The new Moog synth: Sub Phatty… Will you be getting one?
The new Moog synth: Sub Phatty… Will you be getting one?
-Looks alot like a minimoog but apparently it has a sub oscillator and a new overdrive function (that behaves differently than the one found on the Minimoog). Can’t wait to hear more!
-A quick but still interesting overview of the soundfx and music from the recent “Batman” movie.
(pay close attention to Hans Zimmer’s monster Moog modular wall!!)
No..it’s not a remake of a classic musical, but a description of the new “sound” of music.. well, what was considered new in 1979. Still it’s a fascinating trip back to the future of yesteryear.
So, a couple of weeks ago, I accidently stumbled upon “Tron”. The original movie from 1982. Believe it or not, but I had never heard of it before (only it’s younger sequel from 2010). Right from the beginning I could see that this movie had to be a classic. The amazingly charming visuals where so cool in a very dated way, but at the same time it really had a certain beauty to it that I had never seen before. The sound design elements were very impressive.
Fast forward: Tron Legacy.
While the movie itself might not be remembered as an instant classic, the sound design is VERY impressive. The mix of all digital/synthesized layers with real world sounds is very creatively done, and…. well.. i’m just a sucker for star wars-kind of sound design.
Here is how they did it!
Here we have it in all it’s glory: The mighty Roland Space Echo RE 201.
I got one of these about 10 years ago (actually it’s bigger brother the Space Echo RE 301). It was sitting in the back of a music shop, staring at me with its beaming knobs, ins and outs… and the best thing was, i could have it for next to nothing. It was in mint condition and as soon as i took it for a spin in my home studio, I was sold.
Through the years i have used it on almost every single track i have worked with – sometimes as a normal delay, but mostly I have been using it as an instrument in it’s own right. Turn the feedback up and fiddle around with the delay time, and you can actually play this thing – you’ll get long,endless but everchanging drones that take you to outer space and beyond! I have always been a huge fan of that oscillating sound it makes – and stay tuned – i plan on sampling it at varying pitches and importing the recordings in a VST sampler – ready to play – then you’ll actually be able to do chord progressions and filter this baby!
It really is kind of ironic, but the current trend seems to be “MORE”, but with that “MORE” comes “LOW QUALITY”.
The past 10 years have allowed us to enjoy much more music, much faster and alot easier. Proportionally to that, although sadly in a negative way, the music quality has been going down like a sinking ship. -i’m not talking about aesthetics here, only the technical aspect of music/sound. Even the way we use music has changed – We “consume” music in a much more fast way – often people buy single songs, and not whole albums, because of the low price of a single and it’s availability on virtual stores like Itunes. Come to think of it, 90% percent of the time I listen to music (non-work related), I’m using my iPhone’s headphones – not exactly know for its audiophile qualities. And even more scary, they have become sort of a reference headphone for me. Whenever i do little mix projects for friends in my home studio, I often use the iPhone’s headphones to do the rough mix, because i have gotten to know them so well, I then later move on to my Adam speakers and other headphones, but I always end up checking the mix again on my little white Apple headphones… Are we slowly degenerating sound wise, because of convenience and technology? Or is it finally dawning on us that we don’t need HiDef audio, because it’s another version of “The emperors new clothes”?
Can you tell the difference? Go ahead and take the test at trustmeimascientist.com!
Nigel Godrich, one of my all time favorite producers by the way, has a collection of live performances caught on HD, featuring an amazaing array of artists ranging from Radiohead to Jarvis Cocker.
“The whole emphasis of the show is about being artist friendly and making our bands as comfortable as possible so that they can give great performances without the usual agony of TV promo which everyone has to do but no one seems to enjoy. ” -Nigel Godrich
Sound editor/mixer Andrew Walker has launched Film Sound Effects, a huge vintage sound library distributed in a modern way, independent, digital. The library started in 1966 by re-recording mixer Gerry Humphreys (Ghandi, The Italian Job, Blade Runner) and sound recordist Peter Handford (Out Of Africa, Frenzy, Hope and Glory). It was recorded originally on tape, then transfered to DAT in the 90′s and finally digitized as 48khz/24-Bit, which is the version available online.
Catalogued in two leather bound folders and with over five thousand entries, it’s been used by sound editors on over three hundred movies.Sound effects were charged by how many feet of stock were used before eventually getting mixed into the final soundtrack.
With the introduction of non linear digital editing and the ease at which cd sound effect libraries could be accessed, the library soon gathered dust in Gerry’s office.
Now after a long time spent ingesting the library into a digital file format it represents a fantastic wealth of sounds that’s unique for the period it came from.
If you’re searching for authentic sound effects for feature films, television drama,documentaries or games you’ll find this library a rich source of new material and a valuable addition to your existing sound effects libraries.
The library is available in several categories, at different prices for each pack. More info at FSE. Now below is a quick q&a I had with Andrew talking about the new project.
How this idea of the digital version of FSE started out?
I had an audio post facility based at Twickenham Film Studios together with Dean Humphreys called Crossfade. Deanʼs father Gerry was the head of the sound department at Twickenham and when he passed away in 2006 we inherited a box full of DAT tapes that had been cleared out of his office. We didnʼt initially set out to make it a commercial library rather just transfer it and add it to our existing library but after it all got digitised we realised it would make a perfect vintage library.
Could you talk us about the process of data transfer from the DATs to digital files? How you dealt with metadata on that stage?
We were lucky to have the original catalogue that referenced to the DAT tapes, it was in essence the soundminer for that era, each effect had a unique FSE number with a detailed description and category cross referenced to the DAT roll it resided on.
Transferring was a three stage process,first digitizing in each tape in its entirety. Each effect had an ident which made the second task of editing the recording and naming each file straight forward. The final part was the most time consuming, using soundminer and having the original catalogue for cross reference, each FSE file had itʼs description and category typed word for word into the metadata fields and was done whenever we had a quiet moment between jobs.
Do you know any details about the gear used back in those days for recording the sounds of the packages?
A large proportion was recorded by Peter Handford on analogue Nagra but I was at a reunion for Twickenham Film Studios recently and met John Bateman who was the ADR mixer there at the time FSE was set up. John is the voice behind the idents and he was able to recall that a lot of the effects in the weapons category were recorded by Peter on optical film back when he was serving in the Army Film Unit in the D Day landings.There is much material in this library that predates 1966, for instance theres a track of German POWʼs in the crowd category that would have been recorded by Peter himself on optical. A great many of these optical recordings form part of the Imperial War Museums sound archive.
Is there any favorite sounds you remember from the vast list of files included in the library?
Peter was renowned for his railway recordings and a large part of the National Railway Museums archiveʼs from his recordings. That category really does stand out as a testament to his passion for the railway and contains some wonderful recordings. I also love the bird category as it captures some beautiful ambiances thatʼs just as relevant today.
I wonder if there’s any sound that tells something about the recording skills of the persons who started the library or maybe any interesting accident/anecdote about those early sessions?
Peterʼs career highlights his skill as a sound recordist ,he was a pioneer in his profession being the first to use synchronous sound recording on David Leanʼs ʻSummer Madnessʼ in 1955. John Bateman also recalled to me that to his dismay, when the library was being compiled some of the recordings were edited by Peter, so for example the artillery shell
whines would have originally been part of a much longer recording.Today with hindsight it would be just as interesting to have the surrounding ambiance to those shell whines.
Is there any plan of maintaining the library and maybe uploading new material? or are you going to keep just the classic sounds?
We still have a few more categories to add and will get them up soon,after that the FSE library will be complete for all but a remaining few effects that will have to be categorised as Miscellaneous! Weʼre also collaborating with fellow sound editors at the moment and plan to start building a modern FSE library in the spirit of the original.
Reposted from www.designingsound.org