Issue link: https://digital.copcomm.com/i/1541592
74 M PS E . O R G A lot of this makes it sound like it's all fun and games, but sometimes the only reason I have found interesting sounds is down to perseverance. When I find an interesting prop, I always aim to find all the obvious sounds as rapidly as I can because anyone can find those. It's only once I have explored them and continued on that I find the unique and characterful sounds. Another quote I quite like is: "In the realm of ideas everything depends on enthusiasm ... in the real world all rests on perseverance." -Johann Wolfgang von Goethe You mentioned to me that the next HISSandaROAR project will be in a totally new direction, a new form of organic sound creation which does NOT involve AI. Can you share anything about this new series? My next major HISSandaROAR project has been in slow development for a decade or more. It involves two parts and is related to concatenative* synthesis, but on a larger scale. (*JW's note: Concatenative synthesis is a sound synthesis technique that divides recorded sounds into smaller units and reassembles them to form new sounds.) The first stage is to create a corpus, which instead of a sound library is more like a sound 'data set.' As an example, I inherited a mint 1927 Chev Roadster from my dad and, apart from recording it for an upcoming vehicle library, it's also created some other sonic opportunities. For example, the brake drums were so worn after almost 100 years of use that they needed replacing. This meant I had access to two very worn Chev brake drums and two brand-new ones. My normal HISSandaROAR approach would be to record a high-resolution brake drum sound FX library, with as much variety as I can—resonant klangs and clatters, etc. And that process continues. But as an object, the 'brake drum' is also a part of orchestral Manipulating feedback with piezo things on Rototoms (2022). Recreating the 'Lion's Roar' orchestral percussion (2019). Recording 1927 Chev Roadster (2022) with Derek Prebble (RIP).