SwishSwoosh is the name behind an array of high-quality game audio packs as well as audio software including the spine-chilling cinematic Kontakt Player tool AMBER. In this interview we talk to SwishSwoosh founders Ercument Subasi and Feridun Emre Dursun to find out more about the company and the making of AMBER…
Tell us about your backgrounds and how SwishSwoosh became established.
Ercument (pictured below): I'm the Co-founder and Creative Director at both MadRooster Game Audio Lab and SwishSwoosh. I hold a Master's degree in sound engineering and design. Over the years, I've played guitar in bands and worked as an engineer on studio albums for many well-known artists and bands. Additionally, I've composed music for TV and radio ads for major agencies. One of my notable musical projects includes Sons of Amon, which is my instrumental cinematic metal collaboration project with another metalhead.
Feridun (pictured below): I am the Co-Founder and Chief Business Officer of our team. I have a background in Electronics, Audio Engineering, and Marketing. I have worked as a composer on various projects, including shorts, feature films, commercials, and documentaries, receiving both national and international awards for best music. I also run a YouTube channel for kids’ songs, which has over a million subscribers.
What led you to start developing audio software such as AMBER too?
Feridun: It all started with a call from one of our game clients, who was very excited about a new horror game they had recently begun production on. They invited us to collaborate on the audio production, which sparked the idea to create a tool specifically for this project. Initially, we developed the tool for internal use, but we saw its potential and decided to go the extra mile. This effort paid off, and AMBER eventually became a commercial product, reaching and benefiting hundreds of audio professionals.
You’re most well known as a developer of sounds for video games, has the release of AMBER attracted more customers from other areas of the industry?
Feridun: MadRooster Game Audio Lab is a company dedicated to creating audio production for game developers. Initially, SwishSwoosh targeted the same audience as MadRooster. However, we recognized that there were many audio professionals seeking simple, effective tools. This led us to develop tools like Amber and PRO sound packs, including construction packs. These efforts helped us to reach thousands of audio professionals. Amber has opened up new opportunities for us, connecting us with many talented audio experts.
What went into the process of creating the sounds for AMBER?
Ercument: We began with a research phase, preparing a list of games and movies to watch and identifying the types of sounds we wanted to create. Next, we made another list of sound sources to record and produce, so we could build our audio pool for the creative sound design phase. We recorded metal impacts and experimented with creating eerie metal resonance by bowing various metal objects, like a BBQ grill. We also visited factories to record ambient sounds and machine noises. One of the most fun activities was recording around 40 people whispering and shouting at our friends' workplace. You can hear these recordings in both the XY Pad section and the One-Shot sections of AMBER. Other sources include solo human performances like laughter, crying, and shouting, bowed instruments, and synths. All of these sounds were extensively processed and integrated into AMBER.
What is the first thing you’d suggest someone do, or try, when they open AMBER for the first time?
Ercument: Just choose XY-Pad or One-Shot and have fun exploring.
Feridun: Don’t forget to give us feedback! :-)
Tell us about one or two features/capabilities of AMBER which people may not be so aware of?
Ercument: We designed AMBER to be a very simple tool, so we expect users to easily understand it upon opening. The key is to use automations, built-in effects, reverbs, and layering a few instances of AMBER to get the most out of it. One feature that might not be immediately apparent is the "Scenes" fader, which mainly functions as a reverb, with some spice on top.
What do you think makes AMBER stand out from other ‘horror’ instruments?
Ercument: Its simplicity. AMBER allows you to create classic horror sounds easily without getting lost in a crowded UI. What you see on AMBER’s interface is truly relevant to what you expect to hear.
What’s your personal favourite sound, or effect, in AMBER and why?
Ercument: I love the broken cello and thrill strings in the XY PAD’s color layers. I performed these with a cheap cello I own, which probably explains why they resonate with me so much. I also love the human tension sounds in the One-Shot section.
AMBER has proved successful, users love it, does that mean we can expect to see more software products from you guys in the near future?
Ercument: Definitely! We plan to continue creating easy-to-use tools that can achieve fantastic results. Actually, don’t tell anybody but we’re working on one right now...
What trends and/or challenges are currently shaping the game music industry, and how do they impact composers and sound designers?
Feridun: Game developers sometimes expect to get customized music tracks at stock music prices. There’s often a disconnect between composers and developers regarding budget expectations. Developers need to understand the differences between stock and customized music, especially in terms of licensing. Stock music can be used in many games and thousands of times, whereas custom music offers something unique tailored specifically to their project.
Additionally, AI can be a challenge for composers because it allows developers to easily access royalty-free tracks that might work for their game. While I don’t believe AI will cause a massive shift in this creative field, it can be useful for business-oriented, money-making purposes. However, for productions where every step is precious and creative, human involvement is essential.
What do you see as possible solutions for those challenges?
Feridun: The industry needs better training on license types and their restrictions. There should be a consensus among composers regarding the pricing of custom tracks. Additionally, AI-generated content should be regulated by laws to prevent licensing conflicts.
What skills are essential for sound designers to succeed in the game music industry today?
Ercument: I won’t delve into the obvious skills like proficiency with DAWs, signal processing tools, studio and field recording techniques, audio engines, and game engines. We all know these are important. However, a sound designer must embrace a lifestyle of continuous listening, analyzing, learning, and experimenting.
Being able to play at least one instrument makes a huge difference. Having a musical background or a musically trained ear will take you a few steps further. Even a gore sound effect benefits from having a musical touch.
Staying updated with the latest trends and technologies is crucial. Combining all of your technical abilities with great communication skills will make you an exceptional sound designer and an indispensable teammate.
Thanks for your time guys!
Right now, AMBER is on sale with 40% off until 3rd November. Find out more here.