In the most recent blog post over at Sweet Justice, sound designer Chris Sweetman shares some of his decades of experience, and discusses the importance of experimentation and the use of organic sounds in modern sound design. He also discusses some of his experiences on major films, as well as his approach to tools like Izotope Iris. Head over to their blog to check it out now!
The “guts” of the Pd Destruction Patch
Guest Post by Leonard J. Paul
To fit in with May’s theme of “destruction” at DesigningSound.org, I wanted to create a patch that demonstrated how Pd (Pure Data) could be used to create interesting sounds of “digital destruction” with a fairly minimal amount of implementation. Hopefully this patch will be helpful for those wanting to learn a bit about Pd.
Just to dive into things, I made a few illustrative recordings of me playing around with the patch to try to get some entertaining samples:
I found that using Pd patches worked pretty well for the index file and that switching index files while the patch was running helped to keep things interesting. The recordings are unprocessed to give a good idea of what the patch is capable of. With a bit of mastering and effects they could be used for building blocks for different types of sound design and music as well.
Once again our friends at the Tonebenders podcast have delivered a great episode! This month, they spoke to Mad Mad Fury Road vehicle recordist Oliver Machin about his work on the movie. Head to their site to take a listen, or catch them on iTunes and Stitcher.
As many of our readers know, sound design is frequently overlooked when people start talking in-depth about media production. It’s no surprise, then, that we here at Designing Sound get pretty excited when we find out someone is taking a closer look at an element of the craft. In that spirit, we wanted to bring your attention to a Kickstarter for Actors of Sound: A Foley Art Documentary. This film by director Lalo Molina and his team (listed on the KS page) seeks to bring attention to the human and performance elements of foley, as well as the fantastic artists who do it, but they need your help to produce the movie. Head over to the KS page and check it out, but do it soon; at the time of posting, there’s only 16 days left!
In a new entry of their continuing series of film sound profiles, the fine people of SoundWorks Collection feature a discussion with Tomorrowland‘s sound designer, Kyrsten Mate, and re-recording mixer, Gary Rydstrom about their work on the recently-released movie. You can hear their discussion here.