Mission Statement

The overarching goal of the sound team is to compile from primary source research a library of sounds and lines of dialogue so that they can be readily mapped and added into the game. We will be trained to use the sound studio in the PEPS department so we can record our own sounds and crowd dialogue. We will reach out to the theater department and the music department by the end of term to start the longer process of music scoring and character-specific dialogue. Our main intent is to be able to create a complete immersive experience of Boston in the 1770s through sound.

Our first goal is to ensure that all members of our sound team have been trained to be able to use Carleton’s Audio Recording Studio in the Weitz. All team members will have completed audio training by January 24th, in order to learn the competencies required to record our own sounds with the resources available to us, but also to help us better understand the necessary processes behind the creation of sounds. Once all members are better acquainted with the realm of sound and audio recording, we will be able to adapt our strategies of creating 1770s Boston through sound to our sound recording abilities.

One of the most important steps in creating the sound for the game is the research into both sounds and necessary dialogue surrounding the Boston Massacre. Our goal is to have compiled a spreadsheet of Boston Massacre specific sounds and lines of dialogue from the Fair Account and Short Narrative depositions by January 24th, and to begin compiling general environmental sounds that are not limited to the massacre, such as horse-drawn carts and walking on cobblestones. We will work closely with the GIS mapping team to overlay environmental sounds with the map of Boston. It is also important to work with the mapping team to create various maps of the sounds of the Boston Massacre, such as where people were standing when specific lines of dialogue were said, according to our primary source research. We will also work with the narrative group to create other dialogue necessary for different aspects of the story. Our research and close work with the mapping team will help create a map of Boston that one can interact with through sound.

Our reach goal is to connect with the Carleton Theater Department and the Carleton Music department in order to potentially record our own sounds and dialogue and potentially look into the composition of a score to set the mood of 1770s Boston. We will reach out to any interested members of the theater department (after “Merchant of Venice”) for longer dialogue and character-specific lines, as well as our own crowd sound bites. In the future, the ideal dialogue and character-specific lines could be recorded by professional reenactors that are experienced with a 1770s Boston accent. We will also look into composition of a score for background music of 1770s Boston, and potentially reach out to the Colonial Music Society and research period appropriate music. While these goals made not be achievable with our resources and timeframe, we will keep them in mind as we progress.

In the coming weeks, the sound team will work to create an immersive experience of 1770s Boston and of the night of the Boston Massacre through sound, by compiling and creating our own sound library using primary resources, training in the audio recording studio, working closely with the narrative and mapping teams, and potentially bringing in other departments to support us. We hope to figure out the role of sounds, dialogue, and music in game in order to bring the audience back in time to Boston on March 5, 1770.



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