Audio Projects

This is one of several 3D projects I worked on at the same time providing sound design work for as well as teaching the programmers the basics of Virtools, the environment they were using to build the world. Most of my work on this particular project was ambient sounds, however unheard in this video is also some foley affects as you explore the world itself, obviously changing depending on your surroundings. What made this project interesting, was that it was entirely about the environment, there was no 'point' to it, or way to beat it, you were just there and explored the world, and immersed yourself in it. As such small details, not only in the modeling, but also the sound were needed to help with that immersion. The sound changed depending on where you were standing and was truly three dimensional. As there were no bird models created, they were attached to the trees themselves, one bird to a tree, so standing in the middle you could hear them singing all around you. Or the cathedral ambience itself, while in reality may be slightly overbearing in the amount of reverb on it, the point of the sound was to bring back memories of what the cathedral used to be, before it was abandoned and nature began to take it over. The bell follows the same line of thought, you never see the bell, it may not even exist, but you remember what it sounded like and hear it in your memory as you approach its pull line.

This sequence was built and recorded from a production of South Pacific I designed for Lincoln Amphitheater when they were still being produced by the University of Southern Indiana. The sequence consists of several factors, the ambiance cue was intended to give the impression of the characters making love offstage, without being blunt about it. The stage at the time of the cue playing was lit only by a moon rising in the background, large and full. The song before hand and afterwards are recorded on a combination of B3 and WL-93 mics on each individual actor, and an AKG C480 on the chorus which was located offstage to provide the feeling of ethereal voices, or the voice of the island. The ship's bell was called for in the script, and is separate from the prerecorded musical tracks, also provided by myself.

This was recorded at Lincoln Amphitheater while it was being produced by the University of Southern Indiana. The sequence is near the end of the show, and is a series of radio transmissions from a nearby isle by two of the main characters who are behind enemy lines on a shortwave radio. This recording was done in a living room with a SM58 mic, and severely processed to give it the same compression and sound of the radio.