I contributed sound design and synthesizers to the new Sanity Shattered EP: Empath.
I have uploaded a “video” for one of the new songs on the Starer House soundtrack, though it’s really only the album art with the song.
Read more about it here or just listen on Bandcamp.
I had a blast recording the music and sound effects to go with this story. I plan on posting a soundtrack album in the near future, as well as some more behind-the-scenes clips of the recording process.
I’ve been busy working on a new audio production project for an upcoming episode of the Drabblecast. I’m working on the narration, voice acting, sound design, and original music on a story that’s bound to gross-out most listeners.
Other than that, I’ve polished and submitted one short story, started a second one, and have resumed revisions on my other novel Casey Stripe: Discount Necromancer.
Here’s another behind-the-scenes look at my sound design process for PVKII.
I’ve been working on some new bow sounds for Pirates, Vikings, and Knights II out of household items. A creaky dresser in a bedroom turned out to be a good sounding-board for stretched cords. This video shows parts of my process and the finished results.
For the zombie survival shooter No More Room In Hell, I’ve been working on creating new sound assets for the doors, hoping to match the game’s creepy atmosphere. To begin, I went through and screen-recorded footage of the various types of doors, gates, and barricades that needed sprucing up, so I had a better idea of what to record, and the approximate timing.
I brought my field recording kit out on a door safari, starting with some of the more interesting doorknobs and hinges in and around my home. While scouting around the neighborhood, I found an abandoned newspaper vending machine that looked promising. It wasn’t as squeaky as I had hoped, but I was able to get some good thumps and rattles, which proved useful for roll-up metal door sounds. Continue reading
In this clip from the 1998 Alex Proyes film Dark City, I have completely replaced the soundtrack with original sound designs. I wanted to avoid using library sources so I started by recording as much as I could myself.
For the footsteps and foley, I built a small platform using wooden pallets and scrap lumber. The rope strain sounds came from a number of different types of ropes, combined with a wicker basket that I twisted and pulled apart. All of the vocal sounds started from my voice and I used the FL Studio vocoder to impart some different texture layers to the Strangers. Although I was able to record some actual sparks with the help of my father, most of the electrical elements at the end came from an experiment with a contact mic taped to a wooden dresser with a thin chain dragged over it. The brain creature was a combination of a squeaky keychain, synthesized elements, mouth noises, and a layer of cooked pasta for the extra squishiness.