Guest Contribution by Keith Lay
A special thank you to Keith Lay for this contribution which explores acoustics from the unique perspective of a musical composition and performance. Keith is a composer, producer, and educator based in Central Florida.
On October 20, 2012, musicians placed on rooftops, steeples, and lake boats in downtown Orlando, Florida performed “inSPIRE for 22 Brass, Carillons, C Bell and Distance” – the first experiment in “Distance Music”. The Orange County Arts & Cultural Affairs department supported the project as a part of National Arts and Humanities month.
Distance Music Concepts
As sound travels to a specific location, it is delayed by the distance in which it must travel to reach the target location or specific site. Distance Music accounts for these delays by having musicians farther from the audience play earlier, so as to make up for the time required for the sound to travel the distance.
A Distance Music piece is intended to be performed at a particular location, such that a listener cannot hear it correctly at any other place unless the distance, altitude, and terrain between the listener and music groups at that place are the same as those at the original environment. For example, inSPIRE cannot be performed in any other city than Orlando, or from any other rooftops, steeples, etc., than those for which I wrote it. Furthermore, the audience can only perceive the composer’s intentions in balance and counterpoint from a premeditated site (what is referred to as the “sweet spot” in this article).
A map of Downtown Orlando, the venue for inSPIRE. This map indicates the musicians’ locations within the city and each location’s distance from the listening “sweet spot”.
Guest contribution by Tom deMajo
A special thanks to co-founder Tom deMajo of the game studio Quartic Llama. Tom is an artist and sound designer who currently resides in Dundee.
Earlier this year, Quartic Llama was approached by the National Theatre of Scotland to make a game as part of a city-wide trans-media project called other, supporting the theatrical debut of “Let The Right One In”- a contemporary vampire story. They were keen to see if it was possible to make a game which could incorporate the work of local writers, musicians and artists, and for it to take place in the city. They were interested in finding ways that theatre and digital art/games could work together, and were very proactive, supportive and open to new ideas. We agreed that this would be an amazing opportunity for an experimental, location- based horror sound game, and in a unique partnership with the National Theatre of Scotland, we developed other.
other takes place in the city of Dundee. This atmospheric old map comes from the Dundee archives (used with their kind permission for the game and associated content).
other is quite difficult to define, but we ended up calling it an “alternate reality sound game”. This highlights the relationship the game has with traditional ARG’s which take place in the real world, and is a good description of the experience; other uses sound, interaction and your location to distort the world around you, and blurs the distinction between reality and fiction, and between game and theatre.
I caught up with Looper’s composer Nathan Johnson to talk about the dynamics between his sound-based score, the sound design of the film and between himself and director Rian Johnson. What follows is part of the transcription of our Skype conversation.
Can you talk about the dynamics between your sound-intensive soundtrack and the sound design of the film?
For any movie, I come on board mainly with the predominant thought to serve the director’s vision. I think that everyone involved in the movie is hopefully following that same approach. Rian (Johnson, director on Looper) has such a clear direction and such a clear idea of where everything is going…but he’s really open to collaboration as well. I think that’s probably a testament to Rian because he’s the ‘master in the middle’ pulling everything together and bringing all these disparate elements to the same park to play nicely together.
David Sonnenschein, the author of Sound Design: The Expressive Power of Music, Voice, and Sound Effects in Cinema and founder of SoundDesignForPros.com, has a new project. 3 Deaf Mice is an audio-music discovery game (initially targeted for PCs and Macs) where the mice need help in designing their next hit song. It aims to enhance listening skills and creativity with sonic treasure hunts and puzzles. Thanks to Aurelien Folie for this interview with David about the game and the sounds that make it.
3 Deaf Mice just launched as a Kickstarter project. Show your support by checking it out!
What is 3 Deaf Mice?
3 Deaf Mice is a game aimed toward our sound design community and beyond, where you discover the root of listening and how we create through sound. We do it through the story of the 3 Deaf Mice, who have been playing loud music for too long and have lost their hearing, so the player has to help them make their next hit song. To do this, the player has to perfect their abilities to listen to the world in different ways. By solving sonic treasure hunts and audio puzzles, they’ll be able to piece together a song called “Cheatin’ the Trap”, which consists of 10 verses, 10 tracks, and 10 game play levels. Once the player has made it all the way through the game, unlocking all 10 tracks and 10 verses, they’ll be able to create their own remix by manipulating all the elements of the song. We’ll also expand this into contests for the community to interact with one another.
Skip Lievsay needs almost no introduction: He is one of the most distinguished and prolific sound editors in the movie business. His many collaborations with The Coen Brothers, Martin Scorsese, Spike Lee and Jonathan Demme, to name just a few, are often considered classics. Lievsay has been nominated for four Academy Awards, two for No Country for Old Men and two for True Grit. He is a New Yorker but has been working in Los Angeles for several years. Recently, he moved back to NYC and talked with Designing Sound at a new Warner-sponsored sound facility on Manhattan. Part 1 of this interview can be found here.
DS: Skip, I’ve picked some different titles you worked on where I think there’s a very interesting interaction between music and sound effects – I’d love to hear your thoughts about the work. I wanted to go back in time and start out with a true classic: Martin Scorsese’s Goodfellas. I’ve heard Tom Fleischman talk a lot about his wonderful mix of the film but I don’t think I’ve heard much from you about how you did the sound effects for the film. I think one thing is to mix the film, another thing is to kind of use the songs almost like a foundation for your sound effects, which I thought was very creatively done.
SL: Yeah, it’s interesting… Marty’s really, really committed to that thing of drama and music. And in those days music was all about songs – songs from his youth and pop songs of the moment, of the day. In Goodfellas he wanted to use Layla by Eric Clapton, and as Marty and Eric had become friends on The Last Waltz, Eric said that Marty could use Layla, and he said that he would take, I think it was 50.000 dollars. That created a baseline so that they could then go to all the other players and say: “Well, Clapton’s giving us Layla for 50.000. So we wanna get that song from you for no more than 50.000”. And that enabled them to put together the 50 or 60 songs that were in the movie without it costing, you know, 50 million dollars just for the cues.