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”.
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.
As April comes to an end and we wrap up our topic for the month, “broken”, I wanted to take a moment and share something that I learned when I was first starting out, and something that I find myself having to remember quite often: how to react when everything starts to break.
We depend on a lot of complex technologies in our day-to-day lives, some more intricate and convoluted than others. As sound designers, we often find ourselves using even more complicated and specialized gear and equipment, adding to the complexity. While a lot of time and effort has gone into making these technologies work perfectly, the simple fact of the matter is that things have a tendency to break, often when you need them the most. As an old friend of mine likes to say, “Murphy was an optimist!”
In anticipation of the UK release of Under The Skin, style and culture portal Dazed Digital had a Under The Skin Day takeover, covering all aspects of Jonathan Glazer’s new extraterrestrial epic.
It included the film’s Supervising Sound Designer Johnnie Burn and Music Supervisor Pete Raeburn revealing a few of the techniques and considerations that went into creating Under The Skin’s alien soundscape. You can read their interview here. There is also a rather interesting timeline of the soundtrack’s evolution that can be downloaded as a PDF.
Burn is co-founder of the boutique sound design agency Wave Studios.
I recently had a chance to sit down with sound designer and sound FX recordist Charles Maynes and chat about his new “LA Underground” sound library, available from Rabbit Ears Audio. Inspired by the gritty and seedy Los Angeles shown in countless films, “LA Underground” is a 10 GB collection of ambiences from all over the city, from the industrial centers near the LA River to the heart of Downtown.
Designing Sound: How did this library come about?
Charles Maynes: I had been talking to Zach Seivers and Justin Davey over at Snap Sound, who I had met through Dave Yewdall. Basically, a conversation I had with them last summer was kind of the seed for the conversation I eventually had with Michael [Raphael]. They had been hired to do a film in New York, and they were going to go out on location and record a bunch of stuff in the city and at the practical locations, and they were like, “Hey, this is a really big projects for us, so we’re going to actually invest in some Schoeps mics and stuff.” They were debating whether to go M/S or X/Y.