Exercising listening in a public outdoor space.
Sound designers by nature have an inherent curiosity towards sound. We explore the way sounds work every time we approach a project. With each new opportunity to design a sound, we ask ourselves questions such as: What object/event produced the sound(s)? Where is the sound source located in relation to the listener, and just as importantly, how does (or how will) the sound impact an audience’s emotional state when heard?
It goes without saying that the sheer act of producing our own sonic work, and by critically listening to and dissecting the works of others (as Berrak Nil Boya explored and extrapolated on in her recent post) will inherently make us stronger and better critical listeners. Though along with these practices, it is invaluable to also step away from evaluating completed, produced works and critically listen to some alternate sound sources, and in some potentially new ways; just like exercising a muscle, the more angles you can target your critical listening “muscle”, the stronger and more well-rounded it becomes.
The question then must be, other than by evaluating an already existing game or film’s audio as it was intended, how, and what, can we listen to in order to hone our listening abilities?
This post looks to add to this conversation by offering a few exercises I’ve picked up and augmented over the years and still use to this day. Once again, just like any exercise routine, training your critical listening is an on-going responsibility for any sound designer (though vitally important early in your career, continued practice is essential to maintain a high level of critical listening fitness).
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!”
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.
Stella demonstrates how cat recording NEVER happens.
About three years ago, on a whim, I adopted a 6 month old kitten. I had dealt with cats before at friends’ and family’s houses, but had never owned one, and Luna (short for “Lunatic”) was full of surprises. After her initial “moving in” period, in which she hid under the bed for nearly a week, I discovered that Luna was an exceedingly outspoken individual that needed to make sure everyone knew that she was here and ready to conquer the world (or at least the apartment):
METAMORPH is the latest sample library from Twisted Tools, makers of the designed sample libraries as well as some fun and unique Reaktor ensembles. With sounds designed by BJM Mario Bajardi and Komplex (Iter-Research), METAMORPH “takes heavily processed violins, pianos and acoustic instruments and morphs them into impacts, sci-fi atmospheres, user interface elements and beyond.”
METAMORPH comes as stereo 24-bit, 96kHz BWAV files with full SoundMiner metadata for easy searching. It includes sampler kits for Ableton Live 9′s Sampler and Simpler, Logic 9’s EXS24, and Native Instruments’ Kontakt, Battery, and Maschine; Also induced is the MP16d, Twisted Tools’ sample player. METAMORPH contains just over 2 GB of samples broken down into 10 categories: Drums, Imaging Elements, Micro, Noises, Pass By, Sci-Fi Atmos, SFX, Textures, Tonal, and Composite. The “Micro” category includes User Interface and “Microbot” elements. There’s a good selection of sounds to be had, and the added metadata makes finding things fairly easy.