Mar
3

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The Voice In…

VoiceInCinema

VoiceInCinema

Michel Chion is a well known voice in film sound theory. A lot of people have heard of, and possibly read, his book Audio Vision. For some reason, The Voice in Cinema is a little less popular. This post isn’t really meant to be about Michel Chion or his books though. We’re focusing on the idea of “voice” this month, and it’s hard to come up with a header image that is relevant. ;)

I know some of you may be thinking, “Wait a minute. You just did “dialog” in January.” Well, we don’t consider “voice” and “dialog” to be interchangeable. Voice is something different, and more ethereal, than dialog. Dialog carries the raw data, and it’s the voice that gives it expression and emotion. The topic is far broader than simply “metadata for dialog” though; obviously, that’s not to say we are discouraging the discussion of characterization in sound design. That is a perfectly relevant idea for this month. There’s also the issue of defining the sonic voice of a piece, managing and melding the voice of many different artists on a project (directors, editors, sound designers, etc.), or the desire to give sound designers a voice that is equal in weight to the rest of our collaborators. The opportunities for discussion this month are many. So let’s get started!

As always, Designing Sound encourages guest contributions from the community. If you would like to contribute to this month’s theme, next month’s (“broken”) or touch on an important off-topic post, contact shaun [at] designingsound {dot} org, or use our contact form.

Mar
1

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SFX Independence – March 2014

A lot of great new libraries were released this past month, and a few must-haves are currently on sale. If you’re looking for places to spend your hard earned audio dollars, be sure to review this month’s round up below. And, of course, don’t forget to check out our post on Animal Sound Libraries from just a few days ago for more great suggestions.

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Feb
28

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Music + Sound Award – Sound Design winners!

Music Sound Awards

Music Sound Awards

The UK Music+Sound Awards took place last night in London, recognizing outstanding work in music and sound design across all the visual media industries.

The awards include entries from computer games, feature and short films, television and cinema commercials, non-broadcast or viral advertising, branding and title sequence and television programmes.

The 2014 UK Music + Sound Award winners for Sound Design include:

Gaming
‘The Last of Us’ (Sony Computer Entertainment)

Television Advertising
Honda ‘Hands’ (Anthony Moore at Factory / Weiden & Kennedy)

Cinema Advertising
London Short Film Festival Trailer (Phil Bolland at 750mph / Ben Campbell at Cut & Run)

Television Programme
‘Misfits’ Series 4 (Tony Gibson / Molinare / Clerkenwell Films)

Short Film
‘Post Personal’ (David Kamp)

Non Broadcast + Viral Advertising
Audi R8 V10 Plus ‘Evolution on the outside, Revolution on the inside’ (Will Cohen at String and Tins / BBH)

Trailers + Promos
‘Skins – Time Changes Everyone’ (Arge at Envy Post / 4Creative)

Congratulations to all the winners!

For non-UK residents, there is still time to enter work for the International Music + Sound Awards online. Also, be sure to check out the other categories!

 

Feb
28

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The making of Geosonics by Soniccouture

Geosonics1

Geosonics1

Chris Watson is probably the world’s most famous field recordist. Without a doubt he has more recordings of animal sounds than we could listen to in a lifetime, However, we’re straying slightly off of animal recordings and into Watson’s collection of natural sounds – and how they ended up as one of the most unique and exciting sampled instruments: Geosonics by Soniccouture. Designing Sound chatted with Soniccouture’s James Thompson about the project.

DS: How did Geosonics come about?

We’ve made our name with unusual, niche, libraries. One of our first products was the Hang drum library. That’s what inspires and attracts us.

Over the last few years, there was a period where we were there were a lot of ideas flying around. People would email us and say “Have you seen this?” That happened with the Novachord synthesizer.  For the Skiddaw Stones – I think I saw something on QI about that – so we were always picking up ideas from the media, we’re quite attuned to that.

A couple of years ago there was a little bit in the media about the Wired Lab in Australia (where Chris Watson was then a resident artist), and I had never heard of this recording technique before; using huge runs of wires. I heard the BBC Radio 4 documentary and Chris Watson was the main part of the documentary, and we’d always been fans of his – I remember years ago Dan (Powell, the other half of Soniccouture) played me one of his wildlife recordings on CD.

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