Back in January I completed the sound design for a series of 10 second branding idents, directed by Chris Turner, for the Horror Channel. I'm excited to say that they have now launched, so tune in to see/hear them. Sound wise they are a mix of electronic sound design and foley (thanks to Sue Harding for the fire advice) and I had a lot of fun conjuring up suitably dark sounds on the Buchla Electric Music Box and Oberheim OB-6, of which the latter features heavily in this production.
I just completed my first VR project, working with Salesforce on a training experience for their staff. Making sounds for an experience where a talking raccoon guides you around a giant structure made of shipping containers, was certainly one of the more unusual things I've done but I'm not overstating it when I say that the possibilities for sound within VR blow my mind. Since the development of Stereo sound, us audio engineers have been faking it to convince the listener they are within a realistic acoustic space. With my work in radio I spend a lot of time positioning sounds within that stereo space, trying to create realistic (sometimes purposely unrealistic) scenarios. With 3D sound for VR, that job just got a lot more interesting and challenging.
As you can see from my sound map above, the new canvas is multi-dimensional. Rather than a flat space in which to position sound, where the only choices are Left/Right/Loud/Quiet, we now have a 'real' world where we can place our sounds. As the player moves through the forest, the sounds will shift depending on his movement. A flutter of wings in the tree as a bird takes flight, the whistle of wind at the base of the building growing louder as the player moves towards it, the forest now receding in to the background (using binaural techniques it actually sounds like it is behind). The possibilities are exciting and endless, but with this new power comes new challenges. It is easy to overwhelm and create a muddy mess of sounds. One very useful function of sound in an experience where the player can look anywhere, is to use sound triggers to gently guide the players attention.
I've spent most of my career making immersive 'worlds of sound', carefully crafting and manipulating sound to enhance stories. With VR I think I've found my spiritual home! I hope to have a video walkthrough of the Dreamhouse VR experience soon, which I'll share here.
If you are looking for immersive sound design, foley, voice and music for your VR project please get in touch.
Below is a piece of music I created for the end scene of the VR experience.