#SOUNDDESIGNER

[gasnewsletter]

Coming from England, @sonauramusic creates experimental ambient music. He started making music from a young age and has played in various bands as a guitarist, bassist, drummer, and vocalist. He found his way into audio engineering, then ran a recording studio. In the middle of 2021 he created his own studio where he is working with a diverse group of artists 🎶 Studio tour, interview & creativity tips from Sonara on issue 64 Get Friday’s free issue by subscribing. Link in bio 📩 . . . #studiotour #producerlife #musicstudio #homestudio #mystudio #producer #musicproducer #synthesizer #soundengineer #sounddesigner #beatmaker #musician #eurorackmodularsynth #eurorack #electronicmusic #gasnewsletter https://www.instagram.com/p/CqannXSNj3w/?igshid=NGJjMDIxMWI=

[bobbysmale]

Got myself a custom branding iron made with my logo/makers mark. Doing some test branding, I think this will add I nice detail to my guitar builds. At very least it will be more consistent than me hand painting it. I haven’t had much time to build lately, but there’s good stuff coming soon! #woodworking #woodburning #guitarproject #guitarbuilding #luthier #handmade #burnit #burnitup #artist #artisan #sounddesigner #designer https://www.instagram.com/p/CqCM6uJr8ag/?igshid=NGJjMDIxMWI=

[rofilm1]

The last days before publishing a new book are always rather exciting for me. Have I thought of everything? have I really finished all tasks? etc.

The generative music modular bible. Enjoy your day! Rolf

[jaesonfunner]

Layout is ☑️ on to the mix, I truly ❤️ what I do!! @steinbergmedia 👍🏾 👨🏾‍💻🎹 🎛🎚🚀🔥 #zackerywallsmadethetrack #adifferentsound #ableton11 #musician #beatmaking #flstudio21 #musicproduction #typebeat #producerslife #untagged #beatstars #rap #rnb #hiphop #pop #audio #engineering #sounddesigner #musically #instrumental #worldwide #soundcloud #cubasepro12 #Beat #dj #artist #protools2023 #mpclive2 #musicproducers #studioone (at Manhattan, New York) https://www.instagram.com/p/CpkEgRmOLpL/?igshid=NGJjMDIxMWI=

[activealienmind]

Drum and Bass 2 0 2 3 (AntyStigma™ aka AktivAlien™)

[jasonstare]

I enjoyed mixing the film 'Solemates' and I can’t wait to experience it at TIFF! Congrats to the talented filmmakers, it was a great collaboration!

[rickyderose]

Hello, my name is Ricardo Derose, and I am a filmmaker, songwriter, music producer, music composer, sound designer, recording, mixing, mastering, and engineer. I have recently earned my Master's degree in Film Production from Full Sail University.

- Why do you want to work in Film?

I want to work in Film because I understand visual art is the most powerful means of communication.

I understand images, videos, and storytelling through Film speak louder than words.

Therefore, I want to use this medium to tell stories that have never been told, express my philosophy, and speak about social issues.

-Tell me about a film you worked on and are proud of?

One of the films I have worked on and am very proud of is: "A Girl Named James."

To be continue…….

[gasnewsletter]

Two Round Robins - Interview & Studio Tour

Gear List

Synths & Grooveboxes

Teenage Engineering - OP-1

Teenage Engineering - PO-33 KO

Teenage Engineering - PO-35 Speak

Teenage Engineering - PO-20 Arcade

Monome - Norns Shield

Monome - Grid

Bastl Instruments - Kastle Drum

Korg - NTS-1

Korg - Monotron Delay

Nintendo - Gameboy Color + Arduinoboy

Recovery Effects - Instrument 01

Alesis - Micron

Yamaha - VSS200

Tape Stuff

Tascam - Porta Studio MK II

Sanyo - Dictaphone

Sanyo - Pocket Corder

DIY Cassettone

Loads of tape-loops

Pedals & FX

Electro Harmonix - Memory Man 2

Boss - DD-7

Boss - Looper

Boss - RE20 Space Echo

Boss - Tremolo

M-One - Effect Unit

Controllers

Akai - MPK mini

Native Instruments Maschine Mikro MK2

Interface & DAW

Audient - iD4

Logic - Pro X

Instruments

Acoustic Guitars

Deering - Banjo

Mandolin

Violin

Lapsteel (modified)

Electric Guitar

Kalimba

++ small musical toys, instruments

----

Who are you and what is your relationship with music?

I live in Ljubljana, a capital of a very small central-Europe country called Slovenia.

I started making music in my early teens. Coming from a non-musical family, it was your usual "Dad bought me a guitar" story that through trial and error and some basic lessons transcended into a music-making love affair, that seems to roll on.

I never really bothered with playing other peoples stuff, like most of my peers did, but I'd rather strum away and try to find my own thing from the very beginning.

From your usual early-teen metal phase I moved on to alt-rock and then it kinda jumped into all sorts of genres. In my early 20s I started doing film scores for smaller movies and various other media. This helped me to become quick in the various technicalities of music composition and production.

After my job at SAE Institute sadly ended, I moved on and did a lot of freelance work within the music field, before getting another regular 9-5 job in another media educational institute, which still provides my main income.

It's hard to survive only with musical output in Ljubljana, Slovenia especially if you come from a rather non-privileged background. So having a regular salary definitely helps that when you focus your creative energy on making music, the output is strictly what you decided to be.

What's the one thing in your studio you can't live without?

It's a hard question since every synth or music making gadget, at some point, is like a little baby that you can't live without. But thinking of it logically...

It's probably my laptop.

Thinking with heart however, I'd probably go with TE - OP-1 or Monome - Norns Shield.

What's your process?

Since I consider myself a newcomer into the intriguing world of DAWless jamming and ambient music, I tend to find my process to be constantly shifting.

However, what I seem to revolve around is texture. I start with texture - may it be a sample, synth or a field recording. The initial sound and colour has to draw me close enough that I can just sit and listen for a few minutes, enjoying the soundscape.

I learned slowly (and I still do) that I need to take time with each new sound element, processing it and still keep enough space within the atmosphere to let the piece breathe naturally. I was guilty (and still am at points) of doing the newbie mistake of adding and adding different harmonic layers, melodic ideas until all that is left is an asynchronous mess.

I still have a long way to go until I'll be comfortable enough to call myself anything close to a sound artist.

How would you explain your style?

I'm drawn towards a sound that sounds nostalgic, innocent and broken so I guess my style would be considered in the brighter spectrum of ambient music.

Taking a lot of ideas from nature and childhood, I try to create something that I would consider warm, beautiful, calm but at times chaotic. A lot has to do with gear that I own (or at least aspire to own) that I just enjoy the sound of and believe that such sound will push this initial style into a firmer ground as well as new territories.

Norns was something that changed my style as exploring. It's scripts forced me out of my comfort zone of quantized based music. It helped me understand that emotion is not grid-locked and my (now more open) mind found ways to conceptualize the uniqueness that came out of that little machine.

A similar breakthrough were tape-loops as well. There is no doubt in my mind that my style will evolve and something I consider now to be groundbreaking will look like a mere happy accident that kind of happened.

Has this journey of building a hardware setup changed the way you think about music or life in general?

Definitely!

The thing I really disliked when my creating was only based in a DAW setup was getting home from work and having to open my laptop yet again, staring at the same screen and making something that seemed I made a million times before. With this typical DAW fatigue I started losing interest in creating electronic music and found that strumming away on an acoustic instruments was a far more satisfying creative session.

But soon enough, the limiting sound that strictly acoustic instruments produce pushed me to search for alternatives. Once I got myself an OP-1 everything kinda changed. I took it to the park and found out that I really enjoy noodling on these portable synth around the beautiful scenery and I just let these droney textures take over.

I always knew that music has a healing effect on me, but making something that seems so naturally slow and evolving really adds it to a new level. Ambient sessions have now become far more therapeutic.

Music making (at least in this context) is now a far more meditative experience that makes me more relaxed than it used to with just creating a track in Logic Pro and now I come out of it far more satisfied.

What’s your ONE tip on music-production or creativity?

Be bravely slow.

I did a lot of music with a mindset of being quick is the only right way. But now I find that this tends to push me back into making the same stuff over and over again.

But taking time and really enjoying the process is a way more rewarding experience, giving you a sense of yearning for more exploration. You take this feeling and let yourself be hungry for a new session or better yet a new exploration into the whole unpredictable world of sound. This will then make you excited whenever you sit back with your gear just to noodle around and most importantly have fun doing it.

A book/movie/article that fueled your creativity?

Huh, a hard question since a lot of books, movies and music inspire me, but if I'd have to put a finger on it I'd say probably Steinbecks "Grapes of Wrath". I took a lot of themes from that book and used them in lyrics for a folk inspired EP I'm working on.

Another book that greatly inspired my sense of trying to mix emotion with a unique take on creativity is Danielewski's "House of Leaves". I absolutely adore that book.

Do you have a question in mind that you think I should have asked?

 "What is your current dream gear?"

Anything by Ciat Lonbarde

---

Friends, this is a past issue from the G.A.S. Newsletter. Every Tuesday and Friday a new artist is featured.

[bobbysmale]

Busy day at the Edmonton Guitar Show is being held at: Italian Cultural Centre 14230 133 Ave NW,  Edmonton, AB T5L 4W4 OPEN to then PUBLIC at 10 AM Shows are OPEN to the Public from 10 AM to 4 PM.  Come by and see my one of a kind instruments, and many other guitar, pedal, and amp builders. As well as some guitar collectors and dealers. #guitar #bass #handmade #musicalinstrument #musicalinstruments #cigarboxguitar #cigarboxnation #music #art #artist #artisian #woodcarving #woodcarver #woodworking #sounddesigner #instrumentdesign #luthier (at Italian Cultural Center) https://www.instagram.com/p/CjOTsa6vVvS/?igshid=NGJjMDIxMWI=

[rofilm1]

Part 3 of this trilogy about making generative music is divided into 2 main parts:

(very) “Advanced Patching Techniques” and “Projects”.

The first of the project patches contains 167 modules, is explained in-depth on 35 pages, and can be rebuild in hardware or in the freeware version of VCV Rack.

Each step of (not only) this project is saved as a preset and additionally documented in a video. Both, the presets as well as the videos, come together with the book and are part of the bundle – like with all of my e-books.

See https://dev.rofilm-media.net

Enjoy your day!

Rolf

[jaesonfunner]

Making Sure these Guitar 🎸 Tones are on point in the Mix!! @arturia_official @steinbergmedia 👍🏾 👨🏾‍💻🎹 🎛🎚🚀🔥 #zackerywallsmadethetrack #adifferentsound #ableton11 #musician #beatmaking #flstudio21 #musicproduction #typebeat #producerslife #untagged #beatstars #rap #rnb #hiphop #pop #audio #engineering #sounddesigner #musically #instrumental #worldwide #soundcloud #cubasepro12 #Beat #dj #artist #protools2023 #mpclive2 #musicproducers #studioone (at Manhattan, New York) https://www.instagram.com/p/CpKVRuzOhYo/?igshid=NGJjMDIxMWI=

[andronicmusicblog]

GameSoundCon 2023: A reflection on the game audio industry

I had the pleasure of attending GameSoundCon 2023 in Burbank, California, and it was an exceptional experience. The conference was filled with talented and passionate individuals from all corners of the game audio industry, and the diversity of voices and perspectives was a true highlight of the event. We will never thank Brian Schmidt, the Executive Director, enough to organize such a remarkable event every year.

What impressed me the most about GameSoundCon was the strong sense of community. Everyone was supportive and welcoming, and there was an inspiring feeling of excitement and collaboration in the air. I was pleasantly surprised to see how industry veterans took the time to engage with newcomers, offering guidance and advice on how to navigate the field. The conference was a great opportunity to meet new people, exchange ideas, and build relationships.

One of the most exciting aspects of the conference was the opportunity to learn about the latest trends and technologies in-game audio. The sessions were informative and engaging, with industry experts sharing their insights on topics such as adaptive music, procedural audio, and the use of virtual reality in sound design. I was particularly impressed with the keynote presentation by a renowned game composer, who shared their experience working on a high-profile game title and the challenges they faced in creating a memorable and cohesive score.

Another highlight of the conference was the expo hall, where I had the chance to see and try out the latest audio tools and equipment, such as Audiokinetic (Wwise), Epic Games, FMOD, Formosa Group, Dolby Laboratories, Xbox Game Studios, SIDE, Game Audio Network Guild, Kilohearts, Materia Music, Miraisens, Motion Picture Sound Editors (MPSE), Outspoken Audio, Reactional Music, ReelCrafter, Sound Ideas, Sound Particles, Tazman Audio (Fabric), The Female Composer Safety League, The Halp Network, PlusMusic AI, Scoring the Game, World Health Organization: Make Listening Safe, IGDA/IA-SIG, Source Elements, Tom Salta Masterclass Series & AutoBounce.

The exhibitors were knowledgeable and eager to share their products, and it was a great opportunity to learn about new resources and techniques that can be used to enhance game audio.

Overall, GameSoundCon 2023 was a fantastic experience, and I came away feeling inspired and energized. I highly recommend the conference to anyone who is interested in game audio, whether you are a seasoned professional or just starting out in the field. The conference offers a unique opportunity to learn from the best in the industry, connect with like-minded individuals, and discover new tools and techniques that can help take your game audio to the next level.

I had some epic moments this year at GSC 2023; one featured my fellow teacher and mentor, Tom Salta. His stand showcased the “Tom Salta Masterclass Series” and “AutoBounce.” Auto-Bounce is a collaboration between composer Tom Salta and software developer David Molnar of Renegade Soundplay. Tom Salta realized that the bouncing process in Logic Pro was time-consuming, repetitive, and prone to errors, especially when dealing with stems, multitrack, and mixes.

Tom Salta is a renowned game composer who has worked on a variety of popular titles, including Halo, Deathloop, and Prince of Persia. He is also a passionate advocate for interactive music and has given many lectures and workshops on the topic.

Tom Salta had 2 panels. His presentations are always interesting and engaging, and he maintains a professional and content-rich attitude. “Composing Interactive Music lecture” and “Scoring Terror (The Music of Outlast Trials)” were remarkable; 

In his lecture "Composing Interactive Music,” Salta discusses the unique challenges and opportunities of composing music for video games. He emphasizes the importance of understanding the game world and characters and collaborating with the game developers to create a cohesive and immersive experience for the player.

Salta also discusses a variety of techniques for composing interactive music, such as the difference between linear and non-linear music, looping and layering techniques, and an introduction to adaptive music middleware. He shares his experiences and insights from working on some of the biggest games in the industry.

Salta's lecture is a valuable resource for anyone interested in interactive music composition. It is informative, engaging, and inspiring.

During Salta’s lecture, we learned some important points about interactive music. Firstly, interactive music can greatly improve the player experience. In order to create authentic and immersive music, it’s crucial to have a good understanding of the game world and its characters. Collaboration with game developers is also essential to ensure the overall experience is cohesive and unified. There are various techniques available for composing interactive music, such as adaptive music middleware and procedural audio. It’s important to be creative and experimental when composing interactive music, as there are no hard and fast rules to follow.

If you’re interested in learning more about Tom Salta and his Masterclasses, be sure to check out his website and social media pages at www.tomsalta.com.

At the session’s end, he looked like a star signing autographs and taking photos.

The same happened the day after Inon Zur with “Composing Music for an "Out of this World" Game - Starfield and More.” The 2 composers have been under the same representative for a long time, early with the legendary game composer agent Bob Rice and today with Jeremi Valiquette.

One of the most memorable lectures at GameSoundCon 2023 was Inon Zur's talk on “Composing Music for an "Out of this World" Game - Starfield and More,”

Zur is a renowned game composer who has worked on a variety of popular titles, including Fallout 4, Dragon Age: Inquisition, and Crysis. In his talk, Zur discussed the unique challenges of composing music for a science fiction game and how he approached the task of creating a score that would be both immersive and inspiring.

Zur began by talking about a concept: “Tell me something I know, Tell me something new.” When writing music, a composer may take the listener on a journey that could start with something familiar and accessible, which helps to ground them and make it more relatable; then, the composer may decide to introduce new and unconventional changes. By doing that, a composer can create a dynamic and engaging musical experience for the listener.

It starts by reminding the audience of something they already know, 

Zur created a score that would be both diverse and cohesive. Starfield is a vast game with a wide variety of environments, from bustling space stations to remote planets. Zur wanted to create music that would reflect the diversity of the game world while still maintaining a consistent organic overall sound in a multiverse/universe sci-fi environment.

To achieve this, Zur used a variety of music tech. He incorporated traditional orchestral elements in a different dress. He also used a variety of ethnic instruments to reflect the different factions in the game.

The result is a score that is both immersive and inspiring. Zur's music captures the vastness and grandeur of the Starfield universe while also conveying the wonder and excitement of exploring a new world.

There was a very interesting moment at GameSoundCon 2023, Stray Gods: Creating an interactive musical by Austin Wintory.

The panel was about Stray Gods, a musical video game where players can control the music, which adapts to their choices in real-time. The game is set in a modern world where the Greek gods have returned. Wintory's creativity and vision have made it possible to create such a groundbreaking and immersive musical experience. During the session, Wintory used a flowchart to explain the interaction of the music, depending on the player's decisions. It's incredible to think about and demonstrates the brilliant mind behind the game and the composer itself.

I am a super fan of Cyberpunk 2077, Vallorant, and the TV show Arcane by Riot Games.

The “Cyberpunk 2077 Phantom Liberty: Sound Design - Taking It Up a Notch” panel was hosted by Michał Pukała from CD Projekt RED, and it was truly remarkable. The session focused on the top-level sound design and technology used in patch 2.0 of Cyberpunk and the new episode “Phantom Liberty”. It was interesting to learn how consumers usually only notice graphic and visual improvements while leaving audio at a subconscious level where everything is fine until something goes wrong. However, in reality, sound design plays a crucial role in creating a rich and immersive experience for the audience, and on CYbeprunk 2077: Phantom Liberty the result is fantastic. Michał explained in detail how at CDPR they created and improved sound elements, including recording organic mechanical sounds in the backyard of his colleagues' sound designer and processing them to create the new engine sounds. The end result in Cyberpunk 2077: Phantom Liberty is truly impressive and enhances the overall experience.

Another highlight of GameSoundCon 2023 was the panel discussion on exploring the processes of in-house music teams. The panel featured a variety of speakers from different game studios, including J.D. Spears, Brendon Williams (from Riot Games,) Joshua Carro, Skye Lewin, and Becky Allen.

The panelists discussed a wide range of topics, including the different roles on an in-house music team, the challenges and rewards of working in a team environment, and the importance of collaboration. They also shared their insights on the different stages of the music production process.

One of the most important takeaways from the panel was the importance of communication and collaboration. In-house music teams often work closely with other departments, such as game design, art, and programming. This close collaboration is essential for creating music that is well-integrated into the game and enhances the overall player experience.

The panelists also emphasized the importance of creativity and flexibility. In-house music teams often need to work on multiple projects at the same time, and they need to be able to adapt their style and approach to meet the needs of each project.

Overall, the panel discussion provided a valuable behind-the-scenes look at the work of in-house music teams. Clearly, these teams play a vital role in developing video games and contribute to creating immersive and memorable experiences for players.

In conclusion, the game audio industry is rapidly evolving, and there is a high demand for skilled professionals who can create immersive, engaging, and memorable soundscapes for games. The industry is becoming increasingly diverse, with people from all backgrounds and disciplines finding success in-game audio. Suppose you are passionate about game audio and want to pursue a career in this field. In that case, many different roles and opportunities are available, ranging from music composition to sound design to dialogue production and beyond. You can make your mark in this exciting and dynamic industry with the right skills, knowledge, and passion.

[sinaeat-alfidyu]

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