The introduction of control surfaces was a huge step towards a completely digital production workflow and it made working collaboratively much easier and efficient.
Guest Contribution by Doron Reizes
Traditionally, the concepts of music composition and sound design have been viewed as distinctly separate creative audio disciplines. Karen Collins points out in her article, “The Sound of Music, or the Music of Sound?” that, “What is often referred to as “non-musical sound”, or sound effects (including percussion) wasn’t used in Western music for centuries.” This fact alone could mark the beginning (at least in Western culture) of the perceived disconnection between sound design and music. Collins later adds, “…the use of sound effects was seen as a distinct discipline from music until the arrival of the 20th century avant-garde”.
Though still today, it is rare for a composer to view themselves as also a sound designer and even more rare for a sound designer to consider themselves a composer. This is only furthered by the fact that on most larger (and even many smaller) budget multimedia productions (video games, films, television, etc.), the positions of the sound designer and that of composer are usually filled by different specialists that handle specific areas of the overall audio soundscape (1) for the production (the sound designer designs the large sound effects, while the composer scores the music for the production). And unfortunately, many times, they do not work collaboratively or have much (or any) communication throughout the creative process.
Guest contribution by Cormac Donnelly
I am, at heart, a techno-nostalgiast and I’ve worked with tape machines of one kind or other for most of my career. When I sold my 2” multi-track, in 2010, I resolved almost immediately to get myself another tape machine (albeit something a little smaller than the 250kg Otari I had just parted with). A few weeks later, I found myself owning two portable Nagras. I have since realised that the only reason any one person should own two Nagras is so they can indulge in a spot of worldizing.
Did you miss the live chat with Ann Kroeber today?
Rejoice! There is a recording available.
A huge round of thanks goes out to Ann for taking the time to chat with us, and thanks to everyone who participated in the chat. Note: If the webinar does not seem to be playing back correctly when you click on the link, try refreshing the page.
Update: Ann also sent along a few comments, post webinar, that she’d like me to share with you.
This is just a reminder that we have a live chat/webinar coming up on Saturday with this month’s featured sound designer, Ann Kroeber.
The chat will take place at 11AM (U.S. Pacific Time) and is, like everything we organize on this site, completely free. It will be a moderated discussion that will give you the opportunity to interact directly with Ann. If you have a webcam and microphone, have them ready. If you have a particularly interesting question, we’ll give you the opportunity to come on cam for the rest of the group so you and Ann can discuss in real time (have your headphones ready to prevent feedback loops though). [note: Skype will not be required for this, AnyMeeting has updated their client, allowing us to have multiple video/audio streams simultaneously.]
You can register for the live chat here…so sign up now! ;)
The webinar will also be recorded and available for viewing afterwards if you are unable to attend.
The Film Sound Discussion Group is back! The service we were using has updated their software, which should eliminate some of the technical difficulties we encountered with the first. What better way to reboot it than with this month’s featured designer, Ann Kroeber?
For this discussion, we’ll be talking about some of the ways work-flow was influenced by the advent of digital technology. That’s going to be our starting point, and we’ll drift along in the wind from there.
The webinar will take place at 11AM (U.S. Pacific Time) on Saturday, October 29th.
The recording of this webinar is available here.