Battlefield 3 Sound Design – Interview with Stefan Strandberg BF3
http://www.youtube.com/watch?v=7B9mYZ8eIwQ
Game Informer has published a great video interview with audio director Stefan Strandberg talking about the sound of Battlefield 3. He explains the approach on the sound design in Battlefield 3, talks about the new challenges on this title and also shares some footage from a very unique recording session the audio team had.
The award-winning team behind Battlefield: Bad Company 2′s terrific sound design is back. Lead by audio director Stefan Strandberg, DICE got up close and personal with the sounds of battle during a live military exercise. Their recordings and subsequent lessons learned could make Battlefield 3 the most realistic sounding war experience in gaming.
Via DS
GALLOLIZER MP19 Electronic Devices
The Gallolizer is a handmade multi-effects sound mangler, an array of dirty, delicious sound-destroying effects in a single handcrafted box. It’s the work of a Spanish engineering and art collective called MP19, an Arduino-loving, free software-using, open source group of artists who turn those platforms into the kind of grungy sounds that make them happy.
Gallolizer is an unique effects processing unit and totally handmade, inspired by Krautrock, New wave and Early Techno music. It combines analog and digital effects with an old-school management. Designed for the search of Industrial and Techno-Dub sounds,getting lo-fi real echoes, metallic sounds and new textures for drum machines, synthesizers or tradicional instruments. Perfect for live acts and more dark meetings in the studio.
Contains two different analog distortions, the clone of Ampeg Scrambler with the original transistors, and a FuzzFace germanium transistors.
A Bit Crusher of Arduino with a low-pass filter, a digital delay circuit with a lo fi sound that simulates a real analog echoes and a digital reverb.
LAX Aircraft Sound Library
Promo video for NSL002 LAX Aircraft Sound Library
Audio: Recorded in 24bit 192khz using a Sanken CSS-5 Shotgun in full Rycote windshield and Sound Devices 702 recorder.
This library features descending aircraft flyovers at Los Angeles International Airport. One unique aspect of LAX is that it’s nestled in the city, making it easy to stand directly under very low flying airplanes to capture a great sound.
A range of aircraft were recorded for this release, including the Airbus A330, Boeing 737, 747, and Bombardier 800.
Two different microphone positions were used: One facing the oncoming aircraft, and the other pointing in the opposite direction to capture the flyover and further decent as the aircraft lands.
Sounds were captured with a Sanken CSS-5 Stereo Shotgun mic in 120 degree stereo mode. The microphone was mounted in a full Rycote windshield kit and connected to a Sound Devices 702 recorder.
All sounds in this release are in 24bit 96khz Broadcast Wave format. Files are in a zip file, which includes a PDF with metadata. Upon purchase, you will receive an email with a link to instantly download the library.
Technical Specifications
- 44 stereo Broadcast Wave files at 24bit 96khz
- Library size is 625 MB
- All files are organized and tagged with metadata, compatible with Pro Tools, Audiofinder, Soundminer and other sound library management software
- Metadata PDF included
Ambient, darkwave soundscape created entirely by the SynFactory
Pervading Omnipotent Manifolds of Expression
Pervading Omnipotent Manifolds of Expression is an ambient, darkwave soundscape created entirely by the SynFactory 1.15 modular software synthesizer. This amazing piece of software can be configured in an almost infinite combination of possibilities to produce modulating or sequenced waveforms as simple or complex as the composer wishes to create.
For this composition, the main sequenced lines were created by feeding the patterned 8-step sequencer into the FM inputs of a sinebank module (multiple sinewave oscillators for additive synthesis). The sequenced output from the sinebank was then fed into a ring-modulator unit and modulated by a sinewave. The output from the ring-modulator then fed twin delay units to produce the stereo delay output. It was by manipulating the controls of the sequencer module that produced the real-time variable output, recorded as a continuous waveform that could later be integrated into a multi-track recording structure. A 6.5-minute sequence was produced in this manner, and inserted into a multi-track recording session. Because the tempo bpm was unknown, a “tempo track” was created as a series of high-frequency bleeps (as a visual reference for timing). To this “tempo track” a rhythm track was created manually – by positioning snare and bass drum samples by precision editing in accordance to the visual reference of the “tempo track”.
To create rhythmic variety, the same manually-created rhythm track was ring-modulated by a 150 Hz sinewave, and positioned on the timeline to create an interesting rhythm combination. This first session was then mixed down to create the main sub-master mix to add further elements. A second session was created by introducing a pulsating dark ring-modulated sequence. Surreal chimes fade in and out (created by ring-modulated sequences subjected to extended delays), and “twinkle tones” add to the surreal quality (created on the Korg R3 synthesizer). Other added sequences include additional atonal melodic elements, and “shimmering” passages toward the conclusion of the composition. All these additional elements were then mixed together to create the final stereo master. The result is a darkwave-ambient piece of electronica, partially inspired by the feel in music as evident by the group Bauhaus.
The visuals comprise wide-screen modulating textures and patterns forming a background. Added to this were images of mannequins and science-fiction robots and other strange characters. The Autons from Doctor Who feature quite heavily. This visual composite was then used as the source to process multiple keyed versions of itself to create visual complexity. An outlined composite mix was also created, as well as several multi-coloured variations. Sections of all these variations were edited to the soundtrack. The result is a surreal wash of colours and textures to complement the strange ring-modulated tonalities created entirely by the amazing SynFactory 1.15 modular software synthesizer.
Shared by JeffreyPlaide
This is sooo slick – Sampled Room
This is an example, how to use the basic stuff in your room in such creative and musician way. Just take some noisy and voiced objects and record them with any sampler. At the end use all this stuff to create any music u desire. Or… You even don’t need any sampler. Just use your friends, give them gadgets and transform your party into gizmo-jam-session. I can guarantee much fun. Enjoy!
Tools:
Canon EOS 5D mkII
DitoGear™ CrankSlider
Microphone Shure SM 48
2 Wine Glases
Panties
Bottle Opener
Drier
Tape
Tube Pack From Whiskey
Spring
Old Russian Camera
Spanner
Water
Shots, Edit & Music – Mateusz Zdziebko
Cryoacoustic Orb
Cryoacoustic Orb is a sound installation involving multiple illuminated acrylic orbs filled with slowly melting ice. Hydrophones frozen inside the ice amplify the sounds of the melting process, which are electronically processed and spatialized throughout the darkened gallery space. The result is a unique ambient soundscape that evolves over the course of several hours.
“TRON LEGACY” – Sound Panel
For all you TRON fans out there
Explore the sound and music of “TRON LEGACY”, the long awaited sequel continuing the adventures through the world inside your computer.
The sound team behind the film will take you behind-the-scenes of the science fiction epic, presenting special excerpts from the movie. Watch how the sound team approached various elements of the mix and edit while they tell you the stories behind them.
Guiding you through their digital realms will be Supervising Sound Editor Gwen Whittle, Sound Designer Steve Boeddeker, Music Supervisor Jason Bentley, Re-recording mixer Gary Rizzo, and Film Editor James Haygood, ACE.
Filmed on January 12, 2011 at the Walt Disney Studios, Burbank, CA.
Discussing the M-Audio Venom Synth Sound Design
The new M-Audio Venom synth took the NAMM show by storm—now’s your chance to win one! http://goo.gl/SIRjX.
Top Features
the warmth of vintage keyboards combined with modern digital processing > aggressive new sound
512 single-sound patches and 256 layered patches > start playing right out of the box
intuitive real-time performance controls plus software editor > endless sound design possibilities
49-key, full-size, synth-action keyboard > great playability
Pro Tools compatible USB audio/MIDI interface > ready for the stage and studio
The M-Audio Venom 49-key synthesizer combines the character of classic analog synths with modern digital processing to deliver an aggressive, infectious new sound. Whet your appetite with the included presets, then sink your teeth into creating original sounds—from atmospheric and subtle, to angry and downright nasty. Easily tweak parameters from the intuitive top-panel interface, or explore endless sound design and configuration possibilities with the included software editor. Perform bass lines, leads, and more with a full-size keyboard designed to satisfy serious players. You can even use Venom as an audio interface with Pro Tools M-Powered* and other music software—forming a powerful production machine to take your music in dangerous new directions.
* Requires Pro Tools M-Powered 8 or higher.
Full Features
49-key, full-size, synth-action keyboard
12-voice polyphony, each voice including:
* 3 oscillators with 41 waveforms and 53 drum sounds sampled from vintage analog synths, FM digital synths, and drum machines
* pulse-width modulation, sync, FM, and ring modulation
* resonant multimode filter with tube saturation limiting
o 12 dB/octave (2-pole) low pass
o 12 dB/octave (2-pole) band pass
o 12 dB/octave (2-pole) high pass
o 24 dB/octave (4-pole) low pass
o 24 dB/octave (4-pole) band pass
o 24 dB/octave (4-pole) high pass
* 3 LFOs with selectable sample-and-hold
* 3 AHDSR envelopes
* 16 modulation routes
4-part multitimbral operation with independent MIDI-syncable phrase sequencers
512 onboard Single patches
256 onboard Multi (layered) patches
2 global bus effects
* Reverb, Delay, Chorus, Flanger, Phaser
1 insert effect per multitimbral part (4 total)
* Compression, EQ, Distortion, Bit Reduction, Decimation
classic arpeggiator with up, down, and alternating patterns
tap-tempo and manual BPM control from top panel
built-in USB 2.0 audio/MIDI interface (USB 1.1 backward compatible)
* 2 x 2 24-bit, 44.1 kHz operation
* mic, instrument, and stereo line level inputs route to DAW
* synth sounds route to DAW
* DAW audio output mixes into main outputs
* stereo main audio outputs (1/4″ TS)
* stereo headphone output (1/4″ TRS)
* master volume knob; instrument and mic gain knobs
* MIDI In and MIDI Out (5-pin DIN)
large custom LCD
4 rotary encoders and 1 button for performance control and editing
dual-function octave up/down and transpose controls
assignable pitch bend and modulation wheels
sustain (1/4″ TS) and expression (1/4″ TRS) pedal inputs
included Vyzex Venom software editor
* arrange sounds into banks, rename patches, and save backups
* patch collider feature mashes up multiple patches to create new hybrid sounds
* 16-cell modulation matrix offers comprehensive routing configurations”
TONSTURM 02 Electricity SFX Pack Is Released!
Tonsturm are at it again 
This soundpack is all about high voltage. We risked our lives to serve you highly unique and exciting electricity sound effects.
All sounds are recorded, edited and mastered in High Definition Audio @ 24 Bit, 192 KHz. With TONSTURM 02 I Electricity
you get 221 soundfiles / 4.89 GB (@192 kHz) of electricity sound effects.
Interview with Watson Wu
Rode Microphones has started a new video series called Rode Rage featuring Ric Viers, who takes us on a tour of the ‘who’s who’ of the entertainment audio world.
In this episode of RØDE Rage Ric drops in on sound designer Watson Wu (Transformers: War for Cybertron, Need for Speed, Operation Flashpoint). Winston talks about how his early passion for video games and pinball, combined with a classically trained musical background led to his eventual career as a sound designer for gaming, as well as his run in with an 1800hp ’69 Corvette!
DATAMASKIN
