This is Part 2 of my article, Sampling Surround Binaural Audio for use in Virtual Environments and Games (Part 1). It stands as a primer for advanced sound design techniques for using multichannel spatial audio captured from field recording and sampling, and transforming it into imaginative useful audio assets for games, virtual reality, film, or video. As you may recall from Part 1, I traveled all over the world recording many terabytes of soundscapes, environments, and Foley sounds from Southeast Asia, Europe, and North America. I want to share with you some of my techniques for cleaning up this amalgamation of audio; editing and transforming it with audio plugins and effects, and mastering it for a sound library. Exhibits are provided, using software examples with MAGIX ACID Pro* Next, PreSonus* Studio One* 4, MAGIX SOUND FORGE* Pro 13, iZotope Iris* 2, and ZOOM* Ambisonics Player 1.
Throughout my career, I have become friends with some of the biggest and most award-winning visual artist/digital painters in the world who work on the biggest movies, TV shows, video games, and exhibits on the planet. Some of these friends also feel that photography is very similar to this creative process of abstraction that I am explaining here. My dear friend and concept artist, Alex Ruiz, paints some of the most imaginative landscapes for films and shows, and if you watch him work, he is actually using not only colors, shades, and brushed paint strokes in Photoshop, but also stamps and cutouts from photographs of buildings, clouds, abstractions, and so on (another form of sampling). Everything is brought together to create a bigger picture that has a completely new story or thought. In one example, I composed some music in an improvisational way on stage in front of an audience at an Intel keynote spotlight performance during CES to his speed painting. In this video you see how he brings samples together with his imagination to create The Procession. My type of sound design is very similar to this process that he visualizes so perfectly.
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Each night, even after a long day of traveling or recording, we would break out the computer and download all the audio and video from the recording devices and cameras, and copy them to both separate hard drives, labeling everything properly. This made the editing of the project a lot smoother and organized. Doing it ahead of time on the trip also made for less file management work in the studio.
I captured a lot of ambisonic audio on the trip, so I had a lot of 3D/360 audio to play with during editing. Because my sound library was intended for creative developers in video games, virtual reality (VR), film, TV, and radio, I geared everything toward stereophonic/binaural format for final output in the libraries. I captured everything in 24-bit/96 kHz, so it had a lot of data there for clean conversions. Ambisonic audio transforms quite well for this purpose and still allowed me to create beautiful worlds of audio and sound in stereo/binaural.
And finally, I present to you the audio demos for both of my spatial audio libraries in all their glory. There are musical demos and ambient demos. Abstract was geared more toward composers, and Vault was geared more toward game developers, virtual reality producers, and film editors.
Justin Lassen is a Composer, Remixer, Sound Designer and Visionary. With over 20 years of experience in the music, film, tech, and video game industries, Justin is currently working as an award-winning spatial audio designer for VR/AR/MxR projects. He has lent his production talents to iZotope, Cakewalk*, Intel, DTS*, Sony*, Disney*, Konami*, Skybound*, Hasbro*, Lakeshore*, Interplay*, the United States Department of Defense*, and many more. 2ff7e9595c
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