Leonardon, Monica Ryan, and Tom Haigh

SO! Amplifies: Eric Leonardson and World Listening Day 18 July 2014- Eric Leonardson

Sounding Out! Podcast (#18): Listening to the Tuned City of Brussels, Day 3: “Ephemeral Atmospheres”- Felicity Ford and Valeria Merlini

Sounding Out! Podcast #31: Game Audio Notes III: The Nature of Sound in Vessel

Sound and Pleasure2This post continues our summer Sound and Pleasure series, as the third and final podcast in a three part series by Leonard J. Paul. What is the connection between sound and enjoyment, and how are pleasing sounds designed? Pleasure is, after all, what brings y’all back to Sounding Out! weekly, is it not?

Part of the goal of this series of podcasts has been to reveal the interesting and invisible labor practices which are involved in sound design. In this final entry Leonard J. Paul breaks down his process in designing living sounds for the game Vessel. How does one design empathetic or aggressive sounds? If you need to catch up read Leonard’s last entry where he breaks down the vintage sounds of Retro City Rampage. Also, be sure to be sure to check out last week’s edition where Leonard breaks down his process in designing sound for Sim Cell. But first, listen to this! -AT, Multimedia Editor

-

CLICK HERE TO DOWNLOADGame Audio Notes III: The Nature of Sound in Vessel

SUBSCRIBE TO THE SERIES VIA ITUNES

ADD OUR PODCASTS TO YOUR STITCHER FAVORITES PLAYLIST

-
Game Audio Notes III: The Nature of Sound in Vessel

Strange Loop Game’s Vessel is set in an alternate world history where a servant class of liquid automatons (called fluros) has gone out of control. The player explores the world and solves puzzles in an effort to restore order. While working on Vessel, I personally recorded all of the sounds so that I could have full control over the soundscape. I recorded all of the game’s samples with a Zoom H4n portable recorder. My emphasis on real sounds was intended to focus the player’s experience of immersion in the game.

This realistic soundscape was supplemented with a variety of techniques that produced sounds that dynamically responded to the changes in the physics engine. Water and other fluids in the game were  difficult to model with both the physics engine and the audio engine (FMOD Designer). Because fluids are fundamentally connected to the game’s physics engine, they takes on a variety of different dynamic forms as players interact with the fluid in different ways. In order to address this Kieran Lord, the audio coder, and I considered factors like the amount of liquid in a collision with anything, the hardness of the surface that it was colliding with, the type of liquid in motion, whether the player is experiencing an extreme form of that sound because it is colliding with their head, and, of course, how fast the liquid is travelling.

Although there was a musical score, I designed the effects to be played without music. Each element of the game, for instance a lava fluro’s (one of the game’s rebellious automatons) footsteps, entailed required layers of sound. The footsteps were composed of water sizzling on a hot pan, a gloopy slap of oatmeal and a wet rag hitting the ground. Finding the correct emotional balance to support the game’s story was fundamental to my work as a sound designer. The game’s sound effects were constantly competing with the adaptive music (which is also contingent on player action) that plays throughout the game, so it was important to provide an informative quality to them. The sound effects inform you about the environment while the music sets the emotional underscore of the gameplay and helps guide you in the puzzles.

The lava fluro foosteps in FMOD Designer.

The lava fluro foosteps in FMOD Designer. Used with permission (c) 2014 Strange Loop Games

Defining the character of the fluros was difficult because I wanted players to have empathy for them. This was important to me because there is often no way to avoid destroying them when solving the game’s puzzles. While recording sounds in the back of an antique shop, I came across a vintage Dick Tracey gun that made a fantastic clanking sound when making a siren sound. Since the gun allowed me to control how quickly the siren rose and fell, it was a great way to produce vocalizations for the fluros. I simply recorded the gun’s siren sound, chopped the recording into smaller pieces, and then played back different segments randomly. The metal clanking gave a mechanical feel and the siren’s tone gave a vocal quality to the resulting sound that was perfect for the fluros. I could make the fluros sound excited by choosing a higher pitch range from the sample grains and inform the player when they approached their goal.

I wanted a fluid-based scream to announce a fluro’s death. I tried screaming underwater, screaming into a glass of water, and a few other things, but nothing worked. Eventually, when recording a rubber ear syringe, I found squeezing the water out quickly lent a real shriek while it spit out the last of the water. Not only did this sound really cut through the din of the gears clanking in the mix, but it also bonded a watery yell with the sense of being crushed and running out of breath.

Vessel-LavaBoss

Vessel’s Lava boss with audio debug output. Used with permission (c) 2014 Strange Loop Games

For the final boss, I tried many combinations of glurpy sounds to signify its lava form. Eventually I recorded a nail in a board being dragged across a large rusty metal sheet. Though it was quite excruciating to listen to, I pitched down the recording and combined it with a pitched down and granulated recording of myself growling into a cup of water. This sound perfectly captured the emotion I wanted to feel when encountering a final boss.  Although it can take a long time to arrive at the “obvious” sound, simplicity is often the key.

Anticipation is fundamental to a player’s sense of immersion. It carves a larger space for tension to build, for instance a small crescendo of a creaking sound can develop a tension that builds to a sudden and large impact. A whoosh before a punch lands adds extra weight to the force of the punch. These cues are often naturally present in real-world sounds, such as a rush of air sweeping in before a door slams. A small pause might be included just for added suspense and helps to intensify the effect of the door slamming. Dreading the impact is half of the emotion of a large hit .

Vessel-ClockRecording

Recording inside of a clock tower with my H4n recorder for Vessel. Used with permission by the author.

Recording all of the sounds for Vessel was a large undertaking but since I viewed each recording as a performance, I was able to make the feeling of the world very cohesive. Each sound was designed to immerse the player in the soundscape, but also to allow players enough time to solve puzzles without becoming annoyed with the audio. All sounds have a life of their own and a resonance of memory and time that stays with the them during each playthrough of a game. In Retro City Rampage I left a sonic space for the player to wax nostalgic. In Sim Cell, I worked to breathe life into a set of sterile and synthesized sounds. Each recorded sound in Vessel is alive in comparison, telling stories of time, place and recording with them, that are all their own.

The common theme of my audio work on Retro City Rampage, Sim Cell and Vessel, is that I enjoy putting constraints on myself to inspire my creativity. I focus on what works and removing non-essential elements. Exploring the limits of constraints often provokes interesting and unpredictable results. I like “sculpting” sounds and will often proceed from a rough sketch, polishing and reducing elements until I like what I hear. Typically I remove layers that don’t add an emotive aspect to the sound design. In games there are often many sounds that can play at once, so clarity and focus are necessary when preventing sounds from getting lost in a sonic goo.

CherryBlossoms

Cherry blossoms for new beginnings. Used with permission by the author.

In this post I have shown how play and experimentation are fundamental to my creative process. For an aspiring sound artist, spending time with Pure Data, FMOD Studio or Wwise and a personal recorder is a great way to improve their skill with game audio. This series of articles has aimed to reveal the tacit decisions behind the production of game audio that get obscured by the fun of the creative process. Plus, I hope they offer a bit of inspiration to those creating their own sounds in the future.

Additional Resources:

-

Leonard J. Paul attained his Honours degree in Computer Science at Simon Fraser University in BC, Canada with an Extended Minor in Music concentrating in Electroacoustics. He began his work in video games on the Sega Genesis and Super Nintendo Entertainment System and has a twenty year history in composing, sound design and coding for games. He has worked on over twenty major game titles totalling over 6.4 million units sold since 1994, including award-winning AAA titles such as EA’s NBA Jam 2010NHL11Need for Speed: Hot Pursuit 2NBA Live ’95 as well as the indie award-winning title Retro City Rampage.

He is the co-founder of the School of Video Game Audio and has taught game audio students from over thirty different countries online since 2012. His new media works has been exhibited in cities including Surrey, Banff, Victoria, São Paulo, Zürich and San Jose. As a documentary film composer, he had the good fortune of scoring the original music for multi-awarding winning documentary The Corporation which remains the highest-grossing Canadian documentary in history to date. He has performed live electronic music in cities such as Osaka, Berlin, San Francisco, Brooklyn and Amsterdam under the name Freaky DNA.

He is an internationally renowned speaker on the topic of video game audio and has been invited to speak in Vancouver, Lyon, Berlin, Bogotá, London, Banff, San Francisco, San Jose, Porto, Angoulême and other locations around the world.

His writings and presentations are available at http://VideoGameAudio.com

-

Featured image: Courtesy of Vblank Entertainment (c)2014 – Artwork by Maxime Trépanier.

tape reelREWIND! . . .If you liked this post, you may also dig:

Sounding Out! Podcast #30: Game Audio Notes I: Growing Sounds for Sim Cell- Leonard J. Paul

Sounding Out! Podcast #31: Hand Made Music in Retro City Rampage- Leonard J. Paul

Papa Sangre and the Construction of Immersion in Audio Games- Enongo Lumumba-Kasongo 

Sounding Out! Podcast #30: Game Audio Notes II: Hand Made Music in Retro City Rampage

01-RCR-VinylAlbumCover

Sound and Pleasure2This post continues our summer Sound and Pleasure series, as the second **bonus Monday** podcast in a three part series by Leonard J. Paul. What is the connection between sound and enjoyment, and how are pleasing sounds designed? Pleasure is, after all, what brings y’all back to Sounding Out! weekly, is it not?

Who doesn’t like retrogames? As a kid I kept to a straight diet of NES pixels and sounds. This installment reveals the technical and creative proficiencies involved with the composition of retro sound, and it. is. amazing! Our final installment on game audio design will run Thursday, 6/26/2014, and feature some notes on the process of designing sound for the game Vessel. Also, be sure to be sure to check out last week’s edition where Leonard breaks down his process in designing sound for Sim CellBut first, Retro City Rampage! -AT, Multimedia Editor

 

P.S. The first 25 folks to follow @soundingoutblog, @VideoGameAudio or @RetroCR on Twitter following the publication of this podcast will win a free download code for Retro City Rampage sent to them via direct message courtesy of Leonard Paul!

-

CLICK HERE TO DOWNLOADGame Audio Notes II: Hand Made Music in Retro City Rampage

SUBSCRIBE TO THE SERIES VIA ITUNES

ADD OUR PODCASTS TO YOUR STITCHER FAVORITES PLAYLIST

-

Game Audio Notes II: Hand Made Music in Retro City Rampage

Retro City Rampage (RCR) is a retro vibe two-dimensional open world game with plenty of parodies from the 80s and 90s. It’s basically what Grand Theft Auto would be if it was on the Nintendo Entertainment System (NES). Because the world of computer game design has recently embraced retro-aesthetics, the game was released for almost every platform. Its Nintendo 3DS version, was even a critical success, scoring a high 83% on Metacritic. My goal with the sound design of RCR was to produce a sound that was both an homage to the original sounds of the NES, but with a heart-felt intensity such that it preserved the feeling of my own nostalgia as well. The sound design of RCR follows in the tradition of independent games that are working hard to recover an aesthetic from the halcyon days of gaming.

I wanted the sound design of RCR to be as nostalgic as possible. To do this, I started by researching the work of others with this sepia-drenched 8-bit aesthetic in their own work. The open source scores that Jake Kaufman (aka “virt”) used for his albums FX1 and FX2, were particularly valuable here. Later on I came across a chiptune tutorial that Matt Creamer (aka “Norrin Radd”) had made and was able to bring him onboard to complete our team of composers for the game. I was able to borrow the same setup that he used for his music and adapt it to my process for creating sound effects. I used the open source music software OpenMPT for creating the sound effects as well as use the C++ sound code for playing back the music in the game as well. Getting the code from OpenMPT meant that new code didn’t need to be created and it ensured that the songs and sound effects would play back perfectly without any issues in the game.

02-RCR-OpenMPT

A Screenshot of OpenMPT software. Image courtesy of the author.

OpenMPT is a music tracker (or mod tracker) program for Windows. Mod trackers began on the Commodore Amiga in 1987 with the release of the Ultimate Soundtracker. The Amiga supported 4 channels of 8-bit sampled sound and usually had very low sampling rates to conserve memory as the original Amiga 1000 usually had only 256 KB of RAM. In other words, the samples were short and rough, but creative engineers found ways to work within these limitations. For RCR we used the Impulse Tracker format that was first released in 1995 for DOS.

Early sound designers needed to code the sounds in an arcane language called assembly code that was quite difficult to understand unless you were a computer programmer. Trackers were a first step toward making audio for games easier to make. They allowed sound designers to work with musical notes and effects abstractly, using a notation language far easier than hard-core assembly code. Later consoles, such as the Super Nintendo Entertainment System (SNES), allowed sound designers to simply input sampled sounds to be played back during the game. We wanted the sound design of RCR to be from the “classic era” of video games (before sampled sounds became the norm) and to feed off of the nostalgia surrounding this era for the player.

I typed in thousands of notes and effect commands in by hand, when creating the score for RCR. This level of detail and control has a direct aesthetic effect on the audio. Game sound programmers working in the 1980s lacked the sophisticated tools of automation that are standard in the industry today. This attention to detail and nuance was essential for the nostalgic sound associated with classic video games that I wanted to produce in my work. Just as using paper can be contrasted with modern music composition software, the mode in which one creates has a direct effect on the results of the composition.

03-rcr_cassette_action

Courtesy of Vblank Entertainment (c)2014 – Artwork by Maxime Trépanier.

While creating the sound effects for RCR, I learned how to do tracking and decided I wanted to add some music to RCR as well.  The catch was that the synthesis capabilities of the NES were extremely limited including only two pulse waves (often used for lead instruments), a triangle wave (usually used for a bass instrument), a noise channel (frequently used for drums), and a crude sampled sound channel (commonly used for muffled sound effects).

Even though we decided early on that we wanted the game to have a nostalgic feel, we made a set of careful decisions in order to avoid being locked into the tricky technical details that sound artists who worked on games for the original NES had originally faced. One key difference was that we didn’t limit the overall polyphony of sounds playing at the same time to the original NES specification. We limited each individual sound effect and song within the NES specification (for example, a single sound effect couldn’t use three pulse waves), but we decided not to drop a channel out when a sound effect would have preempted the score from one of the music channel. Typically in original NES games the music moved aside in order to accommodate the sound effects and so notes that used the pulse wave track were frequently dropped. Because this sort of interruption is unpleasant, we made choices that allowed us to work around it – inspiring our creative choices rather than limiting them. Although we took a few other technical liberties, nearly all of the sounds and songs of RCR could play on an actual NES with minimal modification.

04-RCR_GhettoBlaster

Courtesy of Vblank Entertainment (c)2014 – Artwork by Maxime Trépanier.

Using an open source mod tracker format allowed us a lot of flexibility when creating the audio for RCR. Although using a mod tracker to type in sound effects by hand was a laborious process it added an authenticity to the result that would have been difficult to achieve otherwise. Working with these strict limitations forced me to make different choices in my creative process that helped me invest a sense of ownership in the results. The hand crafted NES synth sounds I described above are ultimately just symbols pointing towards their real-world counterparts, and tellingly they rely on the imagination of the listener to bridge the gap between the real and the symbolic. Nostalgia allows us to fill these gaps and allow listeners the space to hear their own memories within the game.

Additional resources:

-

Leonard J. Paul attained his Honours degree in Computer Science at Simon Fraser University in BC, Canada with an Extended Minor in Music concentrating in Electroacoustics. He began his work in video games on the Sega Genesis and Super Nintendo Entertainment System and has a twenty year history in composing, sound design and coding for games. He has worked on over twenty major game titles totalling over 6.4 million units sold since 1994, including award-winning AAA titles such as EA’s NBA Jam 2010NHL11Need for Speed: Hot Pursuit 2NBA Live ’95 as well as the indie award-winning title Retro City Rampage.

He is the co-founder of the School of Video Game Audio and has taught game audio students from over thirty different countries online since 2012. His new media works has been exhibited in cities including Surrey, Banff, Victoria, São Paulo, Zürich and San Jose. As a documentary film composer, he had the good fortune of scoring the original music for multi-awarding winning documentary The Corporation which remains the highest-grossing Canadian documentary in history to date. He has performed live electronic music in cities such as Osaka, Berlin, San Francisco, Brooklyn and Amsterdam under the name Freaky DNA.

He is an internationally renowned speaker on the topic of video game audio and has been invited to speak in Vancouver, Lyon, Berlin, Bogotá, London, Banff, San Francisco, San Jose, Porto, Angoulême and other locations around the world.

His writings and presentations are available at http://VideoGameAudio.com

-

Featured image: Courtesy of Vblank Entertainment (c)2014 – Artwork by Maxime Trépanier.

tape reelREWIND! . . .If you liked this post, you may also dig:

Sounding Out! Podcast #30: Game Audio Notes I: Growing Sounds for Sim Cell- Leonard J. Paul

A Series of Mistakes: Nullsleep and the Art of 8-bit Composition- Aaron Trammell

Digital Analogies: Techniques of Sonic Play- Roger Moseley

 

%d bloggers like this: