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SoundWorks Collection

SoundWorks Collection

The Guide To Sound Effects I like to think of such sounds as having two general components: a ‘defining’ one, and an ‘impact’ one. The defining one is what sounds up front and tells the listener what the sound is, especially if combined with picture. The impact one can be anything at all, designed only to pump up the sound to hyper-real. For defining sounds, simply record what things really are: For a face slap for example, record a real slap, hand clap, slap on thigh, etc. For a body kick, record a fist on chest thud, etc. For impact sounds, anything goes.

The Hobbit In this exclusive SoundWorks Collection sound profile we visit Park Road Post Studios in Wellington, New Zealand to talk with the sound team of Director Peter Jackson's The Hobbit. Featured interviews include Re-recording Mixer Michael Hedges, Re-recording Mixer Chris Boyes, Re-recording Mixer Michael Semanick, Co-Supervising Sound Editor Brent Burge, Co-Supervising Sound Editor Chris Ward, and Dolby Atmos Re-recording Mixer Gilbert Lake. Synopsis by MixGenius - About The music world has changed. New technology has made it easy and affordable for artists to create and share their work with total independence, but the final step in making music a fully DIY enterprise - mastering - has remained a complicated and elusive step. Until now. Better Sound. Instantly.

Chuck Russom Special: Gun Sound Design Posted by Miguel Isaza on Thursday, April 29, 2010 · 11 Comments I work on a lot of games that are filled with guns. Over the years, through experimentation, screwing up, listening to movies/games with great guns sounds, and tips from other sounds designers, I’ve been able to create a process that works well for me. The biggest influence on my gun sound design has not come in the studio, but on the gun range. Where was Charlie? Chatting sound and storytelling with Dustin Cawood From the tenor of Daniel Day-Lewis' voice to the booming of canons to the echoing click of a pocket watch, Dustin Cawood created the soundtrack to "Lincoln." (Screenshot: Staff) The credits of the recently released film “Lincoln” read like a who’s who of Hollywood—Daniel Day-Lewis, Steven Spielberg, Sally Fields, Tommy Lee Jones, James Spader and Joseph Gordon-Levitt, just to name a few. There is one name listed under the Sound Department that puts Chattanooga one degree closer to the 16th president of the United States. Cleveland native and University of Tennessee at Chattanooga graduate Dustin Cawood worked as the sound effects editor for the critically acclaimed drama.

Marketing for Musicians: 100 Places to Promote Your Music Online Marketing for Musicians: 100 Places to Promote Your Music Online Thursday, September 13, 2007 at 2:10pm by Site Administrator So you’ve got the band, the rehearsal space, the songs and you’re ready to play your first show. All your friends will be there, but you’d really like to have a big audience that’s psyched to hear you sing live but you’re just not sure how to get the word out about your band. Not to worry, rockstars of tomorrow, here is a list of 100 great places you can promote your music and increase your fan base online. Music Forums and Sites

“From here on in, absolute silence.” If we break down a modern film sound track into its component parts, traditionally we’d have three indispensable units: dialog, music, and effects. Each of these elements can be further sub-divided into types of dialog (voice-over narration or diegetic speech), music (source or score), and effects (footfalls, gunfire, or ambiences). But there’s a fourth component that often goes unnoticed, mainly because of its muted presence on the sound track. I am talking about silence.

Ben Burtt Talks Lincoln Sound Design Ben Burtt was certainly in his element as a history buff working on Steven Spielberg’s Lincoln. The multiple Oscar winner and Skywalker Sound vet discussed his unique sound design predicated on authenticity. What was your approach to Lincoln?