-=> Quoting Roger Fingas to Lee Jackson <=-
 RF> Why does it take so long for the CD player in Shadow Warrior
 RF> to loop a track?  It takes a few *minutes*, when 
 LJ> all it should take is
 RF> a few seconds, at most.
 LJ> This I've never heard of.  Joe might have, though - toss this one his 
way.
        Will do.
 RF> But at any rate, my compliments on the music and SFX work in SW.
 LJ> Thanks!
 RF> I'm curious, though - how did you record the 
 RF> various gun firing sounds
 RF> (say, for the riot gun and the Uzi)?
 LJ> These two sounds I didn't do.  Jim Norwood was doing his own sounds 
before
 LJ> I came in on the project.  These we decided not to mess with.  The other
 LJ> gun sounds are mostly mine, though, and are either 
        Hmm - I was under the impression that you *were* the music/SFX 
eam...
        What's Jim working on now, BTW?
 LJ> Sound Ideas or Hollywood
 LJ> Edge samples that have been heavily modified, mixed with other sounds, 
r
 LJ> otherwise engineered.  All except for the rocket 
 LJ> launcher, which is a trade
 LJ> secret. 
        Have you heard about the sound system DreamWorks Interactive is 
working on for Trespasser: Jurassic Park?
 RF> The clinking of shell casings as they hit the ground is a nice touch,
 RF> BTW.
 LJ> Again, Jim did the Uzi shells.  I did foley work on the shotgun shells,
 LJ> though, thanks to Targetmasters here in Garland (blatant plug).  They 
et
 LJ> me go out on their firing range while no one was using it, where I 
grabbed
 LJ> a bunch of spent shotgun shells.  I took them and the DAT recorder home,
 LJ> where I recorded them as I dropped them onto a marble plant stand top on
 LJ> the floor of my wife's clothes closet (you'd be amazed 
 LJ> at how great a sonic
 LJ> dampener all those shoes and tons of clothes make).
        Interesting!
        On another topic, how do you get a sound designer job, anyway?  What 
kinds of credentials do you need?
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