Continuing with this series of articles dedicated to explore the Waves Sound Design Suite, now let’s move to a very special plugins included in the suite. I’m talking about the amazing Renaissance and the (recently added) V-Series.
The Sound Design Suite doesn’t include the whole Renaissance Maxx Suite, but it includes enough tools for sound design purposes. All those Renaissance plugins were based on vintage gear, so all they add a really nice warmth to the signal processed.
The same happens with the V-Series, three plugins that were also modeled from vintage gear. These plugins were recently added to the Sound Design Suite, and although they’re not “essential” tools, it’s very useful to have plugins with such incredible vintage warmth. The processors included were modeled from different hardware processors of Neve, including several legendary models, such as the 2254 compressor and the 1073, 1066 and 1081 equalizers.
Let’s explore each of those tools. Starting with the Renaissance plugins:
SoundWorks Collection has published a new video profile, featuring the creative talent of Sound One Studios talking about the story of the facilities and also about their workflow, collaboration and approach.
The history and creative talent that fill the halls of Sound One is a who’s who of the New York film and audio community. Many memorable projects have been crafted at Sound One such as “Black Swan, “Chicago” “The Sixth Sense”, “The Wrestler”, “Brokeback Mountain”, “The Silence of the Lambs”, “Casino”, “Fargo”, “MIB” , “pi” , and “The Big Lebowski”.
Sound One is home to five re-recording studios, two ADR studios, a Foley studio with a comprehensive prop collection, and nearly one hundred editing suites, Sound One is centrally located on Broadway in the historic Brill Building in midtown Manhattan.
[During this month, I'll be doing weekly reports about “Secret for Great Film Sound“, a new webinar series hosted by David Sonnenschein and Ric Viers.]
Last week’s webinar was very interesting. David talked about his methodology for enhancing story and emotion by using sound, and how to create a soundscape with good relationship with the dramatic content of the project. That includes explanations of theories such as Sonic Spheres, bipolar elements, and more. He also shared and expanded content from his previous webinar series, which was really great to hear.
By popular demand and also in an effort to give you more options for reading Designing sound, I’ve created a mailing list which can be used for several things, including daily, weekly or monthly subscription for the articles published on the site and also subscription for special/exclusive announcements from Designing Sound.
I’ve done several tests to the list and everything seems to be working fine, but I still need to see how it works with more people, so I apologize for any future issue you have with the list. Please let me know if you have any kind of problems with it.
LINK: Designing Sound Mailing List
Now, you have the opportunity to do your own questions our special guest Peter Albrechtsen. Please read the exclusive interview first. Maybe you can find your answer there.
SoundWorks Collection has published a fantastic video, featuring a discussion with Sound Re-recording Mixer and Supervising Sound Editor Skip Lievsay, Sound Re-recording Mixer Greg Orloff and Dialogue/ADR Editor Byron Wilson, creators of the great sound of “True Grit”.
“True Grit” is not your typical western movie. It is a tale about some nasty, brutish times that has been adapted by Directors Joel and Ethan Coen from the parodic western novel by Charles Portis.
The sounds of the wild West include tough talking characters, vicious animals, and harsh environments that play a large role in the telling of this story. Helping craft these duties include longtime collaborators Sound Re-recording Mixer and Supervising Sound Editor Skip Lievsay, Sound Re-recording Mixer Greg Orloff and Dialogue/ADR Editor Byron Wilson.
The SoundWorks Collection sat down with the trio to discuss the unique challenges and fun experiences they had on this movie. The 60-minute discussion was moderated by Bruce Carse.
In Contention has published an interview in the “Tech Support” section, featuring ‘Salt’ sound re-recording mixer Greg P. Russell and ‘Unstoppable’ supervising sound editor Mark P. Stoeckinger.
When Oscar voters spoke up last Tuesday, two intriguing craft category nominations stuck out, both coming from the same branch: Mark P. Stoeckinger’s third bid to date for the sound editing of “Unstoppable” and Greg P. Russell’s fourteenth — yes, fourteenth — for the sound mixing of “Salt.”
The Academy’s sound branch consists of 405 members, enough to be the fourth-largest voting block of the organization. Including Best Picture, they have three opportunities on a nominations ballot to make their voices heard, as opposed to the usual two for other disciplines.
It seemed a good idea to sit down with these two lone representatives of their films, given that they were ushered into the race by the same community (and hey, they share a middle initial). Both are also coming off of nominations last year.
After one of the most intricate jobs of his career on “Star Trek” in 2009, Stoeckinger was fortunate to work with both Ridley Scott (“Robin Hood”) and his brother Tony (“Unstoppable”) for the first time this year. “They’re similar in that sound is an important tool for their film-going experience, for sure,” he says. “And they’re amazingly creative guys.”
When he first met with Tony Scott about the white-knuckle train ride that is “Unstoppable,” he says “there was a whole backend of a sequence where the trains are braking and it’s squeaking and I said it could be challenging for audiences and he said, ‘Eh, don’t worry about that.’ That’s kind of the Tony Scott style.”
Sound and Music has a fantastic section called Sound on Film, where you can find several interesting articles already published. On of the lasts is a great interview with sound designer Akritchalerm Kalayanmitr, talking about his work on “Uncle Boonmee”.
The predominant sound in the film is that of the natural world: insects, birds, water and weather. While this is in the background of many films, in Uncle Boonmee it is brought to the foreground. Do you have a fascination with nature?
Yes, I do really like to listen to natural sound, it’s such a relief and mysterious at the same time. It is a very subconscious element for me.
For the sound of this film, the first thing was to make it be realistic, then tweak later. I like to make the sound either hidden or abrupt, depending on the feeling and rhythm. Sometimes I just throw the sound in there just to see what happens. It’s like, expect the unexpected! I think the sound of birds, crickets, or even water are loud in the real life – although colder countries don’t have as many crickets as warmer countries. Some people like to mix the nature sound low because it could disrupt the dialogue; I just feel that the loud ambience might make it more realistic. It’s all about people’s perception: it [nature] is around you, but you do not recognize it.
Also, there is one cricket sound which is hidden in the film somewhere and is also in most of Apichatpong’s films since Tropical Malady. That’s a small thing that I like to do on his films.
The remote location in which Uncle Boonmee is shot has a very unique visual and sonic character – was it important to you to capture the sound of this place, and what was the process like of recording it?
A lot of the ambient sounds that were used in this film were recorded on or nearby our location. They were done by my assistant sound editor who was the production sound recordist, Chalermrat Kaweewattana. Normally the sound was recorded by stereo microphone on a digital recorder. Chalermrat told me that some of the sound which he recorded from the location, he didn’t even monitor while recording because when he did it, everyone had left, it was very dark with no light at all and something was moving behind the bush…so he decided to place the microphone where he wanted and then waited inside the van with his boom operator!
I think it’s quite important to have the sound from the real location, but not always necessary. Most of the sound from the jungle scene is from Ratchaburi, in the west of Thailand. The long cricket sound from the cave to the temple scene was accidentally captured. It was the first take of recording on that day. I was very lucky to capture a very clean and clear sound of that kind of cricket. After that, for the second or the third take, the cricket had gone somewhere else and was not that close anymore.
Read more: In the mix: Uncle Boonmee
Via Music of Sound
Nathan Moody has published a brilliant post on his blog Noise Jockey dedicated to explore several things about ambivalence and its relationship to our creative decisions in sound.
I’m not talking about ambiguity. When the viewer or listener comes to your work, it’s OK to be ambiguous. The best art and design only goes halfway: The viewers themselves must ideally step up to the work and actively engage with it (or be engaged by it) in order to leave a significant emotional impact.
This is where a lot of abstract art fails. Too much mystery with too little to draw emotional interest can render the piece inaccessible even to willing viewers, a reaction that many have to the works of Rothko and Pollack, and even the much-maligned Wolff Olins Olympic logo design. Music can do this, too, when compositions are too abstract and even alienating, whether it’s some of the later works of Autechre or the atonal and complex works of Ligeti. But by leaving a few things tantalizingly uncommunicated, the audience can really engage their senses and curiosity to create a lasting impression which they, themselves, have helped create.
Ambivalence doesn’t lie in the work, or in the audience…it comes from the maker of the work. Ambivalence can be the result of making arbitrary decisions for the sake “done.” It can also come from facing an issue with the work and ignoring it or punting on it for later, and never circling back around to it.
I admire Frank Bry a lot, not only for his great design work and philosophy, but also for the incredible job he does at The Recordist, one of the leading companies in this era of sound effects independence. Today I’ll talk about two of his recent libraries: Ultimate Mud and Ultimate Splash.
Apart of the great sounds included in Frank’s libraries, there’s a lot of “hidden” lessons inside. With that I mean that you can learn a lot from just listening those recordings and checking its beautiful metadata. For example, I never thought about the incredible amount of things you can record from Snow, until I worked with “Ultimate Snow”. Also, Frank’s metadata process has influenced me a lot. I simply love his great organization and fantastic taggin approach.