Designing Sound, as the name implies, focuses entirely on the craft of audio from film to games. While there are industry-driven sites devoted to the topic, this blog is entirely the labor of love of composer and sound designer Miguel Isaza, whose writing has also appeared on Spain’s Hispasonic and Monofónicos. (Miguel also tweets to Reaktor aficionados as reaktorlovers.) That personal perspective has imbued the site with the feeling of artists talking to artists.

http://designingsound.noisepages.com/

All week, Designing Sound has focused on Rob Bridgett, who has worked on numerous sound designs for games. Despite the massive growth of the game industry, most top artists have worked largely in obscurity – even less so in sound. There isn’t an equivalent of Ben Burtt, Randy Thom, Walter Murch, or others. (Those greats have been featured in Designing Sound specials, too.) Gaming is a young industry, to be sure, but that’s no excuse for simple ignorance.

In this week’s interviews with Isaza, Bridgett talks frankly about every last detail of what goes into sound production. He’s frank not only about what can go right in a game production – Scarface, pictured above, gets special treatment – but also what can go wrong. The brutal deadlines, fluid production parameters, and tangled production process of games can exact a toll on sound in gaming. The high point of this: Bridgett has gotten to employ the full resources of Skywalker Sound and has been at the forefront of bringing Hollywood-style sonic treatment to gaming.

I’m sure many readers here are curious about the games industry. There’s still time to forward your own questions to Miguel to pass along to Rob Bridgett.

Exclusive interview

Rob Bridgett Special

Ask your own questions

Incidentally, this is beyond what we even imagined for our fledgling noisepages.com, which we’re readying for a full launch as a community and blogging platform. Miguel created Designing Sound without prompting or assistance – it’s entirely his vision. It’s great to have people sharing information in this way. I can’t wait to see what’s ahead.

“UP” Sound for Film Profile from Michael Coleman on Vimeo.

Miguel Isaza has created a must-read new blog for anyone interested in sound design, and much to our delight has put it on noisepages. He’s being incredibly prolific with posts, covering creative projects to get your ideas flowing, terrific overviews of leading people in the field with links to interviews and resources for learning about their work, and tons of links for learning your craft technologically and artistically.

http://designingsound.noisepages.com/

Naturally, Pixar figures prominently, with some of the best sound design on the silver screen in recent years. I’m looking forward to finally seeing UP; Michael Coleman offers the video above. See Miguel’s site for more links and interviews and an overview of the all-star team that did sound for Pixar’s latest.

Thanks for this great resource, Miguel; I’ll certainly be reading daily.

This is going to get confusing, isn’t it, with a product name like “Record”? (A “Record Tutorial”? A “Record Video”? Maybe it’s just me…)

Anyway, if you’re hooked up with the Record beta and looking to get started, Propellerhead have posted a video tutorial to get you going, with more planned. There’s also a new Record blog:

Record Blog

There’s an update on the state of beta testing, and you’ll find some notes from Props CEO/founder Ernst on why they’re creating Record:

When we designed Record we went back to our original roots, the drive that made us create Reason a long time ago. In 1998, when the Reason design came to life, there were already incredible synthesizers. You could already make music with your computer. There was immense power in the solutions that existed.

Now, I’m sure that won’t calm down any of you who won’t use Record because it has a dongle, or because it lacks MIDI output for talking to your hardware synths. But, then, that’s why we have more than one tool from which to choose in music technology, both commercial and open source.

For instance, since I know there’s a rabid Reaper community out there, I’m happy to see these two apps face off in an audio software slam.

Just to be contrary, I’m going to tag this post “DAWs,” because even if Record isn’t a DAW, I think it clearly can be an alternative to DAWs as a “piece of software that allows you to record and make music.” Really, while there’s no convenient acronym for that, that’s the whole point of all this software, right? (Then again, that’s all the more reason not to call anything a “DAW,” because “workstation” is a meaningless word that has little to do with actually using computers to make music.)

And, sure, if I had it to do over again, I might simply call this blog “Create Music.” Or “Music.” Or just “ate.”

Loops have gotten an unfortunate reputation as being a stand-in for real musicians or real musicianship – perhaps because, too often, they are. That’s why it’s always refreshing to see a discussion of how looping can incorporate musical technique. Like many electronic musicians, I have zero background in drumming; I’m a keyboardist and was trained in Classical Piano. But then, part of the gift of being a composer is getting inside the heads of musicians who play instruments you can’t. And when it comes to understanding rhythm, there’s a limitless supply of work to explore from around the world.

Ryan Gauss writes us to share a blog that’s all about rhythm and drumming. Blogging can be a distraction from music making, but in this case, he’s using it to help be even more disciplined in building technique:

Every day I record and post a new drum loop (with a link to the Logic session and .wav files). I organize the beats by category (rock hip hop, jazz etc) and try to change up the production style with every loop.

So far, there’s a terrific piece on “linear drumming” – a style in which you hit only one part of your kit at a time. (Now, this really inspires me in terms of some of the rhythmic sequencing ideas I’ve been thinking about – I’ll have to explore. Maybe I can build a linear pattern sequencer.) See notation at top.

Linear drumming for dummies. | ryangruss.com

There’s also a fantastic video from drummer Shawn Pelton, who to me really exemplifies the marriage of great drumming and sophisticated use of technology (Ableton Live, in this case).

Shawn Pelton’s studio | ryangruss.com

I’ll be reading this site, for sure. Thanks, Ryan.

http://ryangruss.com/ “Fresh Drum Loops Made Daily”
(question – are they best hot, as with Krispy Kreme?)

It’s official: Music Thing, the benchmark music tech blog, is no more – at least for now. Post volume had dropped off of late, so it’s not a complete surprise. And Music Thing’s voice, Tom Whitwell, has gone on to shake up the online world in other ways: running the online output of The Times in London. (Yes, that’s The Times, founded in 1785 and the paper for which all those fonts are named.) Still, it’s sad that Tom will be focusing on a highly-paying job and the Future of News because, well, we really still all like that synth and sound object nonsense better.

Music Thing has meant a whole lot to me in the history of CDM. Back in fall 2004, I had just signed a book deal with Peachpit Press to make a book that, originally, I thought would be called something like Create Digital Music. (Sound familiar? In the end, the publisher opted for the far less expressive and slightly inaccurate Real World Digital Audio, for consistency with a line that would go on to drop most of its audio and music focus.) I had done some writing for MacMusic (as its English editor) and Jason O’Grady’s PowerPage, and had first dabbled in publishing magazine-style content for online communities way back in the days of CompuServe (which netted me a few inches of column space in an issue of CompuServe Magazine back when there was such a thing). And, of course, I had been writing for Keyboard and Macworld. I reserved the domain in the spring and pledged to get to it later that year.

But I’m not sure CDM would ever have really gotten rolling had it not been for Tom. Music Thing, for it part, got its start with a characteristic headline on August 24, 2004.

"A 20-foot long playable horn, built of leather"

CDM followed in October, and from that point on had a friendly rivalry with Music Thing that seemed somehow to encourage readers to hit both sites more. I tended toward futuristic things that didn’t exist yet and Tom tended toward things with knobs. And there’s something great as a blogger about being able to keep an eye on another site running roughly the same pace as you. Not to mention, I always get a huge kick out of Tom’s take on the world and the wonderful things he finds.

For me, a real highlight was Music Thing’s fantastic Small Music series, which plumbed the depths of the origins of signature tiny sounds for Windows and THX, and was possibly one of the most influential series ever on the site. (One got a big reddit shout after Tom quit the blog today!)

TINY MUSIC MAKERS: Pt 1: The ‘Intel Inside’ chimes

TINY MUSIC MAKERS: Pt 2: The Microsoft Sound

TINY MUSIC MAKERS: Pt 3: The THX Sound

TINY MUSIC MAKERS: Pt 4: The Mac Startup Sound

There’s still plenty of time to dig through these and many other stories in the archives.

Tom continues to have deep insights into what makes Web traffic tick. He writes, easily, the best headlines in music tech. And I’m sure he’ll continue to have a big impact on The Times during times that are tough for everybody in publishing.

Of course, in the meantime, the blogging world has gotten a lot bigger. There are many brilliant new blogs out there, not a few inspired at least in part by Music Thing. And we’ve seen new entries funded by actual businesses, in the likes of MusicRadar, Beatportal, and GearWire.

But there’s only one Music Thing. And we wouldn’t have it any other way.

Music Thing: The end of Music Thing, for now.

Other reactions:

The Day the Blog Stood Still [GetLoFi]

Music Thing Rides Off Into the Sunset [Waveformless]

Music Thing Calls it Quits [Synthtopia]

And nicely enough, there’s a strong emphasis on cheap and DIY projects, meaning these can be ideal even in tough economic times.

SX-150 button mod from Collin Cunningham on Vimeo.

MAKE: Blog > Music Makers’s Gift Guide

Assembled by our friend (and Handmade Music regular) Collin Cunningham, these are the geekiest DIY treasures you can find. I got hands-on with a couple of these recently. The plastic Theremin kit is fun, although you won’t get fantastic results out of it. My favorites: the awesome SX-150 synth kit (above), previously seen only in Japan, and the Thingamakit (which also got mentioned in our holiday guide). They’re both affordable and make some lovely sounds the moment you start using them, with hacks possible later.

For fans of the Arduino electronics/microcontroller platform, see Collin’s separate guide.

The monome didn’t make the guide this year, though it topped our list, but given that you have to basically preorder the moment a run is announced, that’s not exactly a slight.

wire to the ear > Five inexpensive Chistmas gifts for musicians

This small but neat selection is just perfect, I think, from the Moog schematic on a t-shirt (above) to flash memory earrings to Live sound packs from Puremagnetik.

Digital LoFi > The 2nd Annual Digital LoFi Holiday Gift Guide for the Disenfranchised

Digital LoFi has some fantastic selections: buy one, get-one-free offerings from Soniccouture (makers of fantastic Kontakt scripts, by the way), a pay-what-you-will EQ, and wonderful donationware plug-ins. The site also calls out CDM’s own Winter Guide print-on-demand – thanks!

Pt. I
Pt. II
Pt. III
Pt. IV

Honorable mention: The wacky scientists in residence at New York’s Eyebeam research center have introduced Hack Me Elmo. (Thanks, Chris Hahn!) That’s right: it’s a blockbuster holiday toy from years past, hacked into something very odd. Check out our own Mike Una’s how-to on circuit bending if you want to transform a toy into something musical and wonderful, also in our Winter ‘08 guide.

And yes, the rest is here:

Squarepusher has taken over the music page of the Guardian, and the results bring joy and smiles to children and the young at heart. Just how great is it when Squarepusher is in charge?

Music singles are complete and utter fluff, and he’s not afraid to say so, picking them apart one at a time like an angry, deconstructionist Casey Kasem.

Noise and Italian Futurists get their due. Fluxus is the sort of cinema that accompanies your popcorn.

A gentleman drops by to talk about aesthetic theory, and … uh, something about how great Steve Reich is. Got a little lost on that one, in fact (not that I don’t love aesthetic theory and Mr. Reich).

Squarepusher (and Alex Thomas) demonstrate what music can sound like if you’re a musician. (Note: no fancy delays necessary to make it sound like they’ve got rhythm. Quite unlike when I’m playing, in fact. Well, not that I’m much good with Drum and Bass anyway. That’s real Drum and Bass, you see.)

And best of all, he provides commentary for the above video.

"Sometimes I cave right in." As he walked along the edge of the field, the earth seemed to splinter at each step. A glance along the cold hedgerow hurt his eye. Everything he looked at sent dread through his viscera, none the less sharp for all of its familiarity. Stones underfoot seemed to chatter and sneer, the Luton-grey sky was an idiotic, mocking expanse. He paused at the brook, cold dirty glass. Dull pain accompanied a frame of memory; he had bathed his feet here as a boy. Nearly losing his balance, he said, out loud as if to silence the roaring dead air of the November morning: "That water is too shallow to drown myself in."

The Luton-grey sky was an idiotic, mocking expanse, indeed.

It feels good to hate that video.

Enjoy.

Thanks, wesen and Resident Advisor, via Twitter.

Sound design secrets have traditionally been closely-guarded secret sauce. But in the age of the Web, the opposite is happening: people can actually enjoy sharing what they’re doing, just as passionate cooks chat about recipes on food blogs. Case in point: reader John Keston writes to tell us about AudioCookbook.org, on which he’s blogging a new sound each day. Not only is this a nice way to talk about techniques with fellow enthusiasts, but it’s a great example of how you can use blogging to encourage you to get things accomplished, rather than just distracting you.

John writes:

I’m a big fan of createdigitalmusic.com and wanted to let you know about my “One Sound Every Day” project. I am posting a sound every day on a non-profit resource for experimental sound design that I founded called AudioCookbook.org. Every post has a sound attached along with a brief description of how it was produced. I feel that the content there is something that your readers might appreciate. Please check it out and let me know if you’d consider a story or cross post, etc.

Audio Cookbook

It’s Creative Commons, so perhaps someday we’ll have a massive, open source sourcebook of music techniques from various writers.

Have a look, and let us know if you have favorite techniques of your own!

Previously:
Demystifying Sound Design: 15 Online Learning Resources for Film, Games, and More

And for an example of the same spirit of sharing for visual coders, on Create Digital Motion this week:
Code as Art: Generative Visual Inspiration and Sharing

I got to sit in as a guest on the excellent Music Tech for ME podcast last week:

Music Tech for ME 2008.07.01-#030

Be sure to check out the whole Music Tech for ME series. There’s some great stuff in there, covering educational issues, how technology is evolving and how it fits in with teaching, and broader musical and technological topics, as well:

musictechforme.com

Of course, on CDM we’re regularly pushing the envelope and getting as tech-specific as possible (hey, sometimes I actually lose myself). But it is important to realize that technological needs for teaching can be more modest — and as podcast host Keith Mason observed, music teachers are often way behind the technological curve, meaning starting with the basics is essential.

Another excellent resource for music technology educators:

mustech.net

It’s a blog network, and they’re trying to get 100 people blogging about music education. Your blog can be hosted wherever you like; they’re just collecting existing blogs.

Are you involved in music education? How do you work with technology? Are there specific issues you’d like to see covered on CDM? Let us know.

Photo: Oude School. (showing the traditional view of music education, though hey, putting in a portable digital recorder or adding computer notation could make all the difference)

RSS readers can be terrific; I use FeedDemon and NetNewsWire, both of which recently became free. (Yeah, after I bought them.) But sometimes it’s just too much to wade through RSS, especially after you get back from vacation. Alltop, a site headline aggregator, recently added CDM to its music page, and I’ve started using it as a quick way of glancing over topics like “Music” without cluttering my RSS reader more. Oh, yeah, and it’s nice to see CDM next to KEXP. Alltop is the product of Guy Kawasaki; he’s been a hero of mine since he introduced evangelism to Apple (you know where that led), and he’s still doing great stuff with business and marketing. So, thanks, Guy!

That brings me to my question, though: what’s your preferred method for keeping up with blogs and forums and mailing lists without eating up all your time for music making? (We do see CDM readers on different platforms, including someone who just spent 12 minutes reading on BeOS. Also featured: Wii, PSP, Atari, UNIX, Symbian smartphone…)

Anything we could do to help you keep up with feeds more easily — not only ours, but other sites, as well?