I did sound design for the intro sequence for Teaching Machine’s new Audio Visual mixtape series. Here’s the extended version of the sound I created.
I’m way behind on blogging about projects! I’ve been too interested in doing them to write about them. Going to try to retroactively remedy that a little bit…
Late last year and early this year I worked on the first batch of sounds for Deep Space Settlement, an empire building space strategy game by Escape Velocity Studios. I wrote a bit about the first batch of sounds on IndieDB. Not too long after completing those sounds, Stephanie and Mathias contacted me about doing another batch, which I finished recently. Hopefully as the game continues to develop there will be more sounds for me to make!
The latest batch of sounds mainly consists of sound effects for attaching and removing parts from the modular space ships in the game. The challenge with these sounds was that the size of the ship and whether the part was being attached or detached needed to be communicated in the sound. Also, I needed to create variations that didn’t sound too dissimilar. I created a lot of variations and went back and forth a few times with Mathias and ended up with a set of sounds I’m very proud of.
Add Component – Corvette A & B
Add Component – Hi-Tech A & B
Add Component – Capital Ship A & B
Remove Component – A & B
But the most difficult challenge was definitely creating the sounds for starting construction on a space station or capital ship. A big part of what made these sounds difficult was achieving a sense of the space.. of space. All the sounds for the game needed to be in mono, so stereo imaging tricks were flat out of the question. I ended up using a spring reverb, the classic space sound. Spring reverb is great because it sounds spacious but doesn’t communicate specific information to our brains about what the space is like… so it’s excellent for when the space needs to sound amorphous. I went through at least 6 versions of the constructing space station before starting over and coming up with this one which I’m very happy with. Start constructing capital ship was a lot easier, I think because it didn’t need to sound quite as large.
Start Construction – Space Station
Start Construction – Capital Ship
Check out & pre-order Deep Space Settlement! A playable version should be available for pre-order supporters soon.
During the late 80s and early 90s, small game development studios used newly available technology to invent new types of games like first person shooters and real time strategy simulators. Some games (i.e. DOOM) became hugely successful, and the small companies became big companies. The successful games became formulas and sequels that were copied again and again. Games are now an enormous industry with budgets and profits rivaling Hollywood blockbusters.
Here are a couple bits of sound design I did for various friend’s projects over the past few months.
ETXR VFX Test
VFX by Adam Burgett
Cinematography by Marianne Williams
Both of these were done in a few hours late at night. Both of these projects were rough cuts and the video quality has probably been further degraded by Youtube and my own ignorance about video compression.
When I saw this visual simulation by Andrew Means (AKA H3X3N), I commented on his post that it would be fun to do sound design for something like this… He said go for it.
I visually tapped what I felt to be the build in tempo into Ableton, and used that to control several varying rhythmic parameters on a synth playing a note. I fed that synth into several other tracks with reverb, resonators, and spatial simulators on them to create a sense of artificial space. Then I used my Arturia Mini-brute to jam out some decorative touches. I showed version 1 to Andrew but we both agreed that something was synesthetically missing. There was no “BOOM” for the explosion.
I fooled with some samples but they felt really wrong, because resonant space is such an integral part of the sound of an explosion and this video seems to exist in a weird sounding non-space dimension of science. So, I synthesized an explosion sound using the “Brute Factor” feedback distortion on my Mini-Brute, a self-oscillating filter, and some quick knob twiddling. Thus, the explosion sound you hear in the video.
For the past 8 weeks, I’ve been hosting a bi-weekly radio show called “IT CAME FROM THE INTERNET” on the online radio station Future Music FM. The show is a spiritual successor to a former internet radio show by the same name, previously hosted by D. Bene Tleilax, AKA The Tleilaxu Music Machine and myself on the I
On ICFTI, I showcase musicians and music that is obscure, cutting edge, or just outright weird. The show opens with a 45 minute music mix by myself, followed by a 30 minute interview with a guest who has a unique perspective on the future of music, and closes out with 45 minutes of selections by the guest.
The show airs bi-weekly at http://future-music.co.uk/player, from 10-12pm Los Angeles time.
We’ve already had some fantastic guests and look forward to many more! Archived episodes can be found at:
I just stumbled on this video demo of a mobile game that I did sound and music for way back in 2009! Fun.
I’m kind of obsessed with Heads Up Displays, “tactical readouts” and other GUI pr0n. I can’t wait to see the new designs that will happen in this field as wearable mobile devices, augmented reality, and virtual reality become part of every day life. The HUD displays designed for entertainment are flashy, but the challenge of functional real life HUD design is intriguing. Videogame HUD design seems like a particularly challenging blend since it requires functionality and panache.
I made a tumblr to document images and video pertaining to HUD, GUI, Augmented Reality, and VR interface design.
The electric guitar, once a symbol of rebellion and creativity, is in danger of becoming little more than a trophy to be hung on the walls of sedentary people with too much disposable income. Progressive underground subcultures are primarily focused on electronic music. The economic availability of powerful computers, the cultural glorification of the DJ, and the practicality and possibilities offered by digital production and sound synthesis leave guitar players feeling like a relic from another time. Why buy a guitar when you can do everything on a laptop, or even on your phone?