Alan Wake was one of the games that impressed me the most in 2010, and now Miguel Isaza has a great interview up with the audio team for the game.
Check out Miguel’s interview here.
Posted by Asbjoern Andersen, Epic Sound - Contact
game audio 
alan wake, interview, music, recording, score, sound design — 
Aaron Trammel shares his thoughts and observations on how sound and music work in video games, looking at Limbo and other titles.
The soundtrack of Limbo says a lot about the game, which in turn says a lot about our culture.Video games are rarely the object of analysis for sound culture studies, this is fairly counterintuitive considering both their social impact and technological nature.
Should sound studies take a closer look at video games – where would it start?
Read Aarons full post here.
Posted by Asbjoern Andersen, Epic Sound - Contact game audio game audio, interactive sound, limbo, music, sound design — Posted by Asbjoern Andersen, Epic Sound - Contact Epic Sound Over at the Unidentified Sound Object blog, Matteo Milani and Federico Placidi have a fine interview up with Academy Award-winning sound designer Gary Rydstrom:
USO: What does it mean for you to associate a particular sound to a visual event (identifying it in a vast catalogue as big as the sound library of SkySound)? What are the mental or purely instinctive paths competing in making the choice?
GR: Something magical happens when a sound effect is added to picture – and it’s not predictable. After all my years of doing it, I still depend on experimenting, putting sounds against image and seeing what happens. First time I did this, as a film student, it amazed me how sound could “open up” a movie, how the combination of sound and visual could create something greater than the sum parts. Having a great sound library is essential, but the real secret is how one uses it.
Read the full interview with Gary Rydstrom here.
Posted by Asbjoern Andersen, Epic Sound - Contact film sound,sound design Gary Rydstrom, movie sound, pixar, sound design — Another great, in-depth interview by Daniel Schweiger over at Film Music Magazine, this time with composer Michael Giacchino on the music for MI4 and more.
Spying is a dangerous business, one where your survival depends on stealth and disguise, a skill set employed at barely above a whisper. On that account, it’s likely that Michael Giacchino wouldn’t last long as a member of the Impossible Mission Force. After all, his music is just having too much damn fun saving the planet with seconds to spare.
For if he took on the terrorist 1% with pulse-pounding action in “Mission Impossible 3,” Giacchino’s newest IMF assignment for “Ghost Protocol” steps up the stylistic adrenalin to truly impossible runs of excitement and suspense. It’s an A-ticket adrenalin ride through retro spy rhythms, exotic musical locales and brassy action writing that seems like a superhero score waiting to happen.
Check it out below:
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Posted by Asbjoern Andersen, Epic Sound - Contact film sound,music film music, ghost protocol music, interview, mi4, Michael Giacchino, mission impossible 4 — Another excellent sound feature from Michael Coleman – this time on the sound and music for ‘Mission: Impossible – Ghost Protocol’. Check it out:
Posted by Asbjoern Andersen, Epic Sound - Contact film sound,music,sound design mi4, Michael Giacchino, Mission: Impossible - Ghost Protocol, music, score, sound design — Trying to get into the film sound business? Have a peek at Brian Ralston’s ten tips for breaking into film sound over at SCORECAST online:
1) You have to break into the business of tomorrow, not the business of today.
Basil Poledouris said that. Today’s working directors and producers already have established composer relationships they go back to over and over. You have to find the up and coming directors and producers of “tomorrow” and work with them now before they make it in Hollywood. When they eventually get their first studio gig, they will usually go back to the people they know and trust from when they were struggling themselves. Hopefully you will be one of those people on their team.
Read the remaining nine tips right here.
Posted by Asbjoern Andersen, Epic Sound - Contact film sound composer tips, film sound, getting started, tips for film sound — As early as the Apocalypse Now movie in 1979 when Francis Ford Coppola and sound designer Walter Murch pioneered a quadraphonic sound system for the film tour, Coppola has made sound and audio technology an important part of filmmaking, including building a dedicated mixing facility, American Zoetrope.
In 2010, under the direction of Coppola, Zoetrope was turned into one of the first post-production facilities to install a Meyer Sound EXP cinema loudspeaker system on its rerecording stage and has since upgraded the other rooms to EXP. Tetro and Twixt are two of his movies that were mixed on an EXP system.
In this video, Coppola chats about the evolving role of sound in his storytelling and his sound facility in Napa.
Posted by Asbjoern Andersen, Epic Sound - Contact film sound film sound, Francis Ford Coppola, movie sound — 
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