Guest Contribution by Dennis Foley
The reflections in your control room represents the sound of your room. What sound do you ideally want from your control room? Do you want all the direct sound or straight line sound from your speakers? Do you want to include the sound of the reflections from the room in your mix? If so, how much of the room sound do you want?
Room sound is reflections. Reflections from your room walls, floor, ceiling, and rear wall are all part of the sound of the room. It is present in all rooms and must be managed correctly, if you are to hear all the sounds in your mix. Lets identify the problematic room boundary surfaces that produce these reflections.
Gordon Hempton has a new post up on his blog about recording rain and thunder that is well worth checking out:
Winds may be among the most difficult nature sounds to record, but Thunder & Rain are surely among the most risky. A microphone amid a thunderstorm is for all practical purposes a lightning rod. Here, I will draw upon three decades of experience recording in one of the wettest places in the world–the rainforests of the Olympic Peninsula, Washington, and share tips to keep you safe and your equipment running.
Continue reading the article here.
Also, now’s a good time to make use of the “OneSquareInch” coupon code on the Quiet Planet website. Between now and November 30th, it will get you 25% off. The coupon code is still valid after the 30th, but the discount drops to 10%. And in a very cool twist…10% of all proceeds from the sale of their sound libraries go to conservation efforts around the world.
The London Film School is offering another one day workshop focusing on the role of sound in story-telling. The workshop will take place on Saturday, November 24th. They’re also offering a 20% discount to Designing Sound readers.
What is it that makes the dream sequences in Hitchcock’s SPELLBOUND, Bergman’s WILD STRAWBERRIES and Coppola’s THE CONVERSATION so disturbing? What makes the ‘trip’ sequences in TRAINSPOTTING and EASY RIDER so real, the flashbacks in ONCE UPON A TIME IN THE WEST and BLADE RUNNER so palpable, and the levels of time and memory in INCEPTION and ETERNAL SUNSHINE OF THE SPOTLESS MIND so distinct and immediately recognisable?
In each case, the answer lies in the sound design.
In this new 1-day workshop, Dr. Gilbert Gabriel focuses on how characters’ subjective thoughts and feelings are signified in their experience of altered states such as those in dreams, intoxication, memory and flashbacks, terror and insanity. The workshop explores how pitch, rhythm, timbre, reverberation and fluctuation of sounds as well as the cultural import of music or song can significantly sway the emotions and audience interpretation of a film scene. It offers both a theoretical and practical way for directors, editors, composers, sound designers and screen designers to understand the relationships between speech, music and sound on film soundtracks.
For more details, and to register, follow this link. Our discount code is: Gilbert20%
The London Film School is hosting a 2 day weekend workshop with Gustavo Costantini on January 28th and 29th. Gustavo Costantini earned his PhD working under Michel Chion, is a Professor of Sound and Editing at the University of Buenos Aires, University of Cinema, and at the National University Institute for the Arts (IUNA). He is also a board member of the School of Sound and part of the editorial team of The New Soundtrack. The London Film School is also offering a 20% discount to Designing Sound readers. So if you’re in the area, you might not want to miss out on the opportunity.
You can register for the course here, and make sure to use the discount code designingsound20% during checkout.
Here is a brief description of the workshop (full description is available here):
SOUND & MUSIC TECHNIQUES FOR NARRATIVE FILMMAKING with Gustavo Costantini Saturday 28th & Sunday 29th January 2012 10.30am-5.30pm – £200 – This essential 2-day workshop aims to equip filmmakers with a better understanding of how sound and images are used in filmmaking. Rather than the blank coverage approach now demanded of many sound editors, designers and re-recording mixers, tutor Gustavo Costantini advocates soundtracks to be full of ideas rather than effects. Participants will learn key elements of sound/image strategies and be introduced to all the possible uses of sound and music in film. Extensive use of film clips ranging from THE BIRDS to SAVING PRIVATE RYAN will demonstrate how difficult it is to think in terms of sound and music and how neglected these fields still are. Exclusive material provided by Academy Award-winning Sound Editor Walter Murch will be used to reveal his working methods on the assembly of sound design and film editing. This unique footage will also show the collaboration between Murch and Anthony Minghella on the opening sequence of THE TALENTED MR RIPLEY, from first assembly to the final version.