VAM 164 | Interview with Crispin Hands, Part 1
Welcome to episode 164 of the Voice Acting Mastery podcast with yours truly, Crispin Freeman!
As always, you can listen to the podcast using the player above, or download the mp3 using the link at the bottom of this blog post. The podcast is also available via the iTunes Store online. Just follow this link to view the podcast in iTunes:
http://www.voiceactingmastery.com/podcast
Welcome to the first part of my interview with accomplished composer, sound designer, and audio director for video games and films, Crispin Hands! Yep, you heard that right, for this interview you’ve got two Crispins! Crispin Hands and I first met back in 2006 when we were working on the video game Company of Heroes. I was playing the role of Sgt. Carota, and Crispin was filling many roles on that project including Audio Director, Sound Designer, Audio Tech Designer, Writer, and Voice Director! It was a pleasure to meet a fellow Crispin, especially one who was so enthusiastic about developing great audio for games! You may also be familiar with some of the other games that Crispin has lent his composing and sound design talents to including Metroid Prime, Neverwinter Nights, the Need for Speed game franchise, as well as Gears of War 4 and 5.
In the last two episodes of this podcast, Sarah Elmaleh and I spent a lot of time talking about the world of independent video games, so I thought it might be appropriate in this interview with Crispin to explore the world of AAA video games. If you’ve ever wondered what it’s like in the sound departments of award winning, high budget games, now’s your chance to find out!
We begin our time together by discussing the different industry professionals that work in game audio. What are the responsibilities of the audio director, the composer, and the sound designers? How do they collaborate together to create the soundscape for an interactive experience? We also talk about how Crispin approaches composing music for a game and how much the story and the character relationships influence his decisions when he’s writing musical themes for a game’s soundtrack. Next, Crispin tells the story of how he got his start in games. It turns out, he had humble beginnings, but with focused effort, and perseverance, he eventually found himself in the audio department at Electronic Arts in Vancouver. He also shares with me what he looks for in auditions from voice actors including how performances in games need to differ from animated shows that are more cartoony or comedic.
If you’re interested in working in AAA video games, then it behooves you to learn as much as you can about the creative process of recording and mixing the sound for them. Crispin is a wealth of information on the topic and his enthusiasm for it is palpable! I’m grateful to him for spending so much time with me and I’m eager to share his insights with you!