Richard Devine Special: Making Of Hollywood Edge's Mechanical Morph
Richard Devine, Josh Kay and Jim Stout are creating a new sample library for The Hollywood Edge, called Mechanical Morph. Let’s check some exclusive images, videos and info from the making of.
TOYS & SOURCES
MICS & GEAR
Jim Stout on Mechanical Morph
Josh Kay Recording Hard Drive Noises
Transformers Sound Re-Design with Mechanical Morph Sounds
ABOUT JOSH KAY
In 1995 Josh Kay, and his band-mate released a series of records for the US major label
Astralwerks under the name Soul Oddity, completely unaware that he was helping to put
experimental music back on the map in America. In 1997 after a successful release as
Phoenecia on Warp Records, the duo founded Schematic Music Company, the infamous record
label which would go on to irrevocably change the landscape of modern music by debuting
artists such as Richard Devine, Scott Herren (Prefuse73, Savath & Savalas), Otto Von
Schirach, Push Button Objects, and collaborating with the likes of Matmos, Autechre, Jamie
Lidell, Matthew Herbert, and Glen Velez amongst many notable others. A turn of events
came in 2001 with the release of Phoenecia’s Brownout, critics noted that this was a
milestone for a new kind of music – cinematic, but in the respect that the music was heavily
influenced by the sound design of film, as opposed to the score. This marked a decisive break
from Phoenecia’s past and set the trajectory for the sound they would continue to develop
over the next 7 years, time spent primarily working on film soundtracks, art exhibitions, and
live performances in Iceland, Australia, and everwhere else in between. This work is
represented in Phoenecia’s latest albums Echelon Mall and Lewd Archives.
ABOUT JIM STOUT
Sound Design Phylosophy
When I start making new sounds I try to keep a balance of organic and synthesized textures. Real world sounds have a complexity to them that has yet to be matched by any computer algorithm.
Thanks to the advances in portable recorders I have the ability to be stealth-like when it come to capturing sounds. I have been kicked out of my fair share of junk yards. As I’ve learned to beg for forgiveness.
My favorite sound design tools are the ones that give you real-time control so you can make mistakes.
Sound effects are so important, and so over looked. I love the comment Ben Burt made about the Light Saber sound effect. “If it’s right nobody will notice…”
Any good sound designer will tell you the best sounds happen when you least expect it, and, of course, always have your recorder handy.
I have been programming and sampling sounds since I was 15 years old. I was always banging on my mothers nice pots and pans and sampling ridiculous vocal phrases from the TV and really bad 80s’ Sci-Fi movies with my trusty Ensoniq EPS.
I first started working with Sound Ideas back in 2003. It came about at the AES
show in New York City. I was always a fan of their stuff and I was in the process of making a bunch of sounds for the Roland V-Synth when the president of the company heard what I was doing he asked me if I would be interested in make some “Whoosh-Stinger” sound effects for a new project he was working on.
That was the start with Sound Ideas. I went on to work on 6 other titles for them since then.
I started a new project and contacted Hollywood Edge to see if they would be interested, that project turned into Title FX Volume 2. This project was more single sound element based. I had the concept of taking many smaller elements and being able to combine them to make more complex transitions and hits.
It takes a little more time but in the end you come up with more unique elements.
Hollywood Edge recently release my second project Called Tonal Atmospheres.
I have alway been fascinated by environments and drones. I love how a single tone can set the mood of a scene.These atmosphere are a more sonically involved and are very mood invoking.
The latest project is in the works as we speak. This project will be geared toward video game production. The Working title is called “Game FX: but that could change. no wait… it’s called “Game FX.”
Mechanical Morph is NEXT!
I was approached Roland US in 2002 about a new synthesizer they had coming out called the V-Synth. It was a combination of all the cool technologies Roland possessed at the time. It was very revolutionary and very misunderstood as well.
Needless to say I was very excited about it and I debuted it at the 2003 NAMM show. Being the Roland fan that I was, I joined up with Roland the following year and programmed sounds for many of there products. I went on to start producing Video content as well.
Products Jim programmed sounds for:
- V-Synth 2.0 XT
- Fantom X
- V-Synth GT