Time+Space is giving away a high quality AAS Richard Devine Sound Design Plugin Bundle with any paid purchase in April. Valued at £58 GBP/65 EUR/$78 USD, the bundle includes the Abstractions Ultra Analog VA-2 Sound pack and Harmonic Geometry String Studio VS-2 Sound pack. Abstractions is a collection of 127 signature sounds covering standard analog […]
Applied Acoustics Systems has released Sting Studio VS-3, a major update to the one-of-a-kind string oscillator synthesizer instrument for Windows and Mac. String Studio VS-3 is now 2-voice multi-timbral. It also features new performance modulators, new signature sounds and many improvements. String Studio VS is a synthesizer based around string oscillators. A string is a […]
MOK has released version 2.0.3 of Waverazor, a virtual synthesizer instrument that gives you the power to splice waveforms into aggressive new sounds. Waverazor is a futuristic synth that slices waveforms into aggressive new sounds. The patent-pending oscillator design utilizes an entirely new form of synthesis to produce biting leads, glitched-out basses, cinematic pads and […]
You may or may not have heard of electronic musician, producer and sound designer Richard Devine, but there is a good chance you have heard some of his sounds anyway. Richard has released his music on labels such as Schematic, Warp Records and Detroit Underground, and his new album is scheduled for release on November […]
Music, film/TV, games… yes. But another frontier is opening for sound design you might not expect: cars. That has led automaker Jaguar to sound designer Richard Devine, and that in turn means when this Jag accelerates, it sounds like it’s headed into hyperdrive, bound for the outer rim.
Sounds will be another differentiation point of the auto brand experience, a way to set luxury vehicles apart, it’s true. But when it comes to engine noise, there is actually a safety issue. Fully electric cars don’t make the noise that internal combustion engines do, which means you can’t hear them coming – which makes them dangerous.
The cool thing is, manufacturers are finally beginning to consider aesthetics in sound design. And in a world that’s flooded with repetitions of the Windows startup sound, that Nokia theme tune (only mostly driven away by the iPhone), horrible sirens, beeps, and whatnot, this couldn’t come a moment too soon.
Richard Devine has been doing sound design across various industries, from sounds used in films to strange presets you find lurking in your plug-ins (as well as making some great music himself). Now at last he can share publicly that he did sound for the mighty Jaguar, and its all-electric I‑PACE car.
The engine acceleration noise is cool, and with good reason – this car may be ecologically minded, but it also does 0 to 60 in 4.5 seconds. (I’m not advertising for Jaguar, though… uh, hey Jag, I accept money. And automobiles. Be in touch.)
Iain Suffield, Acoustics Technical Specialist at Jaguar:
“We have taken a completely blank canvas and worked with electronic musician and sound designer Richard Devine to interpret the design language of the vehicle, to create building blocks of sound we can craft into the I-PACE.”
And they’ve worked on every aspect of the sound: “The Stop/Start noise of the motors, the audible vehicle alert system, the dynamic driving sounds all have been designed completely from scratch.”
From the outside, the car hums. Inside the cabin, you get different sound sets to reward you as you engage “dynamic” mode, and there is manual customization. (Yes, your car has sound sets. I’m waiting until I can drive a car that looks like a LADA on the outside but sounds like the Enterprise-D on the inside. I’ll keep dreaming.)
You can expect major car companies to enlist these sorts of sound departments more frequently, along with other manufacturers of various products keen to engage customers. And since these teams are developing internally, as well as hiring outside creative talent as with Richard Devine, that means more opportunities for music producers and audio engineers.
So the next time you’re obsessing over getting a sound right and layering instead of just dialing in a preset the easy way, think of it as a career investment. It worked for Richard.
Previously on CDM, German maker Audi following a similar path:
UVI has announced the release of Devinity, a new Falcon expansion featuring 120 masterfully-designed presets from electronic musician and sound designer Richard Devine. One of the industry’s most recognizable figures, Richard has a profound love of sound and technology, writing and performing his own music and designing sound for many of the world’s most successful […]
Warlock of sonic invention Richard Devine is back with a new album, on Venetian Snares’ label. And from the first cut, you might be surprised.
Well, actually, that depends on your take on Richard. If his spastic leftfield space voyages past left your head spinning, if you couldn’t quite penetrate all those intentional forays into digital errors, you might be unprepared. But if you you were onboard for that complexity and chaos, if you heard the passion for what it is, then I think you’ll be all the more delighted by what’s coming next.
‘Sort\Lave’ comes to the Venetian Snares-driven sublabel of Planet Mu, Timesig.
That sounds like just, you know, oldschool IDM. But Richard teases us with something that takes that sonic edge and gives it mature forms, warm mixes, greater precision.
He’s gone from those first orbital missions to building a space station, in other words. (Space station indeed – the press materials are quick to point out the custom Eurorack system and two Nord G2 modulars. So yeah, now we get to hear the magnum opus from that system we’ve seen all over social media.)
The album itself is 2016-2017, which means I’m still eager to hear what live sets Richard has next. But this sounds already like a culmination of years of refined technique.
Here’s the text with his comments:
Sort\Lave features 12 tracks of intricate electronica that ranges from abrasive percussive experiments such as ‘Revsic‘ to ‘Astra’s dazzling juxtaposition of sounds and onto the radiant ambience of the album’s closer ‘Takara‘.
Talking about the album’s genesis Devine explains “I’ve been using modular synthesizers since I was 17, but have never written complete tracks using these newer systems. This was my first experiment to see if it would be possible and I probably spent about 5 years building up the systems that I used on this album.”
“I wanted the record to sound very different to my previous works which had been more cold, digital, clinical even, and had all been made using computers. The aim here was the complete opposite, to create something that felt very organic, detailed, spacious, big and warm and just as importantly, a record that you could put on and play all the way through that flowed in a seamless way.”
This new approach was to prove fruitful and enabled Devine to create music in an entirely new way. “I really wanted to break free from timeline-based music creation and do things with my hands on the fly,” he explains. “So the tracks are more like captured snapshot performances where I could experiment and play around with the idea of probability-based sequencing for every patch, string multiple sequencers together that would feed other sequencers to come up with interesting rhythms and melodies. It was really fun coming up with new sounds this way too, I felt like I created several I haven’t heard before with this album. Some of the tracks on the album were complete accidents and evolved from something that happened spontaneously. In the end I feel this is one of the best records I have released to date, so I’m very excited to share it with the world.”