Sound Design and Accessibility Interviews
Here are some of the interviews I’ve conducted wwith professionals in audio and accessibility for Designing Sound and A Sound Effect since late 2016. I have learned so much from these wonderful individuals.
In this interview, hear from Kenneth Bassham, Senior Sound Designer at Gunfire Games, about how he and his team designed Fury’s powerful sounds and collaborated with trust for everyone creatively involved – both old and new, local and remote.
Tavis Wait and Yoshi Gans talk about how they got involved with GRIP: Combat Evolved and what approaches they took to designing the beefy engine sounds and Mario Kart-style ordnance of these lightning-fast cars.
The Stanford Virtual Heart is a VR experience that helps medical students and parents understand common congenital heart defects. In this interview, Ana Monte, Co-founder of DELTA Soundworks, talks about how she and Co-founder Daniel Deboy got involved with this interesting project and met its needs for immersion and accuracy.
Working with sound for VR poses a new set of challenges in terms of positioning, levels and virtual acoustics – and to address those, Dear Reality’s dearVR and Spatial Connect let you work with your sounds and mix, directly in VR and in your DAW. Here’s the story behind these fascinating tools, as told by co-founder Christian Sander.
Leonard Paul, MSc (Director of the School of Video Game Audio) and Rachel Dziezynski (Audio Coordinator at Riot Games) were matched as mentor and mentee through the Audio Mentoring Project last year. They had such a great time with the mentorship that they wanted to share their experiences.
Daria Novoliantceva is a classical singer, composer, and sound designer at nerdtracks. She earned her master’s degree at the Saint Petersburg State Conservatory where she composed and arranged 80 choir pieces, and she has worked on music for film, television, and puppet theaters. With such strong roots in classical music, what drew her to sound design and and San Francisco?
As an audio studio owner, you are in charge of not of only the schedules and budgets, but also the happiness of your team members. Gord McGladdery, owner of A Shell in the Pit, shares how he began his studio and what he looks for in prospective projects. From appreciating the Vancouver community to meditating on Excel sheets, Gord gives us insight into why his studio can work on the projects they are most passionate about.
Cuphead has been receiving a lot of attention for its uncanny visual replication of ’30s cartoons, but it is the sound design in Cuphead that has really sealed the deal in making players feel like they’re experiencing something straight out of Talkertoons – all thanks to the Sweet Justice audio studio! Hear from co-founder Samuel Justice about designing the sound for this unique indie project and how the team gave Cuphead a true Golden Age cartoon sound.
Recently I interviewed Ian Moreno from The Behemoth about the sound design in their newest game Pit People. For longtime fans (like myself), Pit People has what we’ve come to expect: quotable performances, enticing music, and absurd sound effects—all which make their games so endearing and addictive. Hear from Ian about the fun, collaborative process of creating game audio at The Behemoth.
The Audio Mentoring Project is a fantastic new initiative, aimed at sharing knowledge within the game audio community. And here, Ariel Gross shares the story and thoughts behind this great project, how you can become a mentor or mentee – and why it’s so important that you take part.
When considering an audio middleware solution, it’s no secret there are many options out there; and CRI Middleware is here to make that choice even tougher. I spoke to Adam Levenson, CRI Middleware’s General Manager for Europe and North America, about their champion product with impressive tools and workflows for implementing audio and video.
They blew us away with their open-world stealth game Dishonored in 2012, and with a second installment that boasted a larger world, brain-twisting maps, and two playable characters, we couldn’t wait to hear from Arkane Studio’s sound team about the detailed soundscapes of Dishonored 2.
Knowledge is power, and the insight offered in these three compilations will help you become a more well-rounded sound designer no matter where you are in your career.
Aragami is a beautifully cel-shaded ninja stealth game, and I was lucky enough to have a chance to talk to Two Feathers Studio’s Nicklas Hjertberg and Elvira Björkman, the team behind the game’s peaceful yet brutal sound design and music.
Event is an exploration adventure game crafted with puzzles, personality and lots of artful, detailed audio. I spoke to sound designers Matt Bonneau and Swann Menage about the game’s audio and learn how they sowed character into a ship who’s accepted its speckled solitude.
Dan Wakefield, Antagonist Games’ CEO, sound designer, composer, writer, director and all around creative workhorse was kind enough to share with us the creative ideas behind the game and how they melded the authentic Nordic soundscapes with ominous Kittelsen-inspired folklore.
Drew is the sound designer for the upcoming blind-accessible turn-based strategy game A Hero’s Call by Out of Sight Games. In this interview Drew shares his experience creating characters without visual references and what inspires him to work on such out-of-the-box projects.
Kedar Shashidhar and his team are developing their first blind-accessible horror game, Sight Unseen. Kedar was kind enough to share stories about developing this immersive ear-lead experience and taking a fresh approach to design for diverse audiences.
Ana Monte shares her experience as recordist for Picturing War, following journalist and war photographer Benjamin Hiller as he captures images of a YPJ all-female fighter unit, a refugee camp in Erbil, the Murambi Genocide Memorial in Rwanda, and Kurdish soldiers fighting in Northern Iraq.
Per Anders Östblad—a Lecturer in Media Arts, Aesthetics and Narration at his alma-mater, The University of Skövde—shares about his new game Frequency Missing, a point-and-click adventure that can be enjoyed by blind and sighted players alike.
When creating sound effects, how have you pushed the boundary? I asked this question to the SFX and synth creators in our community, and 36 (!) people responded with stories about how they’ve innovated in their areas of expertise of field recording, sound manipulation, virtual instrument design, and more.
James Kyle is a Scottish game artist and volunteer with the Royal National Institute of Blind People who is running Audiogame Jam, an international game jam focused on blind-accessible games. Here’s the story behind the project – and how you can support it.