EndWar Audio Demystified

I finally got around to adding an EndWar audio page to my website, which collects some of the more salient information regarding my work on this game for the better part of the past four years.  Check it out, if you care.

I also added some of the more insightful press blurbs pertaining to EndWar audio that I could find (omitting the mean ones) on my press page.  Generally, folks seem to be pleased with the audio (if they notice it at all).

Also, Ubisoft has launched a contest, inviting everyone to create user videos for the “EndWar” song I wrote and performed in collaboration with 99 Men (obligatory 3 Heart-Shaped Cookies plug), which means now anyone can download and enjoy this lusty refrain. Hurry, you have until February 17 to submit your entry!

And let me add a preemptive disclaimer about the following video, now making the rounds on YouTube in conjunction with the aforementioned contest. This performance was absolutely not intended for public consumption. It was a last minute stab at cheap entertainment for a team party.  I came straight from working at my desk, and I didn’t rehearse a lick, which explains the ill-timed invitations to clap or sing along, as well as the ill-advised air guitar.  Also, Mike (of 99 Men) transposed the song down from e minor to d minor, which rendered the bridge too low for falsetto and too high for full voice (Mike sings the bridge on the recording).  That said, the Shanghai skyline backdrop is kinda cool.

The Power of Music

I just got back from giving a presentation on sound art at Raffles Design Institute on the campus of Donghua University, about a block from Yu Yin Tang. The hallways are emblazoned with photographs of people like Jean-Paul Gaultier and Stella McCartney, and the glass door to each room is inscribed with maxims such as “Globalization is possible when a brand is built into a cultural stereotype,” “Brands are relationships; there’s nothing else,” “Success financially is a measure of creative success; it is the same in all art” (that one was Stella’s), and my favorite, “The power of music is branding.” It was even creepier than the thought of classrooms full of students being serious about fashion marketing.

But my personal interactions were all quite agreeable. I was there at the behest of the effervescent multimedia instructor and aspiring DJ Raquel Assis, to speak to her “New Media and Environments” class. My presentation seemed to be quite well-received, although I always feel a bit like I’m cheating, since all I have to do is say, “I’ve been making videogames for the past 12 years,” and everyone snaps to attention.

Most of the questions afterwards came from other professors sitting in. One asked how living in China has influenced my work, which was an interesting question, because the piece I had just played was “Radiospace,” which on the surface (in this particular rendering) has lots of snippets of Chinese speech and pop songs, but is actually not about content at all. It’s a real-time program that uses radio broadcasts as source material for audio manipulation, and was actually completed back in Seattle, where the program mangles Britney Spears instead of the Jay Chou. A lot of my work is kind of ambivalent about content, focusing instead on structure, and that’s particularly true of this piece.

But back to the question, while I am an enthusiastic student of Chinese culture, I don’t hear a specific Chinese influence on my work in any overt sense, like using pentatonic scales or whatever (I wouldn’t have to come to China to pick that up, anyway). When I hear something in Chinese music that is relevant to the issues that concern me, I do, of course, take note (I cited a recording of a Buddhist ritual in a Shanghai temple on the French Ocora label, “Chine Fanbai: Chant liturgique bouddhique” [I guess that’s 梵呗], as an example of a static musical behavior). But I’m probably more influenced by the rush of modernity, trying to parse and correlate multiple streams of information, the hum and buzz of a huge, constantly evolving city like Shanghai.

Another question was about the limits of randomness in a closed computer system, and I replied that art made from random numbers is just like art made from pipe cleaners. There’s nothing particularly interesting about pipe cleaners, but I’m sure somebody can make some really neat things out of them; the art emerges from form and relationships. There’s plenty of randomness in a computer. You can progress from sample transforms to synthesis, continuing to insert random choices at every stage of your audio-generating function until you’re sending a stream of random numbers directly to your sound card, the very definition of white noise. If you’re not content with the randomness within your computer, then you can introduce the outside world into the system by hooking up a camera or microphone, which yields information that is potentially more random yet also more consistent than a random number generator.

In all these cases, what’s more important than generating noise (random numbers) is deciding how that noise is used, what the random numbers are hooked up to, how they’re constrained, and what happens in between random choices. If you’re getting random information from a camera, you have to decide where you’re pointing your camera. All works, no matter how aleatory, are framed in some way; they come with some context or expectation as to the circumstances in which they will be experienced. That’s where you see the hand of the artist, and this is why even performances of John Cage’s 4’33” tend to sound pretty similar, despite the fact that ostensibly any sound in the world is admissible.

I’m not sure that I answered either question very clearly, especially considering how long it took me to summarize my responses for posting here.

Two very shy girls came up afterwards and said they had done a sound art piece called “Uneasy” that is designed to make you feel uncomfortable. They’re going to send me an MP3. I can’t wait to hear it!

Below are my annotated notes (yes, that’s notes on notes, or, if you will, the derivative of notes; I think this is what Mike Min meant when he was babbling about calculus in art), and I’m sorry, I’m not going to take the time to clean them up into essay form for you.


Hi, I’m Ben Houge

Example of my work, provide some context

[play Breaking New Ground]
Set it up: SICIW, 100% Design, arctic concept
Imagine 12 speakers

Take a vote: is it music? [Response: no]

Done in Max/MSP
6 wind generators
3 chime generators
1 insect-flute generator

All the parameters of music are still there
Strong harmonic basis

So you could consider it a piece of music
Unlike most traditional music, no beginning and end; runs all day, and start/stop is determined by viewers individually entering/leaving, like sitting on a park bench
No loops, just algorithmic behaviors, many elements up to chance
Site-specific spatial element; can’t listen to it in your home on a CD player; have to go there

Background, how I got here

Piano lessons
Got a synthesizer in high school
St. Olaf College, major in Music Theory and Composition
Focused on electronic music, csound

UW, MM Composition
Sound synthesis, algorithmic processes, aleatory music, Max/MSP

Got into videogames
In Seattle for 8 years
Sierra Entertainment
Such games as LSL7, KQ8, Arcanum, Half-Life: Op4

[play Arcanum main theme]
It’s a nice enough little theme, but I was not happy with the implementation of my music in the final game; everything looped
It’s probably around this time that I really became convinced that the future of game audio was in finding unique deployment methods appropriate to the medium

In Shanghai for 4 years
Tom Clancy’s EndWar, out today!

Parallel artistic trajectory

Early on in my career I was a content provider: music composition, sound design, dialog editing, lip syncing, etc.
Eventually became an audio director, where my job was simply to make the game sound good
Producing very little original content, rather directing other content providers, e.g., working with pals from Seattle on EndWar music (though I still got my song in there for the end credits).

First thought of games as a stepping stone into film, but soon discovered what a fascinating world it was.
Whereas film is codified and calcified and super competitive, grammar of games is still being defined; more fun challenges

[Play sci-fi ambience, built entirely from random and statistical deployment of synthesized sounds]

First heard of John Cage in college, several years later, while working in games, read Silence.
Recommend to all aspiring videogame audio designers
Started making the connections, also reading Feldman
Sound Currents, Seattle school

Began finding a focus for my art, and my extracurricular work, which had previous been mostly sacred choral music, began to focus more and more around the issues I was facing in the evolving medium of games.
Sierra paid for my Master’s, continuing education program; since I had already been working in games for a while, I knew where I wanted to focus
During my Master’s I realized my mission wasn’t to write a symphony or smart little chamber piece, but to connect these dots.

[Play A Reading from _____/Variations on _____, live radio performance on KEXP’s Sonarchy]

Is this music? At the time, I would have said yes, but BMI didn’t think so.

Why “sound art”?

Most open term, least expectations.

Throughout music history, there’s an increasing tendency to incorporate new sounds into music
Mozart’s Turkish cymbals, hunting horns, etc.
Technological advancements: saxophone, sirens, electronic instruments (Theremin, ondes Martenot)
Recording technology, musique concrete, tape music, computer-generated sound, sampling, DJ’s
Now experience almost all music in recorded format anyway

Now just about any sound can be considered of musical use (pop music ahead of classical music in that sense)
So what’s the important distinction?

Not bound by medium; more likely to experiment with cite-specific sound producing configurations.
Not necessarily electronic, speakers, Trimpin, acousmatic
Sound art is not necessarily even sound producing, Christian Marclay’s instrument sculptures and manipulated album covers
Also mention his video work and our recent Screen Play performance

An aspect I find particularly intriguing is the idea that sound art is in some way an “object,” rather than a “piece.”
Music has almost exclusively been about an organization of sound with a beginning and end, unfolds as an event.
But from my game experience, I’ve become concerned with organized sound that is indefinite, that continues until a user decides when to leave.
In this regard it’s more like an ambience, like sitting on a park bench and listening for a while, then leaving when you’ve had enough.
And similarly, it’s like looking at a painting in a museum; so “sound art” seems apt.

Because of all this, my work is just one possibility of what sound art might be
Most of my work has been sound producing, but I’m expanding
Working on giraffes [algorithmically generated digital prints], expressing the same ideas of organization in different media
I kind of still consider this music, too, but most people reasonably wouldn’t, so sticking with “sound art” for now.
Also coming soon: video works.

My issues

Dynamic behaviors
No loops!
“Just loop it” is the dumbest answer to a very interesting question, first thing people think of, cocktail party response
A more interesting answer involves algorithmic behaviors (do not fear algorithms; it’s just a method of doing something, like a fugue)
Also, do not fear randomness; very fertile artistic medium, lots to do with it.
Randomness as an artistic medium; more than just a random number generator
Levels of linearity; usually a continuum, not on-off; find the right granularity for your project

Shuffling, additive systems
Combinatoriality [I’ve stolen this word from 12-tone theory; I like my definition better]: exponential increase in possible outcome when you mix several layers of indeterminate behavior
Responsive; deprived of pre-rendered dramatic trajectory, allows you to switch on a dime

This ability to switch allows you to closely follow another stream of information; this is what happens in a videogame
Mapping from one stream to another; multimedia works, real-time
Coordination between different streams

[Play Mobile 3]

Explain that this is a live performance at the 2pi festival 2006 [and not one of my greatest works, but gets the idea across]
Also served as a prototype for EndWar music system

Granular synthesis
Also interested in what happens when you have lots of similar objects doing slightly different things
Small variations, lend interest, thwarting computer’s ability to be too perfect, the warmth of an acoustic performance
Heterophony, flocking behavior, Zhang Yimou, Curse of the Golden Flower

[Play Radiospace]

Having a big visual art show soon, visit my web site for the latest.
Also, I just started a blog. Visit!


[Bonus: Play “EndWar” main menu music for big finish]

My Sabbatical

There are many ways to lead a life in music, and life is probably too short to experientially determine which works best. The one I’ve kind of fallen into is what could be labeled the “commercial” route. I’ve spent the last 12 years designing audio for videogames full time, squeezing in more “personal” or “artistic” projects wherever I could around the edges.

Early on, I would sometimes experience anxiety, worrying that I was prostituting my art in the crass and commercial games business, and accusative looks would occasionally be directed my way from other, more artistic quarters as well. But as my understanding of the medium grew, I came to realize what a fascinating world I had stumbled into.

When I started out in games, I had the idea that it might serve as a stepping stone into film down the road, but now I would consider that a step in the wrong direction. Whereas film is codified and calcified and highly competitive, games are full of fresh challenges and opportunities as technology evolves, genres proliferate and diversify, and the very language of the medium continues to be defined.

Not only that, but working in a high-tech corporate environment provided unwitting training in other less glamorous yet useful skills, such as team management, scheduling, budgeting, and general IT savvy, not to mention the invaluable experience of contributing to successful, long-term projects that require lots of people to work together. So I’m not knocking the games industry.

Nonetheless, from early on I had the idea that working a regular day job in the videogame trenches would at some point reward me by providing the wherewithal to take some time off and devote myself exclusively to my own projects. And as my artistic pursuits grew ever more closely in line with my professional pursuits (non-linear structures, algorithmic processes, real-time sound synthesis, etc.), I longed for a period of pure research, during which I could explore these ideas freely, without time constraints, competing tasks, or other practical considerations.

So during the inordinately long time I spent on my last game (Tom Clancy’s EndWar, which I served as audio director for the past 3.5 years), as the side projects piled up, I began to formulate a more concrete exit plan. About two years ago I started laying some extra cash aside, with the idea that I would leave Ubisoft after EndWar was completed and spend a sabbatical year in China devoted exclusively to developing my own work.

And now that EndWar is finished, I have actuated my plan. Though I’ll continue to take on small tasks here and there (doing more freelance writing, maybe a bit of consulting), I’ve freed up the bulk of my time for personal, artistic pursuits. Welcome to my sabbatical!

I’ve formulated a mission statement to guide my activities this year: to apply the techniques I’ve been developing to structure non-linear sound for videogames over the past 12 years in a broader cultural context. I’m convinced there’s some vital work to do at the nexus of videogames, music composition, sound installation, and digital art, so I plan to poke around this area and see what connections I can find. The goal is to try out new ideas, with the agility to iterate rapidly and follow up on the good ones, while developing relevant skills to help me better tackle problems as they emerge, all of the things a good sabbatical should be about.

When the year is up, I’ll reevaluate and see what makes sense as a next step. I may go back to doing the kind of work I was doing before with renewed vigor, enthusiasm, and perspective. Or I might continue trying to push at these ideas from the non-commercial side for a while. It might even be possible that the virgin soil of gaming is receptive to a new kind of organism that wouldn’t force the choice, but could represent a new, viable structure for the dissemination of serious art. I’ll let you know in a year.