Photo: Adriane Kuzminski
“Peace and Love” by Banksy
As this is the month of favorites, what do you “heart”? In NPR’s Morning Edition, Christopher Joyce and Bill McQuay discuss how the invention of the stethoscope in 1816 revolutionized cardiovascular and respiratory diagnoses. They also visit the world’s largest collection of natural sounds located at the Cornell Lab of Ornithology, where, thanks to the invention of the phonograph in 1880, one can experience other living stories told through their nature patterns and harmonics.
This story is both an article and a radio segment, and it is part of Morning Edition’s weekly summer series on the “culture of listening” among researchers. The most recent edition contains more audio from the Cornell collection, featuring whale songs and their complex patterns and ethereal echoes from the bottom of the sea.
Jeremy Rogers at The Sound Keeper has just come out with a great new blog post on one of the most iconic film sound effects: the Indiana Jones punch. In the post, he recreates the sound, breaking it down step by step with great example clips and a detailed tutorial video. Head over to his post to check it out!
Steve Tibbo, CAS, with cart on set at “Modern Family”
GUEST CONTRIBUTION BY DALE CROWLEY
A few days after this interview with Steve Tibbo, he was nominated for the 6th time for a Primetime Emmy Award for Outstanding Sound Mixing for his work on ABC’s “Modern Family”, where he has been the production sound mixer on every episode other than the pilot. The episode that was nominated is called “Connection Lost“. We discuss this episode in detail and talk about this complex undertaking as well as many other topics ranging from his work on Modern Family to the gear he uses to record on set and on location, and we also delve into his work in re-recording mixing, ADR, and sound design for film and TV. This month’s theme is “Favorites” and “Modern Family” is my favorite TV Comedy and sound is my favorite subject. (more…)
Photo: Heike Liss
Snippets of Dren McDonald’s score for his seven-piece ensemble.
Dren McDonald shares his third and final entry on the audio production of Gathering Sky. Written during the game’s development, the first two entries focus on keeping an open mind when joining a team late in the game’s development and maintaining this flexible mindset while composing and recording a live studio session. In the final entry, a post mortem, McDonald further emphasizes flexibility by sharing his incremental process of designing “reverse” dynamics in FMOD before the studio session recording.
In the newest episode of the Tonebenders Podcast, two audio podcasts collide when Matthew Marteinsson of Beards, Cats, and Indie Game Audio joins Rene Coronado to delve into the unique challenges of audio for interactive media. Matthew brings his expertise on game audio to bear on workflow, session organization, and asset mixing and mastering, among other subjects. You can find the new Tonebenders episode on the page linked above, as well as on iTunes and Stitcher.
Photo by Brad.K. Used under a Creative Commons license. Click image to view source.
What is your favorite… sound design project? synthesizer? resource? application? story? piece of gear? technique?
This month’s theme is, to say the least, open to interpretation.
I am sure you know that feeling. The one you get when you come across something that is just too good to keep to yourself and you feel the need to share it with any colleague that will listen. We know that many times what inspires us may also inspire others, and there is nothing better than being able to share something that improves someone’s knowledge base, workflow, or creative process. That is why I know that when my colleagues want to tell me something, I am all ears.
Within our own (slightly insular) professional circles, we regularly share the best of what we currently use, read, and hear. This month, our goal is to broaden our circles and share some of the products, projects, and stories that are our current favorites, and also to hear about some of yours as well.
Care to share?
We here at Designing Sound ALWAYS encourage contributions from the community. If you have a favorite story, thought, or technique you’d like to share, let us know. Feel free to contribute to this month’s theme if you have a favorite to share, or maybe next month’s topic is of more interest to you (which will be “Restriction”), or go completely off-topic. Anything is fair game. Please contact doron [@] this website to get the ball rolling!
For the last 6 months or so I’ve been an avid reader of Stephen Follow’s blog. I stumbled across it when I was looking for some ideas for a class I was teaching and I’ve been hooked ever since. Amongst other things Stephen writes about the business of making films and offers a tantalising glimpse into the murky world of budgets and film finance.
Beyond some of the more eye-opening content on there (Iron Man 3’s 3,310 strong crew for one) I was drawn to a few sound related stats e.g. the average size of sound departments and also the proportion of a £1 million film budget which is allocated for sound (£16,882 in this particular case). Clearly there’s nothing like a good stat to confuse the issue and a figure like this presented on its own means very little but it did get me thinking about the economies of film sound and for this month, the specifics of the business of Foley. (more…)
Image by flickr user reynermedia. Used under a Creative Commons license. Click image to view source.
The path we take in our careers can be a fairly winding one. It’s hard to predict exactly where you’re going to wind up. For instance, last year I found myself in the position where, while working as an independent sound designer after years as a staffer, I needed a team of people to help me complete a project by deadline. It’s not a bad position to be in. I like working, and having the ability (and, admittedly, necessity) to spread some of that work out amongst my peers felt good. There are two ways you can handle that on the billing side.
- Have those people bill your client directly.
- Bill your client once and and have your team invoice you for their work.
I chose the latter, and it presented an interesting situation when taxes rolled around. This article is to offer some of the key information I learned in the process. I’ll apologize to those people outside of the U.S., because this is going to be specific to the tax system here. There’s a tiny bit in here that might be useful to folks outside of this country I live in, but I won’t be offended if you skip this article. (more…)
At least my cats were on top of things.
When I first started up as a freelance sound designer and re-recording mixer, I had never been responsible for running a business. Working for myself seemed to be the ultimate job; I could set my hours, pick my projects, and do things how I wanted to do them. Beyond this freedom, what else was there? As it turns out, I completely glossed over that whole “how to run my own business” thing, charging headlong into freelancing with no real understanding of what that entailed. Had I taken just a few moments to sit down and read a bit about being your own boss and business, I would have saved myself a whole lot of trouble down the road. Here are a few of the bigger things I learned along the way; hopefully, you can learn something from my mistakes. (more…)
Recently, game audio industry vet Jeremy Rogers launched a new SFX library store & blog at www.thesoundkeeper.com. While the blog is still new, he’s already putting out some interesting articles, including his most recent “The Top 5 Must-Have Plugins for Sound Designers“. Check it out for Jeremy’s plugin recommendations, as well as some brief descriptions on how he uses them in his own work!