For the past few years I have been bothered about the amount of time I spend on a job — not specifically about how busy I am, but rather how much time I spend concentrating on the task that needs getting done. By default, most of us learn to constantly optimise our workflows as our experience grows. This is very important, as successful projects are judged not only on their quality but also budgets! But most of us also have the task of being creative collaborators while working long hours. Not easy.
One of the biggest problems I find with workflow optimisation is that I get stuck with techniques and ideas that have previously worked and quite often end up forcing ideas that don’t fit the context. They are often sub-conscious decisions and I need to consciously stop myself and try something new. I recently started taking ‘silent breaks’ to combat this. I’m a big fan of the pomodoro technique and use a 25 minute timer when I work. With every break (every 25 minutes) I step away from the computer and silently ponder on my work. I was surprised (and in hindsight, not so surprised) to find that it greatly improved my productivity and the quality of my work. There is something quite stimulating in taking a break, staring out of the window in silence and letting the mind wander.
But there are days when I ignore the timer because I’m too busy trying to make an idea work. I then start to optimise my workflow once again and forget about productive silences. An infinite loop.
A number of years ago I took part in a critical listening exercise where participants where given a piece of music and 3 hours to provide a critical assessment of it. The piece of music lasted just over 4 minutes so during those hours I got very familiar with it, but I didn’t really get much beyond scratching the surface of it, in terms of critical listening. The point of the exercise was to enlighten us as to the difference between ‘hearing’ and ‘critical listening’. For those 3 hours I was receptive to the music, I heard it, absorbed it, liked and disliked aspects of it, but I wasn’t able to engage a more critical mindset and turn my receptive listening into an active evaluation of the music. At that early stage in my career as an engineer I simply didn’t know how to set about the process.
I’ve previously talked about the importance of increasing communication between the sound community and our collaborators. This month’s topic provided the perfect opportunity to bring an outside voice to the Designing Sound community. Patrick Shen is director of the documentary “In Pursuit of Silence,” and I’m happy to be able to bring you his thoughts on the subject!
Would you mind giving yourself a brief introduction?
I’m a filmmaker based out of Los Angeles. My first film Flight from Death was released in 2005. My fourth feature-length film In Pursuit of Silence will be finished mid-2015 and released shortly after. The mission statement of my film company Transcendental Media is “to agitate the sleep of mankind”. I tend to make films that are more thoughtful in nature, films that deal with themes that I hope have the potential to challenge and expand our worldviews. Kierkegaard spoke of the “immediate man,” someone who doesn’t belong to him or herself and recognizes “that he has a self only by externals.” He tranquilizes himself in the trivial. I like to think that my films are an attempt to snap people out of this cultural haze and the process of making these films an attempt at avoiding this inauthentic life for myself.
The fourth annual FilmSoundHamburg got under way in Hamburg on Sunday evening – an event that will bring together enthusiasts from the worlds of sound design, film composition and game music for five days of workshops and seminars and masterclasses.
Among the highlights will be four separate masterclasses given by Tim Nielsen of Skywalker Sound (Maleficient, Lord of the the Rings, John Carter), and composers Olivier Deriviére (Assassin’s Creed IV, Remember Me), Javier Navarrete (Pan’s Labyrinth, Mirrors, Hemmingway & Gellhorn) and Lisle Moore (who has composed trailer music for Maleficient and the last three FIFA World Cups). In addition, a number of workshops and seminars will also be taking place.
FilmSoundHamburg takes place from June 29th until July 4th in Hamburg, Germany. Some places are still available so check the website for the full programme and price list.
FilmSoundHamburg programme of events
FilmSoundHamburg on Facebook
Charlie Chaplin on ‘City Lights’
“Ideally, for me, the perfect sound film has zero tracks. You try to get the audience to a point, somehow, where they can imagine the sound. They hear the sound in their minds, and it really isn’t on the track at all. That’s the ideal sound, the one that exists totally in the mind, because it’s the most intimate. It deals with each person’s experience, and it’s obviously of the highest fidelity imaginable, because it’s not being translated through any kind of medium.” – Walter Murch
Silence can be sonic; sound can be silent. We’re always listening to both. When we listen to a sound, we listen to a silence. When we listen to silence, we listen to sound. The dualism behind this is just an illusion, because in reality, we only find one thing, a single coin, with two faces, but a single coin.
There’s always sound in silence, always. There’s no such thing as sound without silence. There’s no such thing as silence without sound. Both are always dependent on each other and get differentiated just because of our fantasy of reality. We could think as silence as “absence of sound” but that will not be in an absolute way because there’s no place without sound, there’s no time without sound. Silence is absence just in partial ways, depending on the wave, all the time attached to the context the absence of a particular sounds, or just the choices around the speakers can’t reproduce. (more…)
First, some confessions: I am a sound designer, I have never worked on a Broadway production, and therefore, never expected to win a Tony Award (let alone be a part of a discussion of this nature).
I may not be an “insider” of the theatre world, but the decision earlier this month to stop presenting Tony Awards for sound design (of a play and also of a musical) deems a reaction from the entire sound design community. With that in mind, please support this petition initiated by John Gromada.
Link to sign the petition: Reinstate the Tony Award Categories for Sound Design Now!.
Actress Jill Winternitz showing her support on twitter.
The first time I heard of the decision by the Tony Administration Committee was from Randy Thom’s post in Designing Sound on the 13th (two days after the announcement). The news initially confused me; it seemed like a huge “slap in the face” (as Randy Thom wrote) with very little that could possibly be gained by this action. Sure, sound design is not as glamorous as some categories, but there must be more to this decision.
As Designing Sound’s month devoted to Silence comes to an end, what better time to take a look at a remarkable video course that delves into the vast and interesting world of effective sound recording.
The Sound Recording Workshop (video/audio series) comes to us from Sound Librarian and presenter Stephan Schütze.
Photo by gynti_46
It is very difficult to keep up with all the new independent sound library releases, which is why we regularly put together roundup posts. Unfortunately it is difficult for even us to keep track of them all! We are all volunteers doing this in between work after all.
To make sure no libraries slip through the cracks; we have added a submission form for sound effect library producers to submit their products to us so that we will make sure to be as accurate and fair with our roundup posts of new library releases. You can get to the form here or find a link on our Contact page.
We ask everyone keep in mind that submission does not guarantee that we will post your library if it has already been covered, inappropriate for the roundup or some other extenuating circumstance. Please don’t abuse the form!
We do apologize for anyone whose libraries we have not covered recently, this form should fix that!
Guest Contribution by Rob Bridgett
For the past 14 years I’ve been a proponent of sound as a deeply integral part of the video game development process, getting audio involved earlier, allowing it to become a part of decision making and concepting, allowing sound’s early presence, excitement and enthusiasm to influence the other disciplines involved in the collaborative sport of video game development.
Recently, you may have noticed a trend towards narrowing down the focus of what we consider to be multi-disciplinary game development, there are small team, minimal, retro, and almost inevitably towards audio-only games. At the Game Developer’s Conference Nicky Birch of Somethin’ Else’s spoke about their audio-only games (such as Papa Sangre) as did Brian Schmidt on a similar theme in 2013). These are games in which the player has little or no visual input or stimulus, but relies entirely on spatialized audio cues. (more…)
R. Murray Schafer at “listen” short film
“One can look at seeing but one can’t hear hearing” – Marcel Duchamp
As you may know, silence is the topic chosen for this month here at Designing Sound. One may think silence is not existent if we value it as an absolute sonic absence, but here I’m going to examine its role and possibility towards the act of listening to sound, silencing, not as that state of complete sonic deletion but as a force able of letting sound to be. Here’s not about asking “what is silence?” but just creating an invitation to be silent and just listen. (more…)