featured | Ishai Adar

Bney Hama – Bney Hama

oosh — Sun, 13 Nov 2011 05:09:50 +0000

So here it is. The highly expected ST debut by Bney Hama (out on Anova records) Total self explanatory. No words needed.

Bney Hama by Bney Hama

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Bney Hama – Mitoch Shena

oosh — Sun, 13 Nov 2011 05:08:31 +0000

This is the official video for “Mitoch Shena”, Bney Hama’s first single from the Self titled debut album.
Cinematography: Elad Debi
Lighting Design: Dani Fishof for Magenta
Produced by Anova Music
Thank you: Uri Katzenstein, Ori Sucari, Ben Riftin
Directed & Edited by Bney Hama

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SSP – Radioactive Heroin

oosh — Sun, 13 Nov 2011 05:06:09 +0000

Bney Hama in their early days. Back in 1992 and under the name SSP (Sad Stories Productions), Ohad Fishof and Ishai adar did a post apocalyptic weirdo hip hop. The video clip’s version was originally called “Audioactive Heroin”, and it’s actually the instrumental. The original version of the track included a bizarre & vocoded rap channel. The song tells the story of a hip hop dj and rapper that were left alone in the post nuclear war world.

Here’s the Original Version:

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The Bney Hama video miniatures collection

oosh — Sun, 13 Nov 2011 04:04:26 +0000

The post The Bney Hama video miniatures collection first appeared on Ishai Adar.

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Designing the Else – sound for mobile

oosh — Tue, 11 Oct 2011 19:10:20 +0000

ELSE is a visionary mobile phone developed by Israeli technology firm Else (formerly Emblaze).
Ishai Adar was in charge of the sound design for the product – the complete user audio experience when using the device.
After long months of research and experimentation, Adar ended up with around fifteen very short digital sounds. The main objective was to make those small sounds integrate with the visual graphics – for example opening menus, clicking a phone number on the key-pad, or receiving different kinds of alerts.
The ELSE mobile phone was heavily inspired by sci-fi culture: a mobile phone that was created with user experience in mind. Ishai delved into creating those almost futuristic, synergic, ultra bright sounds, but had to keep the sounds functional and efficient. The result was a seamless compromise between semi-mechanical “clicks” and cooler digital blips.

the digital versus the mechanical approach:

The “Grab and Release” element of the ELSE user interface, showing the slidebars (also known as “gauges”). The example shows the differences between the mechanical (right) and digital (left) approaches.

The digital versus the mechanical II:

These clips show the device’s built-in camera “zoom” feature. Again we can see the synergy between the digital and mechanical approaches: The high tone (divided to two different pitches for the “zoom in” and “zoom out”), creates a sharp and smooth transition. The mechanical “ticks” create an illusion of movement.

Fast scrolling the contact list & Idle operations:

These show the “scroll” feature. When the user touches his finger to the contacts list, the “Trrrr” sound creates an association of data movemnet. In the main “idle” screen, a combination of two sounds – touch and drag – allows audible navigation. Both manipulate time and duration to keep sync tight.

The Else device was developed by The Else company (formally emblaze)
UI: Elements
Graphic design and branding : The one and only Sugapusher

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IAF and USAF by Electronic Arts – computer game sound design

oosh — Tue, 11 Oct 2011 19:05:38 +0000

IAF (Israeli Air Force) and USAF (United States Air Force) are two computer games and flight simulators published by computer game giant Electronic Arts in the late 1990s.
Ishai Adar, collaborating with Israeli game designers Pixel, was in charge of the sound design for the simulators.
Tower-to-aircraft radio instructions, Jet engines (on ground and in flight), after-burner growls, weapon machinery and cockpit buttons and alerts, were among the hundreds of sounds in these highly advanced and popular computer games.
Adar experimented with primitive techniques in order to capture the cockpit’s true color. Among his methods were recording sounds through old telephones, reverberating small engines in huge pipes, and digitally manipulating factory ambiences. The result is considered a classic among computer game sound designers, and is an integral part of the state-of-the-art, award-winning games.

Here is a taste from USAF:

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surgivision’s “lo” – Sound design for remote interface.

oosh — Tue, 11 Oct 2011 19:00:13 +0000

SurgiVision, Inc. is a leader in the emerging field of MRI-guided interventions, creating innovative platforms for performing the next generation of minimally invasive surgical procedures in the brain and heart. In 2001 Ishai designed navigation and control sounds for one of their systems called “LO”.

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el 2

oosh — Wed, 14 Sep 2011 08:59:02 +0000

Designing system sounds for a visionary mobile phone is an epic experience. It’s funny because after A long research you end up with 5 to 15 ultra short digital sounds. The Backbone of this type of work is how, when and if to integrate those tick and peep sounds with the visual graphics.

The first ELSE is a next generation mobile phone heavily inspired by sci-fi culture. A mobile phone that was created with user experience in mind. Ishai created those hardly heard, ultra bright sounds, typically assigned with these transparent interfaces that we see in Hollywood films these days. This artistic vision brought with it a challenge. things get complicated when aesthetics versus usability. It’s not a movie, it’s mobile phone and it still needs to be functional and efficient. Ishai ‘s compromise was between the semi mechanical approach (a “tick/click” sound for typing) to the cold digital blips.

In this Video there’s a lot of background noise so you can’t actually here the sounds. But, it’s a taste..

the mechanical versus the digital approach:

The same issue with camera zoom tool:

Two more examples of other elements:

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Beaufort Original Soundtrack

oosh — Tue, 12 Apr 2011 11:51:49 +0000

Six months after the release of the film Beaufort, Adar released the soundtrack album which featured slightly different musical arrangements. The monotonous, claustrophobic music was described by many critics as “music for William Basinski fans”.

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Music from Home (ep)

oosh — Tue, 12 Apr 2011 11:40:22 +0000

The soundtrack for Uri Katzenstein’s video art work presented in the 2001 Venice Biennale. Electro-acoustic experimental music by Ishai Adar and Binya Reches.

Label: Fact Records, 2001

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