Interview with Sound Designer for Red Dead Redemption
Read Dead Redemption is one of my favorite PS3 games, not only for the game play but for the beautiful environments, musical soundtrack and flawless sound design.
I am posting a link to an in depth interview the audio director of Red Dead Redemption.
The interview is by Miguel Isaza for designingsound.org
When I saw the first images of Red Dead Redemption I knew that it will be a beautiful and amazing game. Then, the gameplay confirmed me that not only the visuals were great. The sound work there was fantastic. Clean mix, great sounds, and a perfect sonic experience for any player. So, if like me, you wanted to know more about the sound direction of the game, here is an interview with its audio director Jeffrey Whitcher.
Posted on September 9th, 2010 by admin | View CommentsInterview with Music Supervisor Greg Debonne
Arron, the owner at PlayItLoudMusic.com has kindly given me permission reprint his interview with Music Supervisor Greg Debonne here in its entirety.
Interview with Gregory Debonne
Greg’s credentials can be found on numerous reality shows with networks including MTV, VH1, The Discovery Channel, SPIKE, A&E, Lifetime, BRAVO, to a name a few. As a music supervisor with experience as a composer/arranger in conjunction with session work on production music cues, Debonne also is a well integrated member of the Los Angeles music community. To top it off he has perfect pitch!
We want to thank Greg again for taking the time to answer our questions on a Sunday night.
There is a lot of great insight here!
What got you into Music Supervision?
I’ve been involved in music all my life. Prior to music supervision, I was an associate producer of reality television shows. An AP job on reality television shows has morphed, but back in the day -in the early 2000s- you actually had some reality shows on MTV and VH1 that were music oriented whereby as the AP, I was also kind of the music coordinator as well. I had to handle all of the clearance for that as well, the liaison between the production
and clearance. On shows where there was a music super, I would assist that music super because I knew the MTV and VH1 systems of doing things so well. It was a natural segway for me to go into music supervision.
How has it changed the way you listen to music?
I’ve always listened to music from an arrangemental and orchestral standpoint, but now I listen to music relative to what’s going to work well to picture in that regard as well. I’m listening to the phrasing of every instrumental element individually, as well as combined, assessing just how easy it is for a music editor to cut that piece of music to picture underneath dialogue, assessing its compositional value and the dynamic ebb and flow in that regard, as well as other aesthetic nuances.
How can artists find out about new projects and their related music supervisors?
Different artists have different ways of going about it. But I know people who literally get online and find out who is the music supervisor of what shows. People look up shows that I’ve done. “Oh, who’s the music supervisor on that? Oh, Greg Debonne. Well then, I’m going to google Greg Debonne.” So, there’s that approach.
There’s also the approach of where you simply know of the music super’s name and you contact them and say “Hi, are you’re looking for music?” That music supervisor will get back to you and either say ‘yes’ or ‘no.’ It always helps for an artist to know what that music supervisor is looking for stylistically. Now, there are some music supervisors who only want what they’re looking for at the time, pertinent to whatever project they’re working. Me, I won’t turn anyone away if it’s good and potentially viable for future use. However, if it’s not applicable to whatever project I’m working at the time, I may not get to it right away.
Click Here to Read The Full Interview Read the rest of this entry »
Posted on September 8th, 2010 by admin | View Comments
Recent Comments