Hi there friends! I'm Ethan and I'm applying for the position of Lead Sound Designer. I hope this is the right place to post this. Hang in there throughout this wall of text, since I think you'll like what I have to say.Background
I'm a third-year advertising major at the University of Texas at Austin. When I'm not in class, you'll usually find me writing music or working on film projects. I'm a writer, an artist, and a composer, and my tools of choice for music/sound design are my hardware setup and Reaper. I've had roughly ten years of experience with piano, and about 4 years of experience with synthesis and music production. I specialize in DnB.Portfolio
- Here are a handful of items from my portfolio, covering a variety of different media vehicles:
1. Vox Atomic
- My personal project, where I create and play electronic music 100% live, without the use of any computers or pre-recorded parts. So far I've accumulated over 7,000 Youtube subscribers and well over 1,000,000 total views. Here are some of my original pieces:
- Made With Machines
- The Ballad of Corporal Zeta
2. LARPing is for Losers
- An upcoming webseries where I served as the writer, director, composer, and sound mixer. The idea here was to create medieval-inspired electronic music! I can't release too much on this just yet, but here are a couple songs from the soundtrack that I wrote:
- Scary Masters and Nice Fights
- Final Speech of The Hero
3. Adamant Pack
- A well-received texture pack for Minecraft Beta 1.5 (note - I've since discontinued this texture pack and it is NOT up-to-date). Including previous versions, this pack received about 32,000 downloads!
- Minecraft Forum PageLead Sound Designer
Now let's get into the real meat of this post. I'm applying to be the Lead Sound Designer for Project Trillek.VISION
Sound needs a solid and cohesive direction. Too often sound effects are overlooked in independent games, with people resorting to using generic samples and sound packs. But that's not what's going to happen here. No, we'll be different. And we'll be good at being different. So here's my plan:
We'll use exclusively
synthesized sounds for this game. No exceptions. Footsteps, explosions, heart beats, monsters, environments - everything
will be synthesized. No PCM sounds, and no microphone recordings. If done well, the results are an incredibly unique mix of realistic and surreal. I believe this will work perfectly for a space exploration game, and it's unique as hell. So here are a couple of demos I whipped up last night. (Note - these are not intended to be used in the game, they are very rough demonstrations to illustrate what I am talking about. Also, since these are demos, they are pre-rendered with effects like reverb, LPFs, delay, and stereo panning. I realize this will not be the case with final ingame sounds, which should be mono and sans effects).
I believe environmental ambience should be kept deliberately simple. It should be able to provide a background that sets the tone without disrupting any music layered over it. With a space game like this, it is imperative to avoid cheesy sounds and unnecessary effects. Like random reverberated synth tones coming out of nowhere, or creepy swooshes generated by nothing at all - you know what I mean. Environments must be kept simple. Here are my examples: (Note - turn these waay down, so they sound like proper backgrounds and not overpowering).1. An engine room, made by layering a sub-bass sine wave with a noise generator and a modulated synth.
2. A control console, made by layering a sub-bass sine wave with a randomly modulated square wave.
3. A windy planet, made with a simple noise generator.
Oh these are gonna be fun. You can go wild with bit crushers, talking modulators, and even speech synthesis. Here's a little sample of some space creatures and killer robots!
- Let's Put it All Together!
And here is a simulated environment for you all. Keep in mind that good sound should be able to tell a story of its own. See if you can figure this scenario out!
By keeping it synthesized, we can keep it simple, coherent, and unique. And it doesn't require super specialized equipment! Noise generators can be used for all kinds of sounds, like thrusters, explosions, wind, water, and rain. Layered sub-bass can be used to create a filling hum for all sorts of machinery. Simple modulated square and saw waves can be used for lasers and numerous effects. And distortion and bitcrushers can totally rock your world. There is a LOT of room for creativity, and I believe I am the perfect choice to direct this creativity.
After all, it's not just about what I can make. It's what the community can make. I would absolutely love to guide Trillek's sound with the direction I stated here. I believe my experiences in game and media development are appropriate and useful, I believe my management and organization abilities will make the sound department develop reliably, and I believe my solid direction will create a unified and unique product. Thanks for reading, and cheers!