Martin Stig Andersen
Sound designer of the games Limbo and Inside
In conversation with Jean Martin, 18 Nov 2015 in Brighton
In conversation with Jean Martin, 18 Nov 2015 in Brighton
- Personal website
- Interview by Designing Sound with Andersen about the game Limbo
- Andersen, M.S. "Electroacoustic Sound and Audiovisual Structure in Film" (2010), Essay on his work for the film Rocketman (2007 D: Jacob Ballinger), in: eContact! Vol. 12.4 (Aug 2010) The electronic journal of electroacoustics. Published by the Canadian Electroacoustic Community since 1997.
- A new interview Andersen on Games website Gamasutra: Audio Design Deep Dive: Scoring Wolfenstein II with the Baschet sonic sculptures (6 Nov 2017)
Apologies for the reduced sound quality!
KEYWORDS:
Background in instrumental music and composition / studied electroacoustic music with Denis Smalley in London / gets involved in sound design for audiovisual projects / sound design as music / sound design with musical functions / continuum between music and sound design / organised sound for games (Limbo, Inside) / interactive, non-linear sound organisation / Electroacoustic and acousmatic music has its own world / collaboration with game creators at script level / attitude: a sound designer has to be pro-active / film and games creators can learn from each other / silence missing in games / How to get away from FPS games towards more experimental approaches / constant field recording of environmental sound and soundscapes / "worldizing" scenarios / importance of sound diffusion and spatialisation / Martin prefers stereo in Inside / listening to acousmatic music from UK and France / the sophistication of musical listening
Background in instrumental music and composition / studied electroacoustic music with Denis Smalley in London / gets involved in sound design for audiovisual projects / sound design as music / sound design with musical functions / continuum between music and sound design / organised sound for games (Limbo, Inside) / interactive, non-linear sound organisation / Electroacoustic and acousmatic music has its own world / collaboration with game creators at script level / attitude: a sound designer has to be pro-active / film and games creators can learn from each other / silence missing in games / How to get away from FPS games towards more experimental approaches / constant field recording of environmental sound and soundscapes / "worldizing" scenarios / importance of sound diffusion and spatialisation / Martin prefers stereo in Inside / listening to acousmatic music from UK and France / the sophistication of musical listening
