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 — 
Tim Prebble over at The Music of Sound came across this awesome video consisting entirely of sounds made with Craftsman tools:
If you enjoyed the video above, I’m quite sure you’re going to like Kutiman’s other work – check it out here.
Posted by Asbjoern Andersen, Epic Sound - Contact niceties,recording Kutiman, music, recording, sound design, tools — BBC Introducing has posted a fantastic selection of video clips, spanning almost 800 minutes and covering a wide range of music-related topics. These including songwriting, remixing, instrument masterclasses and much more.
They’re well worth checking out, so do hop on over to the site and have a look.
(via ProductionAdvice)
Posted by Asbjoern Andersen, Epic Sound - Contact music composing, instrument masterclasses, masterclass, music, recording, remixing, songwriting — Michael MacKinnon gives a fine overview of what foley work entails – have a look below:
(via Designing Sound)
And if you’re looking to create your own foley sounds, don’t forget to check out our very own David Filskov’s excellent Guide To Sound Effects, which provides numerous tips and tricks for rolling your own sounds!
Posted by Asbjoern Andersen, Epic Sound - Contact sound design foley, foley howto, foley primer, foley work, recording, what is foley, what's foley — Joseph Lin over at Time has taken a look at what he considers the most annoying sounds – perhaps unsurprisingly, the vuvuzela is on the list.. 
The use of vuvuzelas — a long plastic horn popular with South African soccer fans — at the World Cup has sparked debate about the level of tolerable noise at a sporting event. Here’s a look at some other sounds that are not music to our ears
Check out the full list over at the Time site.
Posted by Asbjoern Andersen, Epic Sound - Contact sound research recording, sounds — Gary Hecker explains what goes into being a Foley artist in this great Soundworks Collection feature:
And if you’re looking to create your own Foley sounds, don’t forget to check out our very own David Filskov’s excellent Guide To Sound Effects, which provides numerous tips and tricks for rolling your own sounds!
Posted by Asbjoern Andersen, Epic Sound - Contact film sound,sound design David Filskov, foley, Foley artist, Gary Hecker, recording, sound design, sound effects, what is foley — The Sounddogs blog has posted a 10-step guide for recording crowds. Here are the first five tips for getting great crowd recordings:
1. Be clear as to what type of crowd you need. Crowds who clap at a golf tournament have a different sound than those who cheer at a football game or applaud at a swimming competition. Watch your production and decide according to the setting.
2. It’s very important to contact the organizer before the event you wish to record for proper permission and or permits. Make sure you emphasize the fact that it’s just you (and maybe an assistant) and that it won’t be noticed by the crowd*, this will help people say yes to you.
*in the case you want to record unnoticed.
3. Always prepare and test your sound equipment beforehand. Never wing it, always be prepared.
4. Prepare a list of specific crowd sounds you need: yelling, clapping, cheering, shouting, hooting, whistling etc.
5. If you will be directing the crowd, plan on how you will communicate what you need from your crowd TO your crowd. Some options are: Bring an assistant to orchestrate the crowd, bring a bullhorn and give the crowd directions yourself, or prepare your crowd with pre-set hand signals.
Check out the remaining tips for crowd recording here.
Posted by Asbjoern Andersen, Epic Sound - Contact recording crowd recording, field recording, recording, recording tips — Miguel Isaza over at Designing Sound has a brilliant exclusive interview up with Ann Scibelli, Sound Designer on Ridley Scott’s “Robin Hood”:
ANN: I started working on the film in its early stages, really as soon as they began assembling the first cut. As far as doing something sonically different, I think all the medieval films have the same elements really, like: horses, swords, and other weapons. I wanted this film to have a very accurate feel in terms of the backgrounds and I really wanted to concentrate my design on the bows and arrows to really create their own signature sound.
I first started to develop all the background locations and the elements for the arrows. I did this even before I had any of the visual effects. I worked on the sounds for the battles, battering ram, swords, and horses. I also did some research on indigenous insects and birds in the Sherwood Forest. In the original cut of the movie there were a lot of scenes with the lost boys. The boys mostly communicated by vocalizing animal and bird calls. The boys were also sick and had coughs.
We had a lot of the crew imitating vocals along with kids and used real animal vocals as well. Although, most of the scenes with the boys were cut out of the movie they still ended up playing a role in the soundtrack. One thing I also wanted to accomplish was creating a fresh sound for all the weapons and arrow whiz bys. We recorded a lot of the elements for the weapons. We actually acquired all the props that were used on the set. We had all the bows, arrows, crossbows, chain-metal, shields, clothing, and boots.
Hop on over to Designing Sound for the full interview on the sound for Robin Hood – it’s well worth a read!
Posted by Asbjoern Andersen, Epic Sound - Contact film sound foley, interview, recording, robin hood, sound design, sound designer — 
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