Back around the time I was first starting out, I remember opening up a demo of Cubase VST (on my trusty PowerMac 6400) and taking a look through the various menus. Everything seemed pretty standard, but something in particular caught my eye, a menu item labeled “Ears Only”. Curious, I clicked on it, only to have my monitor go completely blank. After a few seconds of panic thinking I had broken everything, I realized that Steinberg had programmed a mode that completely disabled the monitor and forced you to just listen. At first, this option seemed like a strange addition. Why, when I’m creating sound, would I not be listening to what I’m doing? Listening while working with audio seemed like a no-brainer. However, after gaining a little more experience, this “just listen” mode began to make a lot more sense.Read More
Indiewire has published a guest post by Dolby Institute’s director Glenn Kiser in which he talks to filmmakers about the importance of sound design from the beginning of production.
Making a movie is a never-ending series of compromises, and nothing is as good as the original concept you had in mind. But if you’re really lucky, there’s a moment of alchemy that can happen in the editing room when you put the right piece of music or the right sound effect into the cut. Suddenly something magical happens, and the thing comes to life. You forget about the perfect location you couldn’t secure and the cold your lead actor had on the day you shot the emotional scene. It stops being a maddening litany of disappointments and becomes a movie.
(via musicofsound)Read More
I recently came across the Frictional Games blog and have spent the last few weeks trawling through it’s archive. It provides a wealth of informaiton on game design, and in particular discussions on the point of game narrative. One particular post, 4 Layers, a narrative design approach, written by Thomas Grip, Frictional’s creative director, raised the concept of the mental model, and the impact this can have, not only on game design, but also on a players experience of a game.
One of the main reasons to start this site back in 2008 and also one of the things that keeps me motivated to do this is the impact that some people had in my life; curiously, people who I haven’t met in person, but I’ve deeply met with my ears.
I’m talking about those sound designers who created initial routes for all of us and started to develop a truly amazing way of working with sound, by establishing the essence of this art, not just from a technical perspective but an emotional, narrative and even spiritual one. I’m so glad to make this post about about one of those sound genius, a person that I know many of us deeply admire, Alan Splet.
He had the main faculties any sound designer needs to have, as described by Splet’s widow Ann Kroeber: “attention to detail, nuance, perseverance, ability to vastly influence the mood of a scene by the choice and placement of sounds”.Read More
Broken wax cylinder containing the ‘first’ film soundtrack circa 1894-1895
In ‘broken’ month I wanted to find out a little more about what’s being done to fix (and preserve) some of the broken pieces of film history. The story of the Dickson Experimental Sound Film (link to view at the end of the article) seemed to be a good way into the subject and I am indebted to Ken Weissman, supervisor of the film preservation lab at the Library of Congress, Jerry Fabris, museum curator at the Thomas Edison National Historical Park and Paul Spehr, author and film historian, for their help putting this article together.Read More