I know, I know, I'm terrible at this whole blogging thing. But that's because I completely forget about it.
So, my experience at WAMMfest. I went Friday night, which was the night they showed all the "winners" of a certain category, but to be honest with you, I would've really liked knowing WHAT category they had entered. The [seemingly] endless line of back-to-back videos, sans-introduction was, in a word, monotonous. Now don't get me wrong, I'm not saying that the videos the artists put together were boring, I just think a little bit of background info would go a long way.
I'll admit it, I didn't stay the entire time because I could have sworn that the schedule said 7-9, and considering my drive back to good ol' HARCO, I may have left at 9:30. I would say though, that the last video/film/whatever that I saw before leaving, was the most intriguing to me. It was the one about the "open" relationship, and the writer did a fantastic job of relaying the tension in the room when the two girls accidentally meet. It was the kind of thing that was borderline "too much", because you could actually feel what was going on--even though it was complete fiction [i hope].
The other one that was interesting and disturbing was the video about the pig, and that women are butchers. Which I found slightly ironic because its a WOMEN and minorities festival. All in all, entertaining though.
Ok, so that's my WAMMFEST recap/experience/review/yaddayaddayadda. Sorry for being so late, but at least I went!
Tuesday, April 30, 2013
Tuesday, April 23, 2013
WAMM FEST WRITE UP
I really enjoyed WAMM FEST. The videos kept me really entertained and some even puzzle (which I think was the intent for those). The video with the 2 girls and the ocean, I believe they were ballet dancers, was really deep. Some of the more abstract pieces such as the one with colorful lines really intrigued me mostly due to the fact that that must have take a lot of time to sync up the animation with audio. One thing that confused me was the fact that most of these pieces dealt with the same subject matter, dancers, and I began to wonder if there was a theme. I also really enjoyed the piece with the women speaking on the behalf of the female soldiers describing war to us. All in all I'm really glad I went.
Thursday, April 18, 2013
WAMM fest impressions
I went to the WAMM fest screenings on Wednesday and Friday of last week, to see the screenings for music; and the category winners. It was very interesting to see the different entrees and the variety of submissions. On Wednesday, my favorite selection was the post modernism tutorial, since it was a tongue in cheek spoof of modern art. On Friday I really liked the Mae and Ash short film, since it had great writing and acting, even if it made everyone in the audience cringe a lot.
Tuesday, April 16, 2013
Video Analysis 4
For the purpose of this Analysis I wanted to choose something in the fantasy category where sounds are created by combinations of odd layers. I have picked a videogame Skyrim which is especially connected to me because the games developers, Bethesda Softworks, are from my hometown of Bethesda.
Scene One
15:00 Dialogue
15:01 Lots of ambient noise from the fireplace in the distance, and rustle of trees in the wind pretty soft compared to the dialogue
15:02 Low Erie synth
15:10 Synth cuts out, Dragon roar in the distance lots of reverb
15:20 Dialogue continues
15:32 Footsteps
15:35 Bird Chirps
15:36 Erie synth comes back very low
15:44 Prisoners knees hit ground then head clunks against the chopping block, two very distinct sounds
15:48 Crickets in the distance
15:57 Swing of an axe
15:58 Short thud of the decapitation
15:59 Man closest to you muddle "Oh God"
Scene Two
16:30 Same ambient noise of fire and trees/grass rustling
16:37 Thud of your knees and then head on the chopping block clunk
16:44 Dragon Roar closer and less reverb as you can see it in your screen approaching
16:45 -16:48 Flapping of dragon wings cues dramatic orchestral score
16:50 Big thud as dragon hits the tower nearby, this is synced with the bass drum from the orchestral score which I thought was a cool effect.
16:53 Swords are drawn making a shhhling sound
16:56 Dragon breathes what look like lightning balls and makes a loud lightning crash whenever it does
17:04 Solider Dialogue "Guards get the town people safe!"
17:10 Lots of crashes and explosions from the dragon
17:16 Footsteps cannot be heard over large explosions
17:20 Dialogue as crashing continues in the background
17:21 Very dramatic Orchestra continues with choir now kind of Star Wars style.
I think the best part about this game is the use of constant ambient sound. The use makes it seem as if your are in another world and are very subtle. Little things like birds chirping and crickets combined with very realistic graphics give the game a life like feel. I particularly enjoyed the dragon roar sound effect and thought it was great how when it was originally in the distance you heard the roar with lots of reverb and a large room size that gave it such great space. Out of nowhere you there are explosions everywhere as your character races thru the interactive environment. Most notably in the interactive mode is the dialogue which would vary in decibel and timbre, which would vary as you would walk away or into a new room. Sound design for video games seems to be a very daunting yet fun task as anything can really go. I believe Skyrim is a great combination of peaceful ambient sounds and roaring explosion.
Great video on the use of a real bavarian choir for the main title song:
http://www.youtube.com/watch?feature=player_embedded&v=XJ7lmWc14uo
In the podcast (link under this) Mark Lambert strips all the effects off the voice that makes the dragon roar, really cool, would love to have that effects chain!
http://www.elderscrolls.com/community/making-dragon-sandwich-sound-skyrim/
Another awesome pictures about the field recording, super cool! :
http://www.elderscrolls.com/community/making-dragon-sandwich-sound-skyrim/
Sound Editor: Mark Lambert
Studio: Bethesda Softworks
Video Analysis 3
For the purpose of this Video Analysis I will be checking out the famous "Hamburger Scene" from the classic Pulp Fiction.
Scene One
0:00 Travolta Exhales
0:02 Victim unlocks door latch and opens
0:03 - 0:05 Dead silence
0:06 Samuel Dialogue "Hey kids, how yah doin?"
0:10 Door Slams
0:11 Samuel Dialogue
0:12 Victim 2 puts feet back onto couch, very low dB on the noise
0:20 Samuel Dialogue
0:29-0:31 Dead Silence
0:32 Samuel Dialogue
0:36-0:38 Dead Silence
0:41 Victim 3 Dialogue "Yeah"
0:42 Samuel Dialogue
0:48 Victim 3 Dialogue "Yeah.. I remember"
0:49 Silence
0:50 Samuel Dialogue
Scene Two
4:00 Victim 3 Dialogue
4:10 Loud Gunshot
4:11 Samuel Dialogue "Sorry did I break your concentration?"
4:23 Gun click noise
4:24 Samuel Dialogue
4:25 Whimpering of Victim 3 in background very low
4:37 Victim 3 Dialogue "What?"
4:38 Samuel Flips table pretty loud
4:39 Table crashes on the ground
4:40 Loud interchange of dialogue between Samuel and Victim 3 back and forth
4:55 Samuel Dialogue "Say what again"
4:57 SFX of chair creaking as the Victim 3 leans back in it
4:58 Samuel Dialogue
Tarantino is famous for his choice of music within his films but I choose a scene without music to show the importance of silence. Silence is not only useful for providing dynamic range in a track but also crucial for tense scenes like this one in Pulp Fiction. There are many almost awkward silences as the victims are scared beyond belief and Samuel is almost toying with their fears. By using silence and loud SFX the viewers are just as startled as the victims in their apartment. An example is when there is no warning before Samuel unloads a single bullet into the second victim on the couch and the gun shot is very loud. By not having any music in the scene it seems very life like and tense, even though Samuel is literally killing them with kindness. The combination of dynamic range and great sound effects make for a thrilling film.
The Sound department:
Scene One
0:00 Travolta Exhales
0:02 Victim unlocks door latch and opens
0:03 - 0:05 Dead silence
0:06 Samuel Dialogue "Hey kids, how yah doin?"
0:10 Door Slams
0:11 Samuel Dialogue
0:12 Victim 2 puts feet back onto couch, very low dB on the noise
0:20 Samuel Dialogue
0:29-0:31 Dead Silence
0:32 Samuel Dialogue
0:36-0:38 Dead Silence
0:41 Victim 3 Dialogue "Yeah"
0:42 Samuel Dialogue
0:48 Victim 3 Dialogue "Yeah.. I remember"
0:49 Silence
0:50 Samuel Dialogue
Scene Two
4:00 Victim 3 Dialogue
4:10 Loud Gunshot
4:11 Samuel Dialogue "Sorry did I break your concentration?"
4:23 Gun click noise
4:24 Samuel Dialogue
4:25 Whimpering of Victim 3 in background very low
4:37 Victim 3 Dialogue "What?"
4:38 Samuel Flips table pretty loud
4:39 Table crashes on the ground
4:40 Loud interchange of dialogue between Samuel and Victim 3 back and forth
4:55 Samuel Dialogue "Say what again"
4:57 SFX of chair creaking as the Victim 3 leans back in it
4:58 Samuel Dialogue
Tarantino is famous for his choice of music within his films but I choose a scene without music to show the importance of silence. Silence is not only useful for providing dynamic range in a track but also crucial for tense scenes like this one in Pulp Fiction. There are many almost awkward silences as the victims are scared beyond belief and Samuel is almost toying with their fears. By using silence and loud SFX the viewers are just as startled as the victims in their apartment. An example is when there is no warning before Samuel unloads a single bullet into the second victim on the couch and the gun shot is very loud. By not having any music in the scene it seems very life like and tense, even though Samuel is literally killing them with kindness. The combination of dynamic range and great sound effects make for a thrilling film.
The Sound department:
| Rick Ash | .... | sound re-recording mixer |
| David Bartlett | .... | sound editor |
| Dean Beville | .... | sound editor |
| G.W. Brown | .... | sound editor |
Video Analysis 2
For the purpose of this Analysis I picked the classic TV show Seinfeld. Since it was such a large scale show, and in my opinion the best non-animated show of all time, I knew there had to be a lot of people behind the curtain and I was right. With over 20 plus personel in the sound department you can tell Seinfeld took great pride in its audio component.
From the episode "The Pick": http://www.youtube.com/watch?v=uRhOIkYxUIE
Scene One
0:01 - 0:03 Crazy slap bass solo that I still can't play
0:04 George Dialogue
0:06 Laugh Track
0:06 Jerry Dialogue
0:09 Newspaper turns page sound effect
0:10 Laugh Track
0:14 George Slams Table
0:19 Laugh Track
0:20 Elaine speaks from outside the room
0:21 George Dialogue
0:22 Laugh Track
0:23 George Dialogue
0:25 George snaps fingers
0:30 George Dialogue
0:35 Laugh Track
0:43 Sofa Thud as George sits down
0:50 Jerry's spoon taps his cereal bowl
0:57 Georges slides out antena of old school style chord-less phone
0:58 Jerry's spoon SFX again
Scene Two
4:00 Kramer Dialogue
4:01 Handheld vacum SFX
4:04 Jerry Shuts door
4:05 Jerry Dialogue
4:09 Kramer from his apartment yells "The Beach!!!" -great job by doing this, really gives a feeling of realism and space that Kramer is all the way in his apartment as it is slightly muffled.
4:10 Woman Dialogue
4:11 Laugh Track
4:19 Kramer woah noise
4:20 Laugh Track
4:24 Kramer Slaps the page
4:29 Kramer tares page out
4:30 Slap Bass solo in between scenes
4:32 Therapist dialogue
4:34 George dialogue
4:38 Both sit down on separate sofas
4:50 George fumbles around with his zipper on his jacket makes a rustling noise
4:51 George dialogue
4:59 Laugh Track
People obviously credit Larry David and Jerry Seinfeld for the beauty of Seinfeld, but I believe it was those in the smaller roles that made this show brillant. People often overlook the importance of sound even in a sitcom. The emphasize in some sounds such as Jerry's spoon hitting the bowl really make you feel as if you are in the room with them. These sounds make the show apear to be real life and they are never distracting or take away from the main focus of the scene. The laugh tracks are often criticizes as being cheesy but I think they are mixed so well that most people don't even notice over the sound of there own laughter. I believe Charlie McDaniel and Craig Porter have done an outstanding job bringing Seinfeld to life thru sound.
Here is a list of the major contributors in the Sound Department:
From the episode "The Pick": http://www.youtube.com/watch?v=uRhOIkYxUIE
Scene One
0:01 - 0:03 Crazy slap bass solo that I still can't play
0:04 George Dialogue
0:06 Laugh Track
0:06 Jerry Dialogue
0:09 Newspaper turns page sound effect
0:10 Laugh Track
0:14 George Slams Table
0:19 Laugh Track
0:20 Elaine speaks from outside the room
0:21 George Dialogue
0:22 Laugh Track
0:23 George Dialogue
0:25 George snaps fingers
0:30 George Dialogue
0:35 Laugh Track
0:43 Sofa Thud as George sits down
0:50 Jerry's spoon taps his cereal bowl
0:57 Georges slides out antena of old school style chord-less phone
0:58 Jerry's spoon SFX again
Scene Two
4:00 Kramer Dialogue
4:01 Handheld vacum SFX
4:04 Jerry Shuts door
4:05 Jerry Dialogue
4:09 Kramer from his apartment yells "The Beach!!!" -great job by doing this, really gives a feeling of realism and space that Kramer is all the way in his apartment as it is slightly muffled.
4:10 Woman Dialogue
4:11 Laugh Track
4:19 Kramer woah noise
4:20 Laugh Track
4:24 Kramer Slaps the page
4:29 Kramer tares page out
4:30 Slap Bass solo in between scenes
4:32 Therapist dialogue
4:34 George dialogue
4:38 Both sit down on separate sofas
4:50 George fumbles around with his zipper on his jacket makes a rustling noise
4:51 George dialogue
4:59 Laugh Track
People obviously credit Larry David and Jerry Seinfeld for the beauty of Seinfeld, but I believe it was those in the smaller roles that made this show brillant. People often overlook the importance of sound even in a sitcom. The emphasize in some sounds such as Jerry's spoon hitting the bowl really make you feel as if you are in the room with them. These sounds make the show apear to be real life and they are never distracting or take away from the main focus of the scene. The laugh tracks are often criticizes as being cheesy but I think they are mixed so well that most people don't even notice over the sound of there own laughter. I believe Charlie McDaniel and Craig Porter have done an outstanding job bringing Seinfeld to life thru sound.
Here is a list of the major contributors in the Sound Department:
| Dennis Kirkpatrick | .... | boom operator (166 episodes, 1991-1998) |
| Charlie McDaniel | .... | post-production sound mixer / sound re-recording mixer (132 episodes, 1992-1998) |
| Craig Porter | .... | post-production sound mixer / sound re-recording mixer (114 episodes, 1992-1998) |
| Pete San Filipo Sr. | .... | sound mixer / production sound mixer (110 episodes, 1991-1996) |
| Norman Webster | .... | sound mixer / production sound mixer (58 episodes, 1991-1998) |
| Larry Ellena | .... | sound recordist (22 episodes, 1991-1996) |
| Kathy Oldham | .... | sound re-recording mixer (21 episodes, 1996-1998) |
Mix Analysis 14
It's Always Sunny in Philadelphia
Time Code
SFX 1 SFX 2 Music Background
00-16 - - Yes Street Sounds
17-18 Lighter Sounds Yes Street Sounds
19- 31 Fuse Sounds - Yes Street Sounds
32-33 Bike Sounds Ramp noise Yes Street Sounds
34- 41 Crashing Sounds Bike/Ramp Yes Street sounds
41-45 Tv click Remote on table - -
46-59 Lighter Wind Yes Street sounds
1:00-1:13 Fuse Lighter close yes street sounds
1:14-1:27 Crashing sounds thump yes street sounds
1:28-1:34 Fireworks - yes street sounds
This scene was done in a way that would create a realistic street environment. The focal sounds was the background music to the video being made and then street sounds were placed under neath of that. Then other sounds were added on top to add to the drama in the scene. This scene however is not meant to capture complete realism. Instead this scene has comedic value and that helps to carry the sounds effects
Joshua Snyder-Sound re-recording mixer -7th Heaven and Charmed
Jeff Clark- Supervising Sound editor- Shawshank Redemption, Face Off
Studio- unable to find
Time Code
SFX 1 SFX 2 Music Background
00-16 - - Yes Street Sounds
17-18 Lighter Sounds Yes Street Sounds
19- 31 Fuse Sounds - Yes Street Sounds
32-33 Bike Sounds Ramp noise Yes Street Sounds
34- 41 Crashing Sounds Bike/Ramp Yes Street sounds
41-45 Tv click Remote on table - -
46-59 Lighter Wind Yes Street sounds
1:00-1:13 Fuse Lighter close yes street sounds
1:14-1:27 Crashing sounds thump yes street sounds
1:28-1:34 Fireworks - yes street sounds
This scene was done in a way that would create a realistic street environment. The focal sounds was the background music to the video being made and then street sounds were placed under neath of that. Then other sounds were added on top to add to the drama in the scene. This scene however is not meant to capture complete realism. Instead this scene has comedic value and that helps to carry the sounds effects
Joshua Snyder-Sound re-recording mixer -7th Heaven and Charmed
Jeff Clark- Supervising Sound editor- Shawshank Redemption, Face Off
Studio- unable to find
Mix Analysis 13
The Life of Pi (Surround)
Time Code
SFX1 SFX 2 Music Background
00-04- Wind Waves - -
05-10 Water on Boat
Cloth Sounds
10-13 Tiger Sound
Hit in the face with fish
13-19 Water Jumping fish Tiger
19-30 Tiger Skipping fish on water dialogue/ wind
31-35 Tiger Mass of fish toward boat water sounds
36-47 High pitch flying sounds Tiger
Fish swimming
48-49 Slamming boat sound fish sounds
49-53 Fish flying boat noises movement noises
54-1:03 More fish sounds tiger boat movement
1:03-1:10 High pitched sounds tiger boat movements
1:11-1:18 Tiger High pitched sounds boat movements
This clip was very intricately layered. The sound effects used were also used throughout the entire clip almost. However the way they were put together makes for a believable soundscape. All of the tiny little sounds captured the realism of the scene creating a really unique environment. The timing and the layering for just this scene must have taken a very long time. All in all I think they did a great job in capturing this environment
Studio-RBQ studios
Time Code
SFX1 SFX 2 Music Background
00-04- Wind Waves - -
05-10 Water on Boat
Cloth Sounds
10-13 Tiger Sound
Hit in the face with fish
13-19 Water Jumping fish Tiger
19-30 Tiger Skipping fish on water dialogue/ wind
31-35 Tiger Mass of fish toward boat water sounds
36-47 High pitch flying sounds Tiger
Fish swimming
48-49 Slamming boat sound fish sounds
49-53 Fish flying boat noises movement noises
54-1:03 More fish sounds tiger boat movement
1:03-1:10 High pitched sounds tiger boat movements
1:11-1:18 Tiger High pitched sounds boat movements
This clip was very intricately layered. The sound effects used were also used throughout the entire clip almost. However the way they were put together makes for a believable soundscape. All of the tiny little sounds captured the realism of the scene creating a really unique environment. The timing and the layering for just this scene must have taken a very long time. All in all I think they did a great job in capturing this environment
| Ron Bartlett | - | sound re-recording mixer- Prometheus and Die Hard |
| Eugene Gearty | - | supervising sound editor- The Departed, Hugo |
Mix Analysis 12
Regular Show
"Wrestling Rigby"
2013
Supervising Sound Editor: Kris Zimmerman
Two other works: THe Grim Adventures of Billy and Mandy, Smurfs
Re-recording Mixer: Timothy J. Borquez
Two Other works: Adventure Time, Chowder
Studio where mixed: Cartoon Network Studio
0:00: Crowd cheering, Rigby speaks
0:03: Arm swings in air
0:08: Slap on arm
0:09: Trampoline sound, thud on ground
0:10: Punching stuffed animal
0:12: Foot steps
0:13: Grunts, thud on ground
0:15: Thud on ground, grunt, Stretching sound
0:16: Common punch sound, grunt
0:18: Rigby moans
0:19: Mordecai speaks
0:20: Rigby moans
0:21: hand clap
0:22: Dragging sound, Rigby drinking a lot of liquid while there are chugging noises
0:24: Can hits ground, small splashing sound
0:25: Rigby yells, can slides across the floor
0:26: Small creaking sound, foot steps
0:28: Foot steps up on top of a metal filing cabinet
0:29: Rigby speaks
0:31: Fabric rubbing when Mordecai picks up Rigby
0:35: Mordecai speaks
0:38: Both start screaming
0:41: Wind sound when Rigby is thrown, trampoline stretching and metal bending
0:42: Rigby yells
0:43: Loud thud into the wall, bricks and wall cracks and falls, Rigby thuds into trash can
0:44: Cans bounce around trash can
0:46: Rigby moans with a reverb effect in trash can
0:47: Foot steps
0:49: Rigby moans get louder and turn into a scream, can hits floor, trash can thuds on floor
0:53: Mordecai laughs
0:55: Wing flaps
0:59: They both start laughing
1:01: Laughing abruptly stops
"Geese vs Ducks"
0:00: Music starts, bushes shake, birds singing in background
0:01: Rigby speaks
0:05: Wings flap
0:06: Mordecai speaks
0:11: Metal pens quick shake, Mordecai and Rigby laugh together quietly
0:13: Electricity buzz, geese gawk
0:15: Geese gawk, geese then honk
0:18: Mordecai talks
0:20: Lots of flapping wings, geese gawk louder
0:21: Mordecai and Rigby cheer
0:23: Small high five
0:25: Wings flapping far away, Rigby, "huh"
0:27: Bushes shake, Goose honks, music gets darker
0:28: Mordecai and Rigby scream
0:29: Bush shakes, loud thud to the ground
0:30: Music gets louder, geese gawk as a group
0:32: Dust blows, electricity buzz
0:34: Loud punch, Rigby yells
0:35: Loud punch, Mordecai grunts, more loud punches
0:38: Rigby moans, geese gawk louder, dust blows
0:40: Loud scream, loud thud onto dirt
0:42: Mordecai and Rigby moaning
0:43: Geese gawking gets louder
0:46: Mordecai speaks
0:47: Loud electricity buzz, large explosion
0:48: High pitch voice speaks
0:51: Guitar solo joins in, feet thud on ground
0:54: Mordecai and Rigby excitedly yell together
0:55: Baby duck speaks
1:01: Loud electricity buzz
1:02: Evil deep voice speaks, music changes
1:18: Baby duck speaks
1:20: Wings flap, loud music comes back
Regular show's sound sounds realistic where the show is clearly fictional with talking animals and talking inanimate objects. The show brings a realistic take on odd fictional characters. If you close your eyes and don't see the cartoon characters, the sounds could make the same scene sound like the event being portrayed is actually happening in some cases, like in the first clip when they are wrestling. The same sounds come from the cartoon movements as they would from a realistic standpoint. I believe this way of mixing the sounds, makes this show unique compared to other cartoons hows, where the sound is very animated.
"Wrestling Rigby"
2013
Supervising Sound Editor: Kris Zimmerman
Two other works: THe Grim Adventures of Billy and Mandy, Smurfs
Re-recording Mixer: Timothy J. Borquez
Two Other works: Adventure Time, Chowder
Studio where mixed: Cartoon Network Studio
0:00: Crowd cheering, Rigby speaks
0:03: Arm swings in air
0:08: Slap on arm
0:09: Trampoline sound, thud on ground
0:10: Punching stuffed animal
0:12: Foot steps
0:13: Grunts, thud on ground
0:15: Thud on ground, grunt, Stretching sound
0:16: Common punch sound, grunt
0:18: Rigby moans
0:19: Mordecai speaks
0:20: Rigby moans
0:21: hand clap
0:22: Dragging sound, Rigby drinking a lot of liquid while there are chugging noises
0:24: Can hits ground, small splashing sound
0:25: Rigby yells, can slides across the floor
0:26: Small creaking sound, foot steps
0:28: Foot steps up on top of a metal filing cabinet
0:29: Rigby speaks
0:31: Fabric rubbing when Mordecai picks up Rigby
0:35: Mordecai speaks
0:38: Both start screaming
0:41: Wind sound when Rigby is thrown, trampoline stretching and metal bending
0:42: Rigby yells
0:43: Loud thud into the wall, bricks and wall cracks and falls, Rigby thuds into trash can
0:44: Cans bounce around trash can
0:46: Rigby moans with a reverb effect in trash can
0:47: Foot steps
0:49: Rigby moans get louder and turn into a scream, can hits floor, trash can thuds on floor
0:53: Mordecai laughs
0:55: Wing flaps
0:59: They both start laughing
1:01: Laughing abruptly stops
"Geese vs Ducks"
0:00: Music starts, bushes shake, birds singing in background
0:01: Rigby speaks
0:05: Wings flap
0:06: Mordecai speaks
0:11: Metal pens quick shake, Mordecai and Rigby laugh together quietly
0:13: Electricity buzz, geese gawk
0:15: Geese gawk, geese then honk
0:18: Mordecai talks
0:20: Lots of flapping wings, geese gawk louder
0:21: Mordecai and Rigby cheer
0:23: Small high five
0:25: Wings flapping far away, Rigby, "huh"
0:27: Bushes shake, Goose honks, music gets darker
0:28: Mordecai and Rigby scream
0:29: Bush shakes, loud thud to the ground
0:30: Music gets louder, geese gawk as a group
0:32: Dust blows, electricity buzz
0:34: Loud punch, Rigby yells
0:35: Loud punch, Mordecai grunts, more loud punches
0:38: Rigby moans, geese gawk louder, dust blows
0:40: Loud scream, loud thud onto dirt
0:42: Mordecai and Rigby moaning
0:43: Geese gawking gets louder
0:46: Mordecai speaks
0:47: Loud electricity buzz, large explosion
0:48: High pitch voice speaks
0:51: Guitar solo joins in, feet thud on ground
0:54: Mordecai and Rigby excitedly yell together
0:55: Baby duck speaks
1:01: Loud electricity buzz
1:02: Evil deep voice speaks, music changes
1:18: Baby duck speaks
1:20: Wings flap, loud music comes back
Regular show's sound sounds realistic where the show is clearly fictional with talking animals and talking inanimate objects. The show brings a realistic take on odd fictional characters. If you close your eyes and don't see the cartoon characters, the sounds could make the same scene sound like the event being portrayed is actually happening in some cases, like in the first clip when they are wrestling. The same sounds come from the cartoon movements as they would from a realistic standpoint. I believe this way of mixing the sounds, makes this show unique compared to other cartoons hows, where the sound is very animated.
Mix Analysis 11
Adventure Time
"Finn and Jake visit Wildberry Princess"
2013
Supervising Sound Editor: Timothy J. Borquez
Two other works: Aladdin, Chowder
Re-recording Mixer: Eric Freeman
Two other works: Regular Show, Spongebob
Studio where mixed: Frederator Studio
0:00: Drawer closes, knives clinking, music chimes in
0:01: Foot step
0:02: Wildberry Princess speaks
0:03: Wildberry sighs, organ music starts playing
0:04: Foot steps, Wildberry singing
0:07: Dishes clink on table and slides across
0:08: Wildberry makes noises with her mouth
0:09: Jake speaks
0:11: Shuffling noise, Wildberry speaks
0:13: Finn speaks
0:14: Wildberry speaks
0:18: Dog eating pie
0:24: Human swallows pie slice whole, Finn speaks, Wildberry speaks
0:26: Both Jake and Finn chewing on pies
0:28: Both Finn and Jake spitting out pie
0:30: Finn gags
0:31: Jake makes chewing sounds
0:32: Finn coughs, Jake speaks, music becomes slower and not as bright
0:33: Wildberry speaks
0:37: Finn speaks and chain shakes
0:40: Jake speaks
0:43: Chewing on metal, makes "om om om" sounds
0:44: Wildberry speaks, music starts to bring tension
0:46: small footsteps across the room
0:47: Synth music joins in
0:49: Finn speaks
0:52: Paper picked up
0:56: Organ sound and everyone gasped
0:58: Dog licking bowl, Finn speaks
1:02: Music becomes happy, Jake goes, "om nom om", licking of the bowl gets louder
1:04: Jake speaks
1:10: Jake laughs
Adventure Time
"Sassage Party"
2013
0:00: Music plays with foot steps
0:02: Foot steps up ladder, Jake speaks, elastic sound
0:04: Creaking of wood
0:06: FIre crackling
0:09: Sizzling in frying pan, BMO talks
0:11: Fabric sound, foot steps
0:13: Finn speaks, animal grunts
0:16: BMO speaks
0:17: Little dude, "huh"
0:19: "huh", biting sound
0:20: Finn yells
0:21: Thuds instead of footsteps
0:22: BMO yells, Little dude climbs up stool
0:24: Spatula hitting Little dude, Little dude grunts
0:26: Feet hitting glass
0:28: BMO hits the floor, spatula falls soon after, Finn gasps
0:29: BMO is screaming, stretching sound, Little dude grunts
0:35: Little dude grunts louder, BMO speaks, Finn speaks
0:42: Foot steps
0:46: Finn sits down, bowl slides across table, Finn speaks, Little dude grunts
0:49: Bowl is placed on table, BMO speaks
0:52: Sizzling in frying pan
0:53: Jake speaks, slides milk across table
0:54: Milk is poured into glass
0:55: Milk carton placed back on table
0:56: Milk splashes
0:58: Finn and Jake, "om nom"
1:00: Jake speaks
1:01: Jake scratches head
1:03: Stretching sound, bowl shaking
1:04: Bowl thuds on table, Little dude grunts
1:06: Finn speaks
1:11: Loud mouth noises
1:13: Finn takes a bite of sausage
1:15: Stretching noises, bowl shaking
1:16: Loud grunt, bowl flies off screen
Adventure Time is mixed very well and sounds professionally mixed. The sound effects make are very animatic and contribute greatly to the success of the show. When the music plays in each scene, the mood is set and effectively makes the show. The sound effects are also very cartoony and makes the show very funny. A lot of the times, the music contributes as a sound effect by following foot steps, playing along with the dialogue and bringing the show together. This show is very well mixed and the right sounds are always used.
"Finn and Jake visit Wildberry Princess"
2013
Supervising Sound Editor: Timothy J. Borquez
Two other works: Aladdin, Chowder
Re-recording Mixer: Eric Freeman
Two other works: Regular Show, Spongebob
Studio where mixed: Frederator Studio
0:00: Drawer closes, knives clinking, music chimes in
0:01: Foot step
0:02: Wildberry Princess speaks
0:03: Wildberry sighs, organ music starts playing
0:04: Foot steps, Wildberry singing
0:07: Dishes clink on table and slides across
0:08: Wildberry makes noises with her mouth
0:09: Jake speaks
0:11: Shuffling noise, Wildberry speaks
0:13: Finn speaks
0:14: Wildberry speaks
0:18: Dog eating pie
0:24: Human swallows pie slice whole, Finn speaks, Wildberry speaks
0:26: Both Jake and Finn chewing on pies
0:28: Both Finn and Jake spitting out pie
0:30: Finn gags
0:31: Jake makes chewing sounds
0:32: Finn coughs, Jake speaks, music becomes slower and not as bright
0:33: Wildberry speaks
0:37: Finn speaks and chain shakes
0:40: Jake speaks
0:43: Chewing on metal, makes "om om om" sounds
0:44: Wildberry speaks, music starts to bring tension
0:46: small footsteps across the room
0:47: Synth music joins in
0:49: Finn speaks
0:52: Paper picked up
0:56: Organ sound and everyone gasped
0:58: Dog licking bowl, Finn speaks
1:02: Music becomes happy, Jake goes, "om nom om", licking of the bowl gets louder
1:04: Jake speaks
1:10: Jake laughs
Adventure Time
"Sassage Party"
2013
0:00: Music plays with foot steps
0:02: Foot steps up ladder, Jake speaks, elastic sound
0:04: Creaking of wood
0:06: FIre crackling
0:09: Sizzling in frying pan, BMO talks
0:11: Fabric sound, foot steps
0:13: Finn speaks, animal grunts
0:16: BMO speaks
0:17: Little dude, "huh"
0:19: "huh", biting sound
0:20: Finn yells
0:21: Thuds instead of footsteps
0:22: BMO yells, Little dude climbs up stool
0:24: Spatula hitting Little dude, Little dude grunts
0:26: Feet hitting glass
0:28: BMO hits the floor, spatula falls soon after, Finn gasps
0:29: BMO is screaming, stretching sound, Little dude grunts
0:35: Little dude grunts louder, BMO speaks, Finn speaks
0:42: Foot steps
0:46: Finn sits down, bowl slides across table, Finn speaks, Little dude grunts
0:49: Bowl is placed on table, BMO speaks
0:52: Sizzling in frying pan
0:53: Jake speaks, slides milk across table
0:54: Milk is poured into glass
0:55: Milk carton placed back on table
0:56: Milk splashes
0:58: Finn and Jake, "om nom"
1:00: Jake speaks
1:01: Jake scratches head
1:03: Stretching sound, bowl shaking
1:04: Bowl thuds on table, Little dude grunts
1:06: Finn speaks
1:11: Loud mouth noises
1:13: Finn takes a bite of sausage
1:15: Stretching noises, bowl shaking
1:16: Loud grunt, bowl flies off screen
Adventure Time is mixed very well and sounds professionally mixed. The sound effects make are very animatic and contribute greatly to the success of the show. When the music plays in each scene, the mood is set and effectively makes the show. The sound effects are also very cartoony and makes the show very funny. A lot of the times, the music contributes as a sound effect by following foot steps, playing along with the dialogue and bringing the show together. This show is very well mixed and the right sounds are always used.
Mix Analysis 12
Finding Nemo:
Supervising Sound Editor - Gary Rydstrom (The Legend of Bagger Vance, A.I Artificial Intelligence) and Michael Silvers (Up, Zack and Miri Make a Porno)
Re-Recording Mixer - Gary Rydstrom (Brave, Lincoln)
Dory Speaking Whale:
00:10 - Dory dialogue, gentle sound of water is continuous
00:15 - music starts
00:17 - Marlin dialogue
00:18 - Dory dialogue
00:20 - Marlin dialogue
00:26 - Dory singing, water swishes as they swim
00:28 - Marlin dialogue
00:30 - Dory humming
00:38 - Marlin dialogue
00:40 - Dory dialogue
00:41 - Marlin dialogue
00:42 - Dory dialogue
00:47 - Marlin dialogue
00:48 - Dory dialogue
00:53 - Marlin dialogue
00:54 - Dory dialogue
01:00 - Marlin dialogue
01:02 - Dory dialogue
01:03 - Marlin dialogue
01:10-01:13 - Marlin and Dory both talking
01:14 - Dory grabs Marlin, Dory dialogue
01:23 - Marlin dialogue
01:25 - Dory dialogue
01:28 - Marlin dialogue
01:46 - Dory dialogue
01:48 - Marlin dialogue
01:52 - Dory dialogue
01:53 - Marlin dialogue
01:54 - Dory dialogue
01:57 - Marlin dialogue
02:00 - Dory dialogue
02:10 - Marlin dialogue
02:14 - Dory dialogue
02:21 - Marlin dialogue
02:22 - Dory dialogue
02:23 - Marlin dialogue
02:24 Dory dialogue
02:26 - Marlin dialogue
02:27 - Dory dialogue
02:34-02:38 - Dory clapping her fins together while she talks
02:39 - Marlin dialogue
02:44 - Whale call
02:45 - Dory dialogue
02:54- Marlin interrupting Dory’s whale talk
03:38 - Crill dialogue
03:40 - Dory dialogue
This scene is pretty fun. The constant sound of gently moving water really helps to create the environment that they are in. The reverb on their voices during this particular scene really emphasizes the vastness of the area, and the fact that they are in open ocean with not much around. It lets us know that Dory and Marlin are alone and makes you feel a little uneasy about their situation. I think the sort of bubbly sound of their swimming is also a lot of fun. It’s small and fast, which is different than the sound of the approaching whale.
The trench:
00:11 - Music starts, Dory dialogue
00:15 - Dory dialogue, dialogue echoes through trench
00:21 - Marlin dialogue
00:24 - Dory dialogue
00:30 - Marlin dialogue
00:33 - Dory dialogue
00:35 - Marlin dialogue
00:38 - Dory dialogue
00:39 - Marlin dialogue
00:40 - Dory dialogue
00:43 - Marlin dialogue
00:44 - Dory dialogue
00:45 - Marlin dialogue
00:46 - Dory dialogue, the water swishes as they swim away
00:54 Marlin dialogue
00:59 - a squishy spring sound starts
01;00 - Dory dialogue
01:02 - Marlin dialogue
01:03 - Dory dialogue
01:10 - sharp electrical sound, Dory cries out
01:11 - Marlin dialogue
01:12 - Dory dialogue
01:15 - Marlin dialogue, smacks jelly, makes a sort of buzzing cry as it is knocked away
01:17 - Dory and Marlin both speak
This is just a little fun scene. Like the last one I analyzed, in the start of the scene some reverb is used to emphasize a space, this one being a large trench. It looks menacing and it’s emptiness seems eerie and unsafe. When they swim to the top of the trench, the open area and the smaller sound of the voices makes this area seem like it was the better choice. The eletrical zap of the jelly sting is loud and clashes with the quietness and gentleness of the moving ocean.
Supervising Sound Editor - Gary Rydstrom (The Legend of Bagger Vance, A.I Artificial Intelligence) and Michael Silvers (Up, Zack and Miri Make a Porno)
Re-Recording Mixer - Gary Rydstrom (Brave, Lincoln)
Dory Speaking Whale:
00:10 - Dory dialogue, gentle sound of water is continuous
00:15 - music starts
00:17 - Marlin dialogue
00:18 - Dory dialogue
00:20 - Marlin dialogue
00:26 - Dory singing, water swishes as they swim
00:28 - Marlin dialogue
00:30 - Dory humming
00:38 - Marlin dialogue
00:40 - Dory dialogue
00:41 - Marlin dialogue
00:42 - Dory dialogue
00:47 - Marlin dialogue
00:48 - Dory dialogue
00:53 - Marlin dialogue
00:54 - Dory dialogue
01:00 - Marlin dialogue
01:02 - Dory dialogue
01:03 - Marlin dialogue
01:10-01:13 - Marlin and Dory both talking
01:14 - Dory grabs Marlin, Dory dialogue
01:23 - Marlin dialogue
01:25 - Dory dialogue
01:28 - Marlin dialogue
01:46 - Dory dialogue
01:48 - Marlin dialogue
01:52 - Dory dialogue
01:53 - Marlin dialogue
01:54 - Dory dialogue
01:57 - Marlin dialogue
02:00 - Dory dialogue
02:10 - Marlin dialogue
02:14 - Dory dialogue
02:21 - Marlin dialogue
02:22 - Dory dialogue
02:23 - Marlin dialogue
02:24 Dory dialogue
02:26 - Marlin dialogue
02:27 - Dory dialogue
02:34-02:38 - Dory clapping her fins together while she talks
02:39 - Marlin dialogue
02:44 - Whale call
02:45 - Dory dialogue
02:54- Marlin interrupting Dory’s whale talk
03:38 - Crill dialogue
03:40 - Dory dialogue
This scene is pretty fun. The constant sound of gently moving water really helps to create the environment that they are in. The reverb on their voices during this particular scene really emphasizes the vastness of the area, and the fact that they are in open ocean with not much around. It lets us know that Dory and Marlin are alone and makes you feel a little uneasy about their situation. I think the sort of bubbly sound of their swimming is also a lot of fun. It’s small and fast, which is different than the sound of the approaching whale.
The trench:
00:11 - Music starts, Dory dialogue
00:15 - Dory dialogue, dialogue echoes through trench
00:21 - Marlin dialogue
00:24 - Dory dialogue
00:30 - Marlin dialogue
00:33 - Dory dialogue
00:35 - Marlin dialogue
00:38 - Dory dialogue
00:39 - Marlin dialogue
00:40 - Dory dialogue
00:43 - Marlin dialogue
00:44 - Dory dialogue
00:45 - Marlin dialogue
00:46 - Dory dialogue, the water swishes as they swim away
00:54 Marlin dialogue
00:59 - a squishy spring sound starts
01;00 - Dory dialogue
01:02 - Marlin dialogue
01:03 - Dory dialogue
01:10 - sharp electrical sound, Dory cries out
01:11 - Marlin dialogue
01:12 - Dory dialogue
01:15 - Marlin dialogue, smacks jelly, makes a sort of buzzing cry as it is knocked away
01:17 - Dory and Marlin both speak
This is just a little fun scene. Like the last one I analyzed, in the start of the scene some reverb is used to emphasize a space, this one being a large trench. It looks menacing and it’s emptiness seems eerie and unsafe. When they swim to the top of the trench, the open area and the smaller sound of the voices makes this area seem like it was the better choice. The eletrical zap of the jelly sting is loud and clashes with the quietness and gentleness of the moving ocean.
Mix Analysis 11
The Hunger Games:
Supervising Sound Editor - Lon Bender (Drive, Shrek)
Re-Recording Mixer - Michael Keller (Green Lantern, 2012) and Mike Prestwood Smith (Casino Royale, Harry Potter and the Order of the Phoenix)
Training Scene:
00:00-00:03 - Whooshing as the machete is swung, mannequin parts being cut off, grunting as the boy moves
00:02 - music starts
00:05 - grunt, whoosh as spear is thrown
00:06 - spear hits target
00:09 - bow is pulled back
00:10 - arrow is released, hits target
00:17- - mechanical targets moving
00:23-00:25 - knives thrown, hit targets
00:27- Peeta climbing rope, grunting
00:31 - Peeta struggling in rope, rope creaking
00:34 - Peeta falls, lands on mat and grunts
00:35-00:37 group of kids laughing at Peeta
00:39 - Katniss dialogue
00:41 Peeta dialogue
00:45 Peeta dialogue
00:47 Katniss dialogue
00:52-00:54 - Katniss footsteps, away
00:59-01:02 - Peeta footsteps
01:03 - Peeta grabs heavy metal object
01:04-01:07 - Peeta drags object off of rack
01:08-01:12 - Peeta staggers up stairs with the object
01:17 - Group laughs
01:20- Peeta grunts, hurls metal object
01:21 - object hits rack of metal spears
01:22-01:24 - spears clatter to ground
01:26-01:32 Peeta breathing heavily
This scene is pretty much all about the skills these kids have. There’s almost no dialogue involved, so the sound effects used for each of the weapons is very important. The point is to make these kids seem extremely dangerous, so the more sinister the sound of their weapon flying through the air, or the bigger sound the impact of the weapon creates, the scarier the kids seem. The sound of the movement is important, as it shows a sense of speed and agility, which is different from when we hear the struggling of Peeta on the rope wall. The satisfying thud and the clatter of the spears changes the way the competition sees Peeta because we know the metal object is very heavy, which is also conveyed through the sound it makes and the way his footsteps and movement changes while he is carrying it.
Style Prep:
00:00 music starts
00:02-00:11 - indistinct crowd chatter and movement
00:10 - Caesar dialogue
00:17 - Seneca dialogue
00:22 - Caesar interjects, Seneca continues
00:27 - footsteps
00:29-00:33 shower head running
00:35-00:37 - gentle hair brushing
00:40 - pluck with tweezers
00:43- showerhead running
00:45 - scrubbing Katniss
00:46 - cut hair with scissors
00:47-00:48 - footsteps walking away
00:49 - pull off wax on leg, Katniss grunts
00:50 - pull off wax again
00:54 - Katniss dialogue
00:58 - stylist dialogue
01:07 - metal shifting
01:08 - Cinna dialogue
01:15 - Katniss dialogue, Katniss sits up on metal table
01:16 - Cinna dialogue, sits down in chair
01:22 - Katniss dialogue
01:24 - Cinna dialogue
01:35 Katniss dialogue
01:37 - Cinna dialogue
01:41 - Katniss dialogue
01:43 - Cinna dialogue
01:50 - Katniss dialogue
01:53 - Cinna dialogue
02:06 - Katniss dialogue
The part of the scene where Katniss is going through the stylists is throughly helped by the sounds used with each step. Each of the sounds are harsh and isolated. It’s the capital, transforming Katniss into what they think she should be, so the sounds are exactly happy because it is to be viewed as a negative thing by the viewer. We know what they want her to be is unnatural, so they are putting her through this makeover.
Supervising Sound Editor - Lon Bender (Drive, Shrek)
Re-Recording Mixer - Michael Keller (Green Lantern, 2012) and Mike Prestwood Smith (Casino Royale, Harry Potter and the Order of the Phoenix)
Training Scene:
00:00-00:03 - Whooshing as the machete is swung, mannequin parts being cut off, grunting as the boy moves
00:02 - music starts
00:05 - grunt, whoosh as spear is thrown
00:06 - spear hits target
00:09 - bow is pulled back
00:10 - arrow is released, hits target
00:17- - mechanical targets moving
00:23-00:25 - knives thrown, hit targets
00:27- Peeta climbing rope, grunting
00:31 - Peeta struggling in rope, rope creaking
00:34 - Peeta falls, lands on mat and grunts
00:35-00:37 group of kids laughing at Peeta
00:39 - Katniss dialogue
00:41 Peeta dialogue
00:45 Peeta dialogue
00:47 Katniss dialogue
00:52-00:54 - Katniss footsteps, away
00:59-01:02 - Peeta footsteps
01:03 - Peeta grabs heavy metal object
01:04-01:07 - Peeta drags object off of rack
01:08-01:12 - Peeta staggers up stairs with the object
01:17 - Group laughs
01:20- Peeta grunts, hurls metal object
01:21 - object hits rack of metal spears
01:22-01:24 - spears clatter to ground
01:26-01:32 Peeta breathing heavily
This scene is pretty much all about the skills these kids have. There’s almost no dialogue involved, so the sound effects used for each of the weapons is very important. The point is to make these kids seem extremely dangerous, so the more sinister the sound of their weapon flying through the air, or the bigger sound the impact of the weapon creates, the scarier the kids seem. The sound of the movement is important, as it shows a sense of speed and agility, which is different from when we hear the struggling of Peeta on the rope wall. The satisfying thud and the clatter of the spears changes the way the competition sees Peeta because we know the metal object is very heavy, which is also conveyed through the sound it makes and the way his footsteps and movement changes while he is carrying it.
Style Prep:
00:00 music starts
00:02-00:11 - indistinct crowd chatter and movement
00:10 - Caesar dialogue
00:17 - Seneca dialogue
00:22 - Caesar interjects, Seneca continues
00:27 - footsteps
00:29-00:33 shower head running
00:35-00:37 - gentle hair brushing
00:40 - pluck with tweezers
00:43- showerhead running
00:45 - scrubbing Katniss
00:46 - cut hair with scissors
00:47-00:48 - footsteps walking away
00:49 - pull off wax on leg, Katniss grunts
00:50 - pull off wax again
00:54 - Katniss dialogue
00:58 - stylist dialogue
01:07 - metal shifting
01:08 - Cinna dialogue
01:15 - Katniss dialogue, Katniss sits up on metal table
01:16 - Cinna dialogue, sits down in chair
01:22 - Katniss dialogue
01:24 - Cinna dialogue
01:35 Katniss dialogue
01:37 - Cinna dialogue
01:41 - Katniss dialogue
01:43 - Cinna dialogue
01:50 - Katniss dialogue
01:53 - Cinna dialogue
02:06 - Katniss dialogue
The part of the scene where Katniss is going through the stylists is throughly helped by the sounds used with each step. Each of the sounds are harsh and isolated. It’s the capital, transforming Katniss into what they think she should be, so the sounds are exactly happy because it is to be viewed as a negative thing by the viewer. We know what they want her to be is unnatural, so they are putting her through this makeover.
Monday, April 15, 2013
Mix Analysis 12
Surround (in stereo)
Radiohead-Vegetable
Tempo-108
Time Signature- 4/4
Levels:
Vocals: 6
Lead Guitar:8
Rhythm Guitar: 6
Bass:5
Kick:6
Snare:7
Cymbals:6
Pan:
Vocals: C
Lead Guitar: 5
Rhythm Guitar: -5
Bass: C
Kick: C
Snare:C
Cymbals: -4/4
Time Code:
Guitar, Bass and Drums are consistent throughout the song. Vocals are in and out from part to part of course.
00-11 Intro
12- 33 Verse 1
34- 49 Pre-Chorus 1
50-1:00 Interlude
1:01-1:23 Verse 2
1:24-1:38 Pre Chorus 2
1:39-2:00 Chorus 2
2:01- 2:18 Verse 3
2:19- 2:40 Solo
2:41-3:14 Chorus 3/Outro
Producer: Sean Slade (Hole, Pixies)
Engineer: Sean SladeChipping Norton Recording Studios and Courtyard Studios (England)
Mastering Engineer: Not found
This song I imagine would be really straight forward in surround. I picture some vocals in the rear but mostly up front. The guitars would probably be toward the back and the solo would be off to one side. All in all its a really listenable song and very easy on the ears. The tones are well blended and the song flows. The arrangement was very simple yet still effective.
Radiohead-Vegetable
Tempo-108
Time Signature- 4/4
Levels:
Vocals: 6
Lead Guitar:8
Rhythm Guitar: 6
Bass:5
Kick:6
Snare:7
Cymbals:6
Pan:
Vocals: C
Lead Guitar: 5
Rhythm Guitar: -5
Bass: C
Kick: C
Snare:C
Cymbals: -4/4
Time Code:
Guitar, Bass and Drums are consistent throughout the song. Vocals are in and out from part to part of course.
00-11 Intro
12- 33 Verse 1
34- 49 Pre-Chorus 1
50-1:00 Interlude
1:01-1:23 Verse 2
1:24-1:38 Pre Chorus 2
1:39-2:00 Chorus 2
2:01- 2:18 Verse 3
2:19- 2:40 Solo
2:41-3:14 Chorus 3/Outro
Producer: Sean Slade (Hole, Pixies)
Engineer: Sean SladeChipping Norton Recording Studios and Courtyard Studios (England)
Mastering Engineer: Not found
This song I imagine would be really straight forward in surround. I picture some vocals in the rear but mostly up front. The guitars would probably be toward the back and the solo would be off to one side. All in all its a really listenable song and very easy on the ears. The tones are well blended and the song flows. The arrangement was very simple yet still effective.
Mix Analysis 11
Flobots-Handlebars
Tempo: 140 bpm
Time signature: 4/4
Levels:
Vocals: 8
Trumpet: 7
Bass: 6
Guitar: 5
Viola: 6
Kick: 6
Snare: 7
Cymbals: 7
Pan:
Vocals: C
Trumpet:
Bass: C
Guitar: -4
Viola: 4
Kick: C
Snare: C
Cybmals: C
Time Code:
00-13 Intro- Just Viola
14-27 Chorus 1- Drums, Viola, Bass, Vocals
28-53 Verse 1- Drums, Viola, Bass, Vocals, Guitar
54-1:06 Pre-chorus- Drums, bass, trumpet enters at end, guitar, vocals
1:07-1:34 Verse 2- Drums, Viola, Bass, Guitar, Vocals
1:35-1:48 Pre-chorus- Same as first
1:49-2:14 Trumpet solo with viola, bass and drums
2:15-2:40 Verse 3- drums, guitar, bass, viola, vocals
2:41- 3:07 Pre Chorus Same as before
3:08-3:29 Chorus same as chorus 1
This song was, in my mind, really well written. Even though this song is incredibly simple the feeling the music gives with it helps to really convey its message. The vocals in this are used more like an instrument than lyrics. The vocals are certainly the focal point of this song until the trumpet comes in playing the accompaniment.
The only information provided about this song is the band member, no studio, producer, or engineer information was able to be obtained.
Tempo: 140 bpm
Time signature: 4/4
Levels:
Vocals: 8
Trumpet: 7
Bass: 6
Guitar: 5
Viola: 6
Kick: 6
Snare: 7
Cymbals: 7
Pan:
Vocals: C
Trumpet:
Bass: C
Guitar: -4
Viola: 4
Kick: C
Snare: C
Cybmals: C
Time Code:
00-13 Intro- Just Viola
14-27 Chorus 1- Drums, Viola, Bass, Vocals
28-53 Verse 1- Drums, Viola, Bass, Vocals, Guitar
54-1:06 Pre-chorus- Drums, bass, trumpet enters at end, guitar, vocals
1:07-1:34 Verse 2- Drums, Viola, Bass, Guitar, Vocals
1:35-1:48 Pre-chorus- Same as first
1:49-2:14 Trumpet solo with viola, bass and drums
2:15-2:40 Verse 3- drums, guitar, bass, viola, vocals
2:41- 3:07 Pre Chorus Same as before
3:08-3:29 Chorus same as chorus 1
This song was, in my mind, really well written. Even though this song is incredibly simple the feeling the music gives with it helps to really convey its message. The vocals in this are used more like an instrument than lyrics. The vocals are certainly the focal point of this song until the trumpet comes in playing the accompaniment.
The only information provided about this song is the band member, no studio, producer, or engineer information was able to be obtained.
Tuesday, April 9, 2013
Full Video Analysis
My first analysis for video is a video game, Battlefield 4 schedule for release in Fall 2013
Audio Engineer - Stefan Strandberg
Full interview: http://www.gamespot.com/features/sound-byte-meet-the-audio-director-of-battlefield-3-6307723/
Developers - DICE/EA
Video: http://www.youtube.com/watch?v=U8HVQXkeU8U
Starts with at 0:05
"Total Eclipse of the Heart - Bonnie Tyler"
with a lot of added reverb that fades in
0:24 ambient bass heavy noise comes in (blowing wind)
0:33 High pitch reverb ring
0:30 Dialog "Andy... look I'm sorry..."
0:35 Moan
0:39 Filter effect as the view from the water goes into the view of the 4 men in the submerged truck.
0:41 "Turn Around" switches to a lo-fi radio quality track and plays throughout
0:43 Dialog "Rucker you conscious? get back in the game brother.."
0:47 Loud foot stomps against glass
0:50 Dialog "That's some of the finest driving I've ever seen... till the end."
0:55 Light flashes on with a flicker
0:57 Dialog "Oh shit, the seat won't budge"
0:59 Bang against chair, water starts to drip
1:01 Heavy breathing *song stops*
1:05 Dialog continues - "Shoot out the window or we'll all die"
1:30 Shoots window underwater bass thump and then the rush of water FX take place
Next Scene
5:26
Troops rally in the woods to get to the extraction zone.
Ambient dark music plays with a bass drum on the 1 and 3 and odd sounding percussion on the 2 and 4
5:26 Loud food stomp into shallow water, swamp like
5:29 "Clear this side of the train tracks"
5:30 Reverb crash
5:31 Foot Steps
5:35 Bush rustling noise
5:39 Reverb crash
5:40 Erie detuned rolling bass comes in
5:41 Radio command comes in lo-fi to mimic real walkie talkie
5:47 low digital beeping noise appears as your new mission objective comes on screen
5:48 Multiple footsteps
5:53 Rumbling train comes by over top, which isn't very loud
6:00 "There's the house"
6:03 Faint bird screeching gets louder as your approach them, very well done
6:04 Low panting as you sprint
6:13 Very realistic landing sound as your jump off a ledge because there is the sound of you hitting the ground loudly, then softer as you pick yourself up.
6:14 Foot splashing as you run thru shallow water
6:20 A cool mix between seagul noises and car engines as they approach in the distance
6:24 Low panting starts again as you sprint away
When watching this 17 minute gameplay trailer I was engulfed by sound from the very beginning. I really enjoyed the use of Total Eclipse of the Heart by Bonnie Tyler in the intro where there is nothing but darkness surrounding you. It quickly cuts to the troops in a submerged vehicle and I really enjoyed how the song continued to play on the car radio with a lo-fi effect. The ambient sound of the water pressure forcing itself onto the vehicle was also a great effect. The mixing of the dialogue was even better because the volume would vary weither the character was facing the speaker or not and would vary as the distant between you got greater. During battle scenes, there is no music and constant explosions and gun fire. As soon as you finish the task and begin creeping around again thru the woods, an erie ambient music plays which is subtle but really sets the tone. The mixture between the super realistic graphics and the seamless audio makes for a virtual real war experience.
This quote from the audio engineer Stefan Strandberg really shows his dedication to his craft,
"So, one example would be when we ran around with weapon replicas in a public park to get snow footsteps and equipment sounds. Let me remind you that there are civilians in almost all parks in Stockholm. Not only does it look extremely silly when two guys [are] running in sync with a lot of recording equipment attached to them, but it would probably make me want to go call the police immediately and report two lunatics with weapons running around, crunching and proning in a park."
I thought this was simply amazing and portrays a very funny image as well. Stefan must really enjoy his job. The rustling of your equipment as you sprint around is very realistic as modern troops often carry up to 80 pounds of gear at time. For a real life experience, there is no better way to get your audio than going out in the field. Stefan and his team really take pride in utilizing the outdoors. There was over 20 footprint clips used in combination, anywhere from running on sand, snow, shallow swamp, creak, 2 foot deep water. I am sure the average video gamer does not notice these minute details and that is the point. The sounds are so realistic and well mixed that you often don't notice the many small environmental sounds that occur. If a sound was too loud, or unrealistic it would stick out like a sore thumb but this is never the case. More often than not the best way to get a sound is to go out there and grab it.
Stefan on the term "Sound Designer":
"This title means different things in different companies, I would argue. But the basic concept of this labor is to create audio concepts and solutions for the title you are working on. It includes the craft of making noises, but that's only a small part of it if you work inside a studio that is making games. The list of tasks can be long, but it includes a wide variety of recording, editing, mixing, talking, getting the thing to work, banging your head against a wall, and not giving up."
I was confused with all the different titles floating around the field and this cleared it up for me. Not only does he go out and craft all the sounds, which seems like a large enough task, but he handles the audio the whole way until the game hits selves. I especially sympathize with the last two steps: "banging your head against a way and not giving up." It's nice to know that I am not the only one that gets frustrated during the audio producing process, and that even such a decorate professional loses it every once and a while. I found this very inspiring because I realize its ok to get frustrated but it is not OK to simply give up. Sometimes the best thing to do is just walk away and save it for another day, and remember that working with audio, if you are an audiophile, is supposed to be a fun.
Audio Engineer - Stefan Strandberg
Full interview: http://www.gamespot.com/features/sound-byte-meet-the-audio-director-of-battlefield-3-6307723/
Developers - DICE/EA
Video: http://www.youtube.com/watch?v=U8HVQXkeU8U
Starts with at 0:05
"Total Eclipse of the Heart - Bonnie Tyler"
with a lot of added reverb that fades in
0:24 ambient bass heavy noise comes in (blowing wind)
0:33 High pitch reverb ring
0:30 Dialog "Andy... look I'm sorry..."
0:35 Moan
0:39 Filter effect as the view from the water goes into the view of the 4 men in the submerged truck.
0:41 "Turn Around" switches to a lo-fi radio quality track and plays throughout
0:43 Dialog "Rucker you conscious? get back in the game brother.."
0:47 Loud foot stomps against glass
0:50 Dialog "That's some of the finest driving I've ever seen... till the end."
0:55 Light flashes on with a flicker
0:57 Dialog "Oh shit, the seat won't budge"
0:59 Bang against chair, water starts to drip
1:01 Heavy breathing *song stops*
1:05 Dialog continues - "Shoot out the window or we'll all die"
1:30 Shoots window underwater bass thump and then the rush of water FX take place
Next Scene
5:26
Troops rally in the woods to get to the extraction zone.
Ambient dark music plays with a bass drum on the 1 and 3 and odd sounding percussion on the 2 and 4
5:26 Loud food stomp into shallow water, swamp like
5:29 "Clear this side of the train tracks"
5:30 Reverb crash
5:31 Foot Steps
5:35 Bush rustling noise
5:39 Reverb crash
5:40 Erie detuned rolling bass comes in
5:41 Radio command comes in lo-fi to mimic real walkie talkie
5:47 low digital beeping noise appears as your new mission objective comes on screen
5:48 Multiple footsteps
5:53 Rumbling train comes by over top, which isn't very loud
6:00 "There's the house"
6:03 Faint bird screeching gets louder as your approach them, very well done
6:04 Low panting as you sprint
6:13 Very realistic landing sound as your jump off a ledge because there is the sound of you hitting the ground loudly, then softer as you pick yourself up.
6:14 Foot splashing as you run thru shallow water
6:20 A cool mix between seagul noises and car engines as they approach in the distance
6:24 Low panting starts again as you sprint away
When watching this 17 minute gameplay trailer I was engulfed by sound from the very beginning. I really enjoyed the use of Total Eclipse of the Heart by Bonnie Tyler in the intro where there is nothing but darkness surrounding you. It quickly cuts to the troops in a submerged vehicle and I really enjoyed how the song continued to play on the car radio with a lo-fi effect. The ambient sound of the water pressure forcing itself onto the vehicle was also a great effect. The mixing of the dialogue was even better because the volume would vary weither the character was facing the speaker or not and would vary as the distant between you got greater. During battle scenes, there is no music and constant explosions and gun fire. As soon as you finish the task and begin creeping around again thru the woods, an erie ambient music plays which is subtle but really sets the tone. The mixture between the super realistic graphics and the seamless audio makes for a virtual real war experience.
This quote from the audio engineer Stefan Strandberg really shows his dedication to his craft,
"So, one example would be when we ran around with weapon replicas in a public park to get snow footsteps and equipment sounds. Let me remind you that there are civilians in almost all parks in Stockholm. Not only does it look extremely silly when two guys [are] running in sync with a lot of recording equipment attached to them, but it would probably make me want to go call the police immediately and report two lunatics with weapons running around, crunching and proning in a park."
I thought this was simply amazing and portrays a very funny image as well. Stefan must really enjoy his job. The rustling of your equipment as you sprint around is very realistic as modern troops often carry up to 80 pounds of gear at time. For a real life experience, there is no better way to get your audio than going out in the field. Stefan and his team really take pride in utilizing the outdoors. There was over 20 footprint clips used in combination, anywhere from running on sand, snow, shallow swamp, creak, 2 foot deep water. I am sure the average video gamer does not notice these minute details and that is the point. The sounds are so realistic and well mixed that you often don't notice the many small environmental sounds that occur. If a sound was too loud, or unrealistic it would stick out like a sore thumb but this is never the case. More often than not the best way to get a sound is to go out there and grab it.
Stefan on the term "Sound Designer":
"This title means different things in different companies, I would argue. But the basic concept of this labor is to create audio concepts and solutions for the title you are working on. It includes the craft of making noises, but that's only a small part of it if you work inside a studio that is making games. The list of tasks can be long, but it includes a wide variety of recording, editing, mixing, talking, getting the thing to work, banging your head against a wall, and not giving up."
I was confused with all the different titles floating around the field and this cleared it up for me. Not only does he go out and craft all the sounds, which seems like a large enough task, but he handles the audio the whole way until the game hits selves. I especially sympathize with the last two steps: "banging your head against a way and not giving up." It's nice to know that I am not the only one that gets frustrated during the audio producing process, and that even such a decorate professional loses it every once and a while. I found this very inspiring because I realize its ok to get frustrated but it is not OK to simply give up. Sometimes the best thing to do is just walk away and save it for another day, and remember that working with audio, if you are an audiophile, is supposed to be a fun.
Saturday, April 6, 2013
Mix Analysis 7
Song: The Boy Who Wouldn't Hoe Corn
Artist: Alison Krauss & Union Station
Album: New Favorites
Year: 2001
Engineer: Gary Paczosa
Mixer: Doug Sax
Studio: I could not find it.
Mixer: Doug Sax
Studio: I could not find it.
Sound Source Pan Level
Male Vocals 0 9
Female Vocals 0 8
Guitar -6 to 6 7
Bass 0 6
Dobro -5 to 1 8
Mandolin -6 to 6 7
Fiddle -3 to 3 8
Banjo 5 8
You may have heard this song on "Oh Brother Where Art Thou". The dobro works so well for this song with the way it can express almost like another voice. The fun part about the style is that there is no percussion the whole rhythm is driven by string instruments.
Song Form
Intro (Dobro and Guitar) 0:00-0:37
Verse 1 0:37-1:10
Guitar and Dobo Interlude 1:10-1:15
Verse 2 1:15-1:50
All the instruments come in 1:50-2:14
Verse 3 2:14-2:37
Fiddle Solo 2:37-2:58
Verse 4 2:58-3:20
Banjo Solo 3:20-3:41
Verse 5 (Alison and Dan) 3:41-4:05
Verse 6 (Instruments drop out) 4:05-4:41
Tuesday, April 2, 2013
Mixing Analysis 9 Comparison
For the purpose of this Analysis I will be comparing my thoughts on Aaliyah's Rock The Boat. This was Ed's 7th mix analysis, and I picked it at complete random in hopes to hear something completely different.
Aaliyah - Rock The Boat
BPM - 89.5
Aaliyah - Rock The Boat
BPM - 89.5
"Produced/Mixed by Eric Seats & Rapture Stewart, a production duo known as Key Beats. They have worked with Pati Labelle and Montel Jordan.
Recorded at Manhattan Center Studio."
Intro 0:00 - 0:30
Ambient Beach noises
Features Seagulls and footsteps with sync with Aaliyah in the video.
Cool intro, goes great with the concept.
Sets a cool tropical vibe to the track.
Pre-Verse
Sounds like a vocoded guitar ala Peter Frampton style.
Synth panned towards right is an octave higher than one of left.
Percussion
Shaker and a reverberated electronic clap
Vocals
Aaliyah ad libs "mmmm" "yaaah"
Guitar
Funky twangy guitar with reverb
Bass 0:46
Two nice rounded bass stabs, Sounds like an 808 Kick
Transitions with a horned synth play 3 stabs that leads into the verse
Verse 0:51
Great full beat
On the 3/4 beat there is a synth ambient stab
I love the symbol at 0:53 and wood hit at 0:54 and the tom hit at 1:03
Not a lot of hip hop/Rn'B producers seem to use acoustic drum samples so I found this refreshing and interesting to listen too, they fit together real well and makes for a great groove
I agree with Ed that Aaliyah's voice in the verses seems to be for ambience and though it is fairly dominant the elements of the beat gain most of your attention
A lot of different samples are used around to give this a pretty complex sound, there is always a really low ambient synth that fades out and the end of every 2 bars.
1:32 Nice Snare and Tom fill that leads to Chorus
Bass
2 Stabs at the beginning of one bar every 2
Chorus 1:34
Same percussion elements
Bass - 18 dB definitely the most dominant in terms of dB in the track
Same pattern as verse
New lead comes on the 3 note of the first bar, very moog like and funky plucking style with a short release and delay.
Vocals are a little louder and more dominant in chorus
Verse 1:52
Same as verse one except, ambient synth elements are taken out which give a more raw in your face sound.
Synth Lead from chorus is added.
2:20
New Ad-Lips are added and the "Let's coast" is louder than the normal vocals and noticeably dry in comparison.
Producer just a great job of using a lot of different instrumental elements while not over crowding and over layering.
Also everything after 15000 Hertz is brick wall filtered with no Q. Not sure about this technique but I see it on more and more tracks as I analyses them i'll have to look into it.
2:38 Chorus
New ad lips
"work it babe" 2:44
Noticeably dryer and louder than normal vocals
Chorus is 16 bars as opposed to just 8.
3:20 Bridge
The funky delayed guitar stab really sets that sexy tone that song is going for at 3:25
no Kicks in the first bar nice technique
3:46 Verse
Vocals are starting to take dominance, great chorus effect using multiple layered tracks to give a full sound yet very subtle like a whisper.
Chorus 4:26
Heavy Ad-lips
Outro
1 bar of no beat just lead and vocal
New beat with a kick infront of the snare. Real cool outro, not many producers would have done something unique like that in this field.
Little high pass filter sweep at the end and thats all.
I thank Ed and agree with him on most of his points. I like the use of the term "hypnotic mix", and believe this track is a great example. The beat has such a great groove that it stays constant the whole track with only a couple of transitions. I love the layered Aaliyah vocals at the end and it seems that after the first chorus she just keeps getting more dominant in the mix. I don't care for the dry ad libs too much and find them to be kind of distracting.
The guitar is one of my favorite elements, and though it sits pretty low in the mix it is crucial to keep that sexy, funky vibe going. Ed did a great job in pointing out the narrowness of the mix. When I checked it out in iZotope Ozone 5 and there is a lot of width on the vocals which gives them such presence and mellow sound chorus-y sound. This track makes me want to get into producing of some R n' B tracks. I love the simplicity and emphasize on the basic elements of voice and percussion.
Mixing Analysis 8
Metallica - The Day That Never Comes
Producer - Rick Rubin (Grammy - Producer of the Year 2009)
Album - Death Magnetic (Grammy - Metal Album of the Year 2009)
BPM - 130.87
Intro 0:00 - 0:15
Heavy Reverb semi-clean plucking guitar -Slight Delay
0:15 3 Kick and Snare hits to lead in next guitar
0:16 Heavily distorted sustained guitar playing riff over plucking guitar
2 guitars playing different octaves
0:34 Guitar solo
Drums fill at the end to transition
Pre-verse 0:50
2 Plucking guitars
0:57 Kick and Crash hits on the one of every bar
Verse 1:05
Full Drums
Kick -12 dB
Snare -11 dB
Crash - 30 dB panned 10 R
2 Plucking Guitars - 20 dB
1:22 James Vocal comes in, pretty dry heavy compressed -13 dB
Chorus 1:54
Heavy Distorted Chords
Bass comes in
2:07 High Riff comes in
2:17 Snare Roll
Transition 2:22
2:22 16th Note Snare hit synced with guitar for a cool transition effect
2:25 Sustained note and Lyric before 2nd verse
Second Verse 2:28
Sustained Guitar panned 10 L
Strumming guitar panned 15 R
Second Chorus 3:15
Same as first
3:50 Second Transition into "Bridge"
Synced Snare hits 4 bars
5:00 Breakdown into Solo
Dual Guitar one octave higher panned to the right 15
octave lower panned 15 L
5:54 Third Guitar comes in
Solos until sudden stop at end
I have always enjoyed Metallica instrumentally, and there songs with no vocals are usually my favorite tracks. There are always multiple layers of guitars in a Metallica track and Rubin mixes them together brilliantly. It almost always seems as if every guitar is double and panned slightly to each side. This adds a great amount of depth with guitar, a mono instrument. The EQing of the multiple guitars is really well done in my opinion because each layer is distinct and can be heard on its own. This is especially true in the intro with the heavy sustained layered guitar vs the plucked cleaner guitar.
According to http://www.recordingreview.com, "He (Rubin) simply wants to feel the music. He has no technical understanding of preamps, Eqs, etc. He says he’s not a “knob turner”."I found this to be a rather shocking statement from someone as decorated as he is. I think its a great reminder in this up and coming technical world where there seems to be a new musical gadget everyday. It's a great reminder to not get too caught up with the green lights, spectrums and sliders. I often minimize Ableton or turn off my monitor when I'm mixing so I don't only rely on visual levels and it really helps you listen with your ears.
There is even a full movie on the making of Death Magnetic:
http://www.youtube.com/watch?v=zonTK9RTwsA if you skip forward to 48 minutes James is doing the vocals for "The Day That Never Comes"
Producer - Rick Rubin (Grammy - Producer of the Year 2009)
Album - Death Magnetic (Grammy - Metal Album of the Year 2009)
BPM - 130.87
Intro 0:00 - 0:15
Heavy Reverb semi-clean plucking guitar -Slight Delay
0:15 3 Kick and Snare hits to lead in next guitar
0:16 Heavily distorted sustained guitar playing riff over plucking guitar
2 guitars playing different octaves
0:34 Guitar solo
Drums fill at the end to transition
Pre-verse 0:50
2 Plucking guitars
0:57 Kick and Crash hits on the one of every bar
Verse 1:05
Full Drums
Kick -12 dB
Snare -11 dB
Crash - 30 dB panned 10 R
2 Plucking Guitars - 20 dB
1:22 James Vocal comes in, pretty dry heavy compressed -13 dB
Chorus 1:54
Heavy Distorted Chords
Bass comes in
2:07 High Riff comes in
2:17 Snare Roll
Transition 2:22
2:22 16th Note Snare hit synced with guitar for a cool transition effect
2:25 Sustained note and Lyric before 2nd verse
Second Verse 2:28
Sustained Guitar panned 10 L
Strumming guitar panned 15 R
Second Chorus 3:15
Same as first
3:50 Second Transition into "Bridge"
Synced Snare hits 4 bars
5:00 Breakdown into Solo
Dual Guitar one octave higher panned to the right 15
octave lower panned 15 L
5:54 Third Guitar comes in
Solos until sudden stop at end
I have always enjoyed Metallica instrumentally, and there songs with no vocals are usually my favorite tracks. There are always multiple layers of guitars in a Metallica track and Rubin mixes them together brilliantly. It almost always seems as if every guitar is double and panned slightly to each side. This adds a great amount of depth with guitar, a mono instrument. The EQing of the multiple guitars is really well done in my opinion because each layer is distinct and can be heard on its own. This is especially true in the intro with the heavy sustained layered guitar vs the plucked cleaner guitar.
According to http://www.recordingreview.com, "He (Rubin) simply wants to feel the music. He has no technical understanding of preamps, Eqs, etc. He says he’s not a “knob turner”."I found this to be a rather shocking statement from someone as decorated as he is. I think its a great reminder in this up and coming technical world where there seems to be a new musical gadget everyday. It's a great reminder to not get too caught up with the green lights, spectrums and sliders. I often minimize Ableton or turn off my monitor when I'm mixing so I don't only rely on visual levels and it really helps you listen with your ears.
There is even a full movie on the making of Death Magnetic:
http://www.youtube.com/watch?v=zonTK9RTwsA if you skip forward to 48 minutes James is doing the vocals for "The Day That Never Comes"
Video Analysis 2
Brave
“Suitors”
0:00-Group chanting, movement of people
0:01- Foot stomp, spears hitting ground
0:02- Man talks with reverb, loud foot stomp
0:05- Epic music starts to fade in, bagpipes fades in
0:07- Bones cracking, clothes movement
0:09- Deep breathe
0:11- Movement of sword swinging around
0:14- Footsteps while swinging sword
0:17- Group chanting, cheering, spears hitting ground with
reverb
0:20- sighing, clothes movement
0:22- Group yelling, swords hitting, loud foot stomp
0:24- Bigger man talking, old music fades out and new darker
music fades in, man scratches self
0:26- Foot steps, clothes rubbing together
0:27- Pat on the back, music becomes louder with the son
walking closer to screen
0:28- Deep breathe, buckle noise, pat on the chest by hand
0:30- Shaking of buckles
0:32- Music gets louder, movement of clothes, buckles shake
0:34-0:37- Log squeezed then breaks in half, splinters fall
on ground
0:37- Group chant
0:38- Pat on shoulder, group chant gets louder
0:40- Movement of clothing covering face, staffs hitting the
ground many times
0:41- Chief talks to the crowd
0:42-0:44- New group chant, many foot steps, staffs hitting
ground, foot stomps
0:45-0:47 Shorter man talks, feet shuffle on rock ground,
new music fades in
0:49-0:54 Elastic sound from stretching muscles
0:55- Feet shuffle, clothes movement
1:00- Clearing of throat, rapid foot shuffle
1:01- Epic music fades, childish music fades in
1:05: With epic music fading, everyone becomes really quiet
and reverb is added to vocals.
1:07- Arm shaken and sounds rubbery, music plays along to
arm movement
1:09- Clothes shake, music plays with that movement
1:10- Man yells from above
1:11- Group of people start talking all at once, foot
shuffling, crowd laughter
1:14- Foot shuffling, laughter in background
1:20- First man talks again
1:21- Laughter grows louder
1:23- Foot steps, scratching noise
1:26- Group says, “Huh?” and a sheep makes a noise
1:29- Scene Ends
Brave
“Potion Making”
0:00- Music fades in, door opens, crow flaps wings and sings
0:01- Small footsteps
0:03- Fire crackling, deep breathe, more footsteps
0:05- Old lady speaks with reverb
0:08- Clapping of hands, small explosion
0:09- Flapping of wings
0:10- Crow talks with the small explosion in the background
0:11- Bubbling of a liquid
0:12- Old woman talks again
0:13-0:15- Small footsteps get louder and louder
0:16-0:17- Ringing of a coin, pocket movement
0:23- Young girl talks, bubbling of liquid still going
0:25- Old man laughs, takes footsteps, music changes
0:26-0:29- Shaking of jewelry, footsteps
0:30- Crow sings
0:31-0:32: Woman screams, shaking of jewelry beads
0:33- Opening of a bag, loud thud, small explosion with
sounds of thunder in the cauldron, steam sound
0:35- Music changes to evil sounding, shaking of jewelry,
crazy laughter
0:37- Small rat screams, small splash from cauldron, smoke
explosion, crackling, glass shatter
0:38-0:40- Crow sings, flaps wings, girls whimpers, breaking
of stick
0:41- Old lady giggles, small splash, scratching sound
0:42- Very quick screams, boiling water sound, steam
0:43- Book thrown and thud, steps up a stool, stirs spoon in
cauldron
0:46- Spoon splashes in cauldron
0:47- Crow lands on side of cauldron, small steam sound
0:48- Spoon makes a burning sound, bounces off of ground
0:50: Metal clinging multiple times, old lady sings
0:51: Mask falls over face and dings with reverb
0:52-0:53- Crow’s mask hits head, then dings when falls over
face, crow makes a noise
0:55- Music gets louder, small steam sounds
0:58- Hand makes a smacking noise when covers face
0:59- Magic sparkles, loud explosion
1:00- Horse nays and gallops away
1:03: END SCENE
Supervising Sound Editor: Gwen Yates Whittle
Two other works: Fight Club, Titanic
Re-recording mixer: Gary Rydstrom
Two other works: Finding Nemo, Saving private Ryan
Studio: Walt Disney Pictures
Brave
was mixed really well like most Pixar movies. The movie was set in Scotland and the sounds for the movie
sounded like it was really from Scotland.
Not just the vocals were Scottish, but the music and sounds like the
bagpipes really brought the movie together. The scenes I covered, each had appropriate music for the
time and the sound came together quite nicely. Wreck It Ralph and Brave were both mixed in the same studio,
Walt Disney Pictures and they both sound like a Disney movie should sound. Kids and adults both like the movie and
I believe without the sound the movies have, the movie would not have been a
success.
Video Analysis 1
Wreck It Ralph 2012
“Ralph and Vanellope Make a Deal”
0:00: Ralph yelling, foot steps, music lightly playing
0:02: Ralph grunts, candy tree shatters, branches crash
0:03: Ralph grunts, hand hits jawbreaker (sounds like
hitting a rock)
0:04: Ralph yells, hits jawbreaker again repeatedly
0:06: Venellope speaks
0:09: Venellope yells
0:12: Jawbreaker cracks and darker music plays
0:13 Ralph is heavily breathing
0:14: Digital sound flows up Venellope’s body, she talks
0:17: Ralph sits on rock (thud noise)
0:18: Venellope talks and Ralph is breathing hard
0:22: Ralph talks while breathing heavy
0:24: Foot steps on the jawbreaker, Venellope starts to talk
again
0:26: Venellope’s hand clap together, foot steps, dark music
still playing
0:30: Foot steps back and forth
0:32: Bird chirps in the background
0:33: Footsteps
0:35: Ralph talks louder
0:39: Dark music fades, happier music starts to play
0:46: Candy in Venellopes hair shakes around
0:51: Ralph shuffles feet away from Venellope
0:58: Clothes noise when Venellope grabs her arm
1:02: Ralph grunts, foot steps when he stands up, clothes
movement
1:06: Hands shake
1:08: END SCENE
“Celebration”
0:00: Footsteps, alarm goes off, electric sound from door,
people talking in background
0:01: Cherry falls on ground, man talks, Ralph grunts
0:03: “Celebration” starts playing
0:04: People in background says woo with music
0:07: Foot steps while dancing, cheers in background
0:13: Ice shakes, laughter
0:15: Glasses tap, music gets quieter when the scene leaves
the building
0:19: Trolley brakes squeal
0:20: Small crash sound when trolley stops, chain shakes
0:23: Fireworks shoot in the air
0:24: Fireworks explode off screen
0:27: Firework explodes on screen and is louder
0:28: Crackling of fireworks
0:32: Music in the background from the party inside
0:34: Trash can is grabbed, bottles shake
0:38: Ralph speaks, crickets in the background
0:41 and 0:43: Glass bottles clink together
0:44: Pac Man “Wokka Wokka” sound
0:48: Cart shakes on the track
0:50: Popping noise when Ralph squeezes out of the cart
0:51: Glass shatters
0:52: Music gets louder when inside building
0:53: Guy talks to Felix Jr.
0:54: Felix Jr. speaks
0:55: Woman speaks to Felix Jr., cheers in the background
0:58: Sounds all grow louder
0:58: Felix strikes a pose in air where the building up of
sounds stop and his hammer makes a ding sound
1:00: Crowd cheers
1:02: Swirling sound, ends with video game sound
1:03: Digital sounding “Whoop whoop.”
1:04: Hammer dings, crowd says, “Fix it Felix.”
1:08: Feet shuffle rapidly
1:09: Door bell rings
1:09: END SCENE
Supervising Sound Editor: Frank Eulner
Two other works: Saving Private Ryan, The Avengers
Re-recording mixer: David Fluhr, Gary Rizzo
Two other works: Tangled, Enchanted
Studio: Walt Disney Pictures; Skywalker Sound
The
Sound for Wreck It Ralph was really well mixed and brought together 8-bit video
game sounds with high quality sound in a current movie. While in the games, the 8-bit sound is
more noticeable but that is because they want to bring the game to life and
make it feel like the audience is in the scene too. The realistic sounds make the scene seem more realistic,
which allows the characters in the movie to move and talk and make sounds like
people really move. In the first
scene, there is clothes movement that you can hear and when they walk or hit
something, it sounds realistic.
While in the second scene the characters are dancing and make 8-bit
sounds, there are real sounds like ice shaking, people singing and the sounds
of Ralph outside on a trolley cart with glass bottles clinking. Overall I think this movie really
sounds good with the combination of 8-bit sounds and better quality
sounds. The two sounds bring the
concept of the movie together really well and they did a good job mixing the
sound for the movie to make it a success.
Wreck
It Ralph also won a Golden Reel Award for Best Sound Editing in sound effects,
foley, dialog and ADR in an Animation Feature Film.
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