Voices of Devs illustrates what GDC sounds like

This is incredible. Last year, Mick Gordon, from Game Music Australia, attended GDC San Francisco with a little microphone in his hand. Between sessions and presentations, he wandered around and chatted with a bunch of the developers who were in attendance, asking each one to perform a short sound-bite.

Those sound files sat happily on his harddrive, waiting for their destiny – a destiny which can now be revealed. Using nothing more than the vocal recordings, a few sound-editing programs and “stacks of plugins”, Mick has created a unified piece of music which is pretty great even without the back story. It’s called Voices of Devs.

Absolutely everything you hear in this track was made by manipulating these recordings using various sound design techniques. Every drum, lead, chord and effect was, at one point in time, a recording of somebody making noises with their mouth at GDC San Francisco 2011. No other samples, synths, instruments or recordings were used in this track. Whatsoever.

And some of those voices are from interesting industry figures. The list of contributors is mighty impressive, including at least four composers associated with the Mass Effect franchise, voice actors from Skyrim and other games, and even a former Fear Factory keyboardist.

The full list includes: Jeff Ball, Sean Beeson, Alex Brandon, Nathaniel Chambers, Ben “Crossbones” Cooper, Charles Deenen, Brian DiDomencio, Joe Griffith, Lance Hayes, Kole Hicks, Jimmy Hinson, Thomas Kohl, Sam Hulick, Jake Kaufman, Kieran Lord, Kunal Majmudar, John Mazzei, Hazel Mckendrick, Ben Minto, Keith Moore, Lennie Moore, Jayson Napolitano, James Nixon, Dan Reynolds, Pontus Rufelt, Michael Schiciano, Paul Sivertsen, Jeremy Taylor, Hillary Thomas, Joe Thwaits, Steve Tushar and Mike Worth.

…and before you ask, the lady with the red hair and the “baby cry” is Morla Gorrondona, a voice actress of some repute, known for her work on BioShock 2 among others.

Anticipating a certain level of curiosity around the project, Mick has thoughtfully provided us with an explanation page, which gets into the details about just how he achieved the effects featured in the track. It’s fascinating reading.

If you’d like a copy of this tune for your very own, point your browser in the general direction of Mick’s BandCamp page and fork over one shiny dollar – or whatever else you feel the song deserves.

Mick’s heading back to GDC next week, and given the results he achieved in 2011, we’re hoping he’s got his sound recorder in his luggage.

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