Charlie Chaplin on ‘City Lights’
“Ideally, for me, the perfect sound film has zero tracks. You try to get the audience to a point, somehow, where they can imagine the sound. They hear the sound in their minds, and it really isn’t on the track at all. That’s the ideal sound, the one that exists totally in the mind, because it’s the most intimate. It deals with each person’s experience, and it’s obviously of the highest fidelity imaginable, because it’s not being translated through any kind of medium.” – Walter Murch
Silence can be sonic; sound can be silent. We’re always listening to both. When we listen to a sound, we listen to a silence. When we listen to silence, we listen to sound. The dualism behind this is just an illusion, because in reality, we only find one thing, a single coin, with two faces, but a single coin.
There’s always sound in silence, always. There’s no such thing as sound without silence. There’s no such thing as silence without sound. Both are always dependent on each other and get differentiated just because of our fantasy of reality. We could think as silence as “absence of sound” but that will not be in an absolute way because there’s no place without sound, there’s no time without sound. Silence is absence is just in partial ways, depending on the wave, all the time attached to the context the absence of a particular sounds, or just the choices around the speakers can’t reproduce.
As Designing Sound’s month devoted to Silence comes to an end, what better time to take a look at a remarkable video course that delves into the vast and interesting world of effective sound recording.
The Sound Recording Workshop (video/audio series) comes to us from Sound Librarian and presenter Stephan Schütze.
R. Murray Schafer at “listen” short film
“One can look at seeing but one can’t hear hearing” – Marcel Duchamp
As you may know, silence is the topic chosen for this month here at Designing Sound. One may think silence is not existent if we value it as an absolute sonic absence, but here I’m going to examine its role and possibility towards the act of listening to sound, silencing, not as that state of complete sonic deletion but as a force able of letting sound to be. Here’s not about asking “what is silence?” but just creating an invitation to be silent and just listen.
Photo by flickr user Carbon Arc, and used under Creative Commons license.
As dynamics month comes to a close, I thought it would be fun to talk about the evolution of film sound mediums and how they impact dynamics. Since the widespread introduction of sync sound to films in the early 20th century, the technologies involved have changed quite dramatically. From experiments with wax cylinders and phonographs to magnetic tape and Dolby Digital, each evolution in sound technology improved fidelity and dynamics, giving sound designers greater power in creating artificial worlds and engaging the audience.
In the run-up to this month’s reverb theme, former contributor Damian Kastbauer suggested we re-run this article he put together discussing the game Crackdown for XBOX. The article may be two years old, but the content remains undeniably relevant. Never one to ignore good suggestions, here we are…
One area that has been gaining ground since the early days of EAX on the PC platform, and more recently it’s omnipresence in audio middleware toolsets, is Reverb. With the ability to enhance the sounds playing back in the game with reverberant information from the surrounding space, you can effectively communicate to the player a truer approximation of “being there” and help to further immerse them in the game world. While we often take Reverb for granted in our everyday life as something that helps us position ourselves in a space (the cavernous echo of an airport, the openness of a forest), it is something that is continually giving us feedback on our surroundings, and thus a critical part of the way we experience the world.