7 sound stories worth reading: Game Audio outsourcing, immersive audio, interactive vs linear sound, a great Ben Burtt interview & much more:

If you're looking to catch up on the interesting innovations happening in audio, here's your chance! In this roundup, you can learn: how to become a better outsourcer, a clever approach to horror and stop-motion animation sound design, the difference between interactive and linear audio processes, audio's role in creating immersive experiences in Mixed Reality, how Ben Burtt views failure and perseverance, and how sound is created for Star Wars toys. Happy reading!

---

Please share:

 
Ever wonder what it takes for a successful collaboration between a videogame studio and an audio production studio? Based on 20+ years of experience from both sides of this process, BAFTA and Develop award-winning audio director Adele Cutting from Soundcuts Ltd shares her essential insights on how to achieve quality results as an audio outsourcer for games:
 

Read the in-depth story on succesful game audio outsourcing

 
The devil is in the details, and that’s certainly true of the soundtrack that Jeff Schmidt created for Wondery’s seven-part podcast Inside The Exorcist by creator/writer/host Mark Ramsey. Here’s how he created the sound for the series, covering everything from creating sinister drones, clever sound design and recording approaches, to crafting those demonic voices and much more:
 

Read the in-depth story behind ‘Inside The Exorcist’

 
Here’s how supervising sound editor Michał Fojcik and Foley artist Heikki Kossi brought the wintry world of ‘Moomins and the Winter Wonderland’ to life with sound:
 

Read the story behind the new Moomin stop-motion film

 
Creative Assembly’s Charles Pateman on how game audio differs from linear media: For Audio Media International, Charles Pateman from Creative Assembly shares his thoughts about the differences between interactive and linear audio. From the iterative process and no picture lock to our relationships with other departments, Charles shows us how we have a special workflow that challenges “traditional” production.
 

How Immersive Sound Brings Mixed Reality to Life: Technology writer Alice Bonasia writes about the role of spatial audio in building believable, multi-sensory virtual environments. She speaks with HoloLens inventor Alex Kipman, developer Kean Walmsley, and Auro-3D founder Wilfried Van Baelen about what makes a convincing experience and the challenges sound designers and developers face.
 

A Conversation with Ben Burtt on Perseverance: Shaun Farley from Designing Sound interviews Ben Burtt about his decades-long pursuit to create “classic” sounds during his highly respected career. He shares the trial and error process he developed by learning from his mistakes, and how – with the trust of the director – this workflow can lead to “wonderful undiscovered worlds”.
 

Interview: The Force is with Tracy W. Bush, audio designer for Star Wars toys: Over at Gigantic Software, Krystle Becknauld interviews Tracy W. Bush, audio director at Sphero, about the company’s new line of Star Wars toys. He talks about their new products, including models of BB-9E, R2-Q5, R2-D2, and their evil counterparts, and how they developed their bleep-and-bloop languages and emotions even before the The Last Jedi has been released!