Bernard Gariépy Strobl, David McCallum & Steve Fanagan join the Tonebenders Podcast to talk about new sci-fi film 'Swan Song' and tell us how they came together as a team when none had ever met before. They also talk about the challenge of designing UI sounds for the near future and the unique schedule for the film's post production.
The sound and music team from Eidos-Montréal join guest moderator Andy Vaughan, from Dolby Game Developer Relations, on the Sound + Image Lab: The Dolby Institute Podcast to chat about their work on the video game adaption of Marvel's Guardians of the Galaxy.
Emmy award winning Foley artist and sound editor Joanna Fang drops in at the SoundGirls Podcast for an insightful discussion on her background and fascinating craft.
In the latest episode of the Immersive Audio Podcast, Oliver Kadel and Monica Bolles are joined by the director of the Applied Psychoacoustics Laboratory at the University of Huddersfield – Hyunkook Lee, discussing Hyunkook’s recent research on 'A Conceptual Model of Immersive Experience in Extended Reality' and its influence on spatial audio.
The Soundtrack Show dive into more music from The Legend of Zelda: Ocarina of Time in Part III of their series on the popular adventure video game.
Most people think you absolutely need to live in a big city to make a living in music, sound, or just art in general. The Sound Business Podcast asks, is that true?
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Podcast highlight by Stuart Keenan
Episode outline: ‘Joanna Fang is an Emmy award winning Foley artist and sound editor. An alumna of NYU’s Tisch School of the Arts, Joanna fell in love with sound design and Foley during her studies at Tisch and after graduating with honors in 2014, she started apprenticing and performing with Foley artist Leslie Bloome at Alchemy Post Sound in Peekskill, NY. Seven years and hundreds of credits later, Joanna transitioned into game development and has since been hired by Sony Playstation where she co-leads their new Foley department and is their first in-house Foley Artist in over 15 years.
Through her Foley sounds, she has had the privilege of slinging webs as Spider-Man, fighting misogynists in Promising Young Woman, and even crashing a bus for Ira Glass on This American Life. Her Foley art spans across several media from traditional narrative films, documentaries, and television series to triple A games, virtual reality and experimental pieces. In 2016, she was recognized by the Television Academy as the first openly transgender woman of color to win a Primetime Emmy for her Foley and sound editorial work on A&E’s Cartel Land.’
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Episode outline: ‘Since so much groundbreaking sound work is being created in the world of gaming these days, we’ve decided to dedicate the next few episodes of this podcast to some of the superstars behind your favorite new video games. First up is the sound and music team from Eidos Montreal, who brought us “Marvel’s Guardians of the Galaxy.”
Bringing this massive title to life was no easy endeavor, especially during a global pandemic. Yet the end result is a thrilling game with a surprisingly emotional story that is very rewarding to play through.
“We wanted it to feel epic. We wanted it to have that, that sort of comic book jumping out of the pages, that Saturday matinee movie that you’ve been waiting for.”
— Steve Szczepkowski, Senior Audio Director, “Marvel’s Guardians of the Galaxy”
Our guest moderator this week, Andy Vaughan from Dolby Game Developer Relations, spoke with the team behind this game for an in-depth look into their process.’
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Episode outline: ‘In this episode we are joined by Bernard Gariépy Strobl (re-recording Mixer) David McCallum (supervising sound editor) & Steve Fanagan (sound designer/supervising sound editor) of the new sci-fi film “Swan Song”. They tell us about how they came together as a team when none had ever met before this film. They also talk about the challenge of designing UI sounds for the near future and the unique schedule for the film’s post production.’
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Episode outline: ‘In this episode of the Immersive Audio Podcast, Oliver Kadel and Monica Bolles are joined by the director of the Applied Psychoacoustics Laboratory at the University of Huddersfield – Hyunkook Lee.
Dr Hyunkook Lee is a Reader (i.e., Associate Professor) in Music Technology and the Director of the Applied Psychoacoustics Laboratory, University of Huddersfield, U.K. His research over the last 10 years contributed to advancing the understanding of three-dimensional (3D) audio perception and developing new 3D capture and reproduction techniques. He has invented various psychoacoustics-based 3D microphone arrays including PCMA-3D and ESMA-3D, whose principle for height microphone configuration has been adopted for Schoep’s award-winning ORTF-3D array. Recently, he has been focusing on researching and developing perceptually optimised techniques of 6DoF audio rendering for extended reality applications. He is also currently leading a multidisciplinary project that connects immersive arts and technologies. From 2006 to 2010, he was a Senior Research Engineer in audio R&D with LG Electronics, South Korea, where he participated in the standardisations of MPEG audio codecs and developed spatial audio algorithms for mobile devices. He is an Associate Technical Editor of the Journal of the Audio Engineering Society (AES). He co-edited a recently published book “3D Audio” (Routledge). Hyunkook is a Fellow of the AES, Vice-Chair of the AES High-Resolution Audio Technical Committee, and has recently been elected as a Governor of the AES for 2022-2023. Dr Lee received a B. Mus (Hons) degree in music and sound recording (Tonmeister) from the University of Surrey, U.K., in 2002 and a PhD in spatial audio psychoacoustics from the Institute of Sound Recording (IoSR), the University of Surrey in 2006.
In this episode, we discuss Hyunkook’s recent research on “A Conceptual Model of Immersive Experience in Extended Reality” and its influence on spatial audio.
This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott.’
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Episode outline: ‘In Part III of our series on Ocarina of Time, we tackle our main quest to save Hyrule by learning more complex melodies, mastering new musical dungeons, and ultimately facing off against our bongo-playing, pipe organ-pounding foes.’
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Episode outline: ‘Most people think you absolutely need to live in a big city to make a living in music, sound, or just art in general. But is that true? Let’s cover that in today’s episode.’
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