Monthly Archive: September 2010

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Chuck Russom’s Doggy Dog World

Actors are hard to deal with, especially if they chew on your couch.  Chuck Russom dealt with it though and recently worked with 14 of them to compile a new boutique sound library in “Dogs”.  I usually don’t post things for sale on here unless they are intriguing or completely fluffy and adorable.  Chuck’s lucky he knows what I like.  Hear some samples of the library here.

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SoundWorks Collection: The Social Network

Ren Kylce and Michael Semanick of Skywalker Sound talk about their work on the upcoming David Fincher film, The Social Network. In the video they talk about why ear bleeding volume levels needed to be turned up, automating Trent Reznor’s music stems across all the channels and why you’re going to want to keep your ears open during this dialog driven film.  Jump through for the video.

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The Audio for “Front Mission Evolved BTS”

Gamespot has posted a behind the scenes video for the recently released Front Mission Evolved. It’s a pretty detailed video that chats with the game’s Composer, Garry Schyman (Bioshock) and Double Helix’s Audio Director, JP Walton. It’s always nice to see game audio getting some attention. Check out the video after the jump.

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“The Town” Sound Supervisors Talk Shop

Jake Riehle over at Designing Sound has posted an interview with Aaron Glascock and Curt Schulkey, Sound Supervisors for the recently released Ben Affleck film, The Town.  It’s a great chat that goes into detail about all of the hard work that went into restoring the production soundtrack, which is part of the reason it sounded so good.


EHX Presents: Sounds of The World

Electro-Harmonix has released a cool video showcasing how their pedals, when combined correctly, can simulate other cultural instruments.  Check out the video after the jump

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Monday Night Listen – #001

Part of the art of being a sound designer is taking sounds not typically associated with a particular object or event and making them represent it in a convincing way.  Whether it’s trying to evoke emotion, add to the story or solely created to simulate what the event would usually sound like; sound designers have the opportunity to make the audience think what they’re hearing is appropriate, no matter how far fetched the audio source material is.  In fact, more often than not, audience members shouldn’t even be thinking about the audio track.  If they are, they’re either consciously studying...

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Marty O’Donnell Talks Shop with 94.9FM

94.9FM, had a chat with Bungie Audio Director, Marty O’Donnell on his work for Halo: Reach.  He talks about the most challenging aspects of game audio development, disabling the feature to turn off the music (the Xbox 360 lets players choose their own soundtrack for games if wanted, based on music ripped to the console’s hard drive), music implementation and looking forward to playing Halo has a fan/gamer, not a developer.