iZotope Masters Q&A Series, Part 1 … – Hummingbird Media. Charles Deenen is one of the gaming industry’s preeminent sound designers and mixers, with credits like the Need for Speed series, Fallout, Star Trek and his support on Activision’s Call of Duty®: Ghosts. Since writing a sound driver for Commodore PET at the age of 13, he has left his creative fingerprints among top selling games from Electronic Arts, Interplay and Shiny, and other companies. Over the course of his career, Deenen has remained aligned with innovations in audio software, particularly iZotope’s RX, which he has been using for many years. iZotope recently caught up with Deenen, who discussed the role that iZotope’s RX 3 and Insight played in how his design work assisted the studio teams on Call of Duty: Ghosts. iZotope: What role does audio play in video games? Charles: Audio connects the real from the unreal.
In film, you always start with the real — you see a real image, a real portrayal, a real human. iZotope: Why is efficiency important in your work nowadays? Charles Deenen Special: The Future of Sound Design in Video Games [Part 1] THE FUTURE OF SOUND DESIGN IN VIDEO GAMES, Part 1 The following article contains excerpts from the “Future of Sound Design” lectures at GDC, VFS and Dutch Film Festival originally presented in 2006. Please note that certain expressions are personal opinions, and cannot be read as “fact”. In our endless passion to make games have a similar, or exceeding sound-scape experience in comparison to other media, we constantly try to find new ways and techniques to obtain this. Some people ask “why are we comparing ourselves to film sound design, we’re very different”. To answer, we have to being by asking ourselves some questions: What’s been done in the past? The Past – Evolution in Numbers Technical hinderances, ever since the X360 and PS3, have been much less of a hurdle for a sound designer to create engaging soundscapes.
As you can see in Fig 1 & 2, the amount of sound-data currently storable on the console is so much, that in comparison the old consoles barely show up on the graphs. Excuses. Charles Deenen Special: Experienced Sound. The following article is an excerpt from “The future of sound design” lectures done during GDC, VFS and DFF between the periods of 2006-2007 by Charles Deenen. Rewritten for “DesigningSound.org”. The Future of Sound Design in Video Games, Part 2 Every day in our life, sounds occur. Our brain thinks about virtually every sound we hear, and depending on how we’re connected with that sound, either (unknowing) react, translate, notice or feel something. Now, you probably think “blah blah, yeah, yeah, where the heck are you going with this”.
So, lets put this in practice by listening to some examples. As sound designers, we often try to emulate a certain sensation we’ve heard in real-life. To quickly grab a sound “feeling” in the future, one of the things I did a long time ago is make a list of various sounds which moved me somehow. Make a list of “experienced” sounds and the emotion you feel when you hear them, with possible ideas on how to use them S(t)imulating Learned Ear Deficiencies. Charles Deenen. Charles Deenen (born 15 January 1970 in Holthees), is a Dutch computer/video game Audio Director, Music Composer, Sound Designer & Mixer.
He is also known for his music and sound efforts for games of C64 and Amiga era. He was one of the first demosceners. Early career[edit] His first sound achievement was the self-written sound driver for Commodore PET, which he wrote at age of 13. In early 80s he bought a C64. Virgin, Interplay, Shiny and EA[edit] Another work[edit] Aside from video games Deenen also works on sound for films.[3] He provides worldwide lectures about sound in VG, films and trailers as of 2006.[2] He is also a professional photographer, having many collections of works on his own site. Personal life[edit] Deenen lives in Tarzana with his wife Ana and dog Speely and works for Electronic Arts Games Marketing. References[edit] External links[edit] Designing Sound TV – Quick Sound Design with Soundminer and Plugins.
No Mutants Allowed - Your Post Nuclear News Center! Charles Deenen Special: Exclusive Interview. Designing Sound: Hi Charles, first of all, would be great to have an introduction about your career. How did you start, how you grow up in the sound world, and so on… Charles Deenen: Thanks for the invite! We’ll have a fun month together with (hopefully) lots of usable info. I’ve been called an old fella by some young folks in the industry, so am getting up there in age. I grew up in the netherlands and around 1983, attempted to start doing audio on a computer. That was the era of Commodore PET, so I tried to get tolerable sound out of a single-beep CBM-PET, and oh my, that didn’t go so well, LOL. Soon after acquiring a C64, I started to make music/graphic demos, through which I met Jeroen Tel. Early appreciation of cars In the late 80‘s our company “Maniacs of Noise” had to begin sub-contracting, and at its peak had 5 people making musical noise at once.
In 1990, one of the projects we did was “Dragon’s War” by Interplay which I’d taken on. They are my learning cases. CD: Will-power. Charles Deenen Special: 100 Whooshes in 2 Minutes. Posted by misazam on Friday, February 26, 2010 · 24 Comments Every sound designer has to make new whooshes in record time. Whenever I’m stuck in that position I’ve always tried to come up with some quick automated ways. A long time ago I made a template that allows me to quickly make new whooshes, and on top of it it’s incredibly fun to “operate” since you get to actually orchestra the whooshes in realtime. I’m still using this template on some material in these days. On top of it, throw virtually any sound at it, bit of protools knowledge, and you’re set.
It works best if you have a control surface (C24, Procontrol, D-command, Control 8 etc.) so you can throw the faders. disclaimer: The first time you set this up, it’ll take you approx 45-60 minutes. Create 10-20 tracks with continuously edited sounds for about 4-5 minutes. The following video-clip will solo each track to show what types of sounds I’ve picked. Variation of Lib sounds put on several tracks.
. …. enjoy…..