In the latest episode of Sound Business, Akash Thakka asks, Music, Sound Design, or Both? Does being both a composer and a sound designer actually end up with us getting less work?
The Soundbytes Podcast brings a brief deep-dive into the concept of mastery, and the journey required to achieve that goal, covering the process of starting a creative endeavour, and addresses practice, fear, looking stupid, experimentation, and a host of other subjects.
Academy Award-Nominated sound editor & mixer Ai-Ling Lee joins the SoundGirls Podcast and talks about her work as a sound designer, re-recording mixer, and sound supervisor on a variety of films including JoJo Rabbit, La La Land, First Man, Deadpool, Wild, Maze Runner, and Buena Vista Social Club
Level with Emily Reese welcomes Maclaine Diemer, who talks about his music for the newest expansion for Guild Wars 2 called End of Dragons. Inspired by traditional Korean music and instruments, Emily and Maclaine talk at great length about the special instruments he chose to use and the beautiful music for GW2: End of Dragons.
Over at the Sound + Image Lab: The Dolby Institute Podcast, the Best Sound category for this year's Academy Awards is explored and features interview excerpts taken from full episodes dedicated to the sound design of each of the incredible, nominated films.
The Game Audio Journey podcast kicks off season 3 with an interview with James Mello and his winding path into game audio.
The Location Sound Podcast talks shop with Stephen Harrod, a Los Angeles-based production mixer and boom op.
Finally, Twenty Thousand Hertz tells the interesting story of British Pirate Radio where, away from the mainstream, a group of rebellious radio DJs decided to give the people what they wanted.
Hear all the episodes below:
Episode outline:‘Most budding audio designers I see coming in to the game industry are so worried about finding work, that they tell everyone that they’re a “composer/sound designer”. But, does being both things actually end up with us getting less work? In this episode, we cover why you should (or shouldn’t) focus on just music or just sound design throughout your whole career.’
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Episode outline:‘Hello! Welcome back to episode fifty-one of our monthly podcast about games and game audio. This episode is a brief deep-dive into the concept of mastery, and the journey required to achieve that goal. It’s a bit of a brain dump surrounding the process of starting a creative endeavour, and addresses practice, fear, looking stupid, experimentation, and a host of other subjects.’
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Episode outline:‘Ai-Ling Lee was born in Singapore where she studied music audio engineering. After two years of mixing and editing commercials and music, she moved to Los Angeles in 1998 to pursue a career in sound design for feature films. Since then she has worked as a sound designer, re-recording mixer, and sound supervisor on a variety of films including JoJo Rabbit, La La Land, First Man, Deadpool, Wild, Maze Runner, and Buena Vista Social Club. Ai-Ling has had the opportunity to work with directors Damien Chazelle, Taika Waititi, Jean-Marc Vallée, Noah Hawley, Wes Ball, Cameron Crowe, Gus Van Sant, and Sam Raimi, to name a few. She has been nominated for four Academy Awards (editing and mixing), two BAFTA, nine MPSE awards, and won a CAS award for Best Sound Mixing.’
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Episode outline:‘Maclaine Diemer talks about his music for the newest expansion for Guild Wars 2 called End of Dragons. The music is inspired by traditional Korean music and instruments, a much needed educational dive into a rich tradition! Emily and Maclaine talk at great length about the special instruments he chose to use and the beautiful music for GW2: End of Dragons.’
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Episode outline:‘Welcome to our continuing coverage of this year’s Academy Awards. Like last year, we have compiled interviews from each of the nominees in the Best Sound category. So, if you are an Oscar voter — either as an Academy member or as a fan participating in your annual office pool — you’ll have a much better idea of what to watch for and (more importantly) what to listen for as you get to the Best Sound category on your ballot!’
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Episode outline:‘In the 1960s, the BBC had a vice grip on British radio, and rarely played the pop and rock music that was all the rage. So a group of rebellious radio DJs decided to give the people what they wanted, and started broadcasting popular music from boats stationed in international waters. Soon enough, these young DJs became national superstars… until the British government decided it was time to sink these pirates once and for all. This story comes from the History This Week podcast.’
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Episode outline:‘Stephen Harrod is a Production Sound Mixer and Boom Op based out of Los Angeles, California. He uses a Sound Devices 633 mixer/recorder, Lectrosonics wireless and Sennheiser G3s for camera hops. Boom mics are the Sennheiser MKH-416, MKH-50 and MKH-60. Stephen also uses a MixPre-10T in a second bag. Deneke and Tentacle Sync for timecode’
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Episode outline:‘Season 3 begins with James Mello and his winding path into game audio.’
