Voice options for “The Mighty-T”


Finding the right sound often takes a lot of experimentation.  For the voice of the main character in the animation “The Mighty-T”, I went through many iterations before landing on something that fit the character and worked well within the context of the animation as a whole.  Here are some of the options I came up with.

The final set that we ultimately decided on consisted of my own violin sounds and cartoon ‘ploinks’ from an SFX library, mixed with the sound of rubbing a wet balloon.  A lot of the character’s movement and sloshing around was performed with a water balloon as well.  At one point every footstep and movement the character made had a sound but in the end we found that to be distracting so movement sounds were paired way back for the final video.

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Sound of the Week = sun, wind, water and snow

What is the sound of sunshine? This was one of the more conceptually challenging tasks I have been given as a sound designer. At 52 seconds, in the clip below, the sun rises through the trees and the director wanted an accompanying sound. It took a lot of experimenting to create a sound that fit the bill without being too intrusive. I wanted it to be felt more than consciously heard.
All of the audio in this clip was created in post; mostly from my sfx library and field recordings I made on Mt. Rainier. There’s also a bit of marmot Foley and my breath processed to sound like wind sound (around 34 seconds).


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Sound of The Week = Light Cover

Foley artist Jamie Hunsdale shot this video of us playing with what we’re pretty sure is a light cover.  Whatever it is, it makes some cool sounds.  At the end of the video, and in the soundcloud link above, I’ve made a short sound design sequence by processing and editing some of the sounds from the video.

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The Sound of Serenity

In this clip from the title sequence to Joss Whedon’s 2005 movie “Serenity” I’ve removed the center audio channel.  What is left is mainly the ambiences and background effects.  After listening to it this way, undistracted by dialog, I have a few observations.

First, and most obviously,  this scene would not work at all without sound.  There are no windows or portholes or display screens showing us what exists beyond the confines of the ship, so it’s entirely up to sound to convince us we’re in a ship flying through space and not a stationary film set.

Mr. Whedon implements the classic sci-fi trope of creating the illusion of turbulence by timing camera shakes with actors reactions and sound effects.  We’ve all seen it a million times (and laughed at it when done poorly) but it still does the trick.  Also, at 3 minutes 4 seconds, Mal and the doctor look up in response to an especially loud bang.  I wonder what the actors were responding to on set?  Probably someone shouting “boom!”.  Once again, these are both examples of how sound is used to sell the illusion of a larger reality beyond the frame of the camera.  In these examples, the actors interact with the off screen sound which makes the illusion even stronger.

My third observation is not as obvious unless you have worked in audio post.  Typically, in scenes with lots of cutting, it’s not uncommon for the perspective of the camera to jump dramatically.  Think of your typical conversation between two people facing each other where the camera cuts back and forth from one over the shoulder shot to another, shifting perspective by 180 degrees each time.  Now imagine there’s a water fountain or something off to one side.  If audio followed the perspective of the camera the sound of that fountain would jump from one side to the other with each cut.  With frequent cuts this becomes very distracting so it’s common practice to keep the audio elements more or less stationary, thereby setting up a sort of objective audio perspective separate from the visual perspective.  In tracking shots like the one in this sequence, the visual perspective doesn’t jump at all, so it’s possible to lock the visual and audio perpectives more closely together.  Pay attention to the use of panning throughout this scene.  One good example being the hiss of the engine room as Mal turns to talk to the doctor around 1:41.

My 4th observation is that once the dialog is taken away, and our attention is fully focused on the ambient sounds, they can start to seem over the top and unbelievable.  Would a ship solid enough to travel through atmosphere’s really creak and groan like that?  It’s very easy to over think every sound, especially during a mix session when scenes are played over and over again.  Yet, with the dialog in and our attention focused on what the characters are saying, we accept these sounds as perfectly natural.

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Sound of the Week = Marble in a Balloon


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Fun with Noise Reduction

What’s the aural equivalent of negative space?  Silence is the obvious answer, but what we call silence is not really silent at all.  Practically speaking, the aural equivalent of negative space would be the refrigerator humming in the background, the buzz of the guitar amp between notes, the cellist fidgeting in her seat during the rests, the wind in the trees outside the window next to the man being interviewed.  Sometimes we want to get rid of this background noise  and the tool we turn to is often noise reduction software.  It’s possible though to turn subvert the intended use of this software and instead use it to extract what we would normally be trying to get rid of.   It can be used to highlight rather than obscure noise.

One of the more popular pieces of noise reduction software, Izatope RX, has a little checkbox in the upper right hand corner of it’s interface which says “output noise only”.  By checking this and adjusting the controls for tonal reduction separately from broadband reduction, it’s possible to separate just the tonal elements of a sound.  This technique applied to the sound of an idling car engine sounds like this.

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Noise reduction plugins work their magic based on a “noise profile” which is supplied by the user.  Normally, this would mean supplying a small portion of just the offending noise.  A little bit of guitar amp buzz from a small section of the recording for example to reduce the guitar buzz throughout the whole recording .  It’s possible however, to use completely unrelated sounds for the noise profile.  The following example clip contains  a series of sounds followed by the same sounds treated with some creative noise reduction.  The first, is of a motorbike driving away with my voice as the noise profile; then a bowed cymbal with a guitar rift as the noise profile.  This is followed by a drumbeat with the previous bowed cymbal sound as the noise profile and finally the sound is of a car driving past in the snow but, instead of outputting just the noise like I did for the others, I did a more traditional noise reduction but with the reduction settings set to max and the filters meant to prevent digital artifacts turned all the way down.

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I used similar techniques to make a series of Kontakt instruments from recordings of a long cardboard tube fitted with a metal cap drug across the hardwood floors in my living room.  The un-processed recordings sound like this.

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Then I did quick drags and slow drags with the tube and then processed the sounds with iZotope RX, using different noise profiles including my  voice.   Here’s a song featuring the resulting instruments along with some piano.

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Also, here’s a great link to the work of composer Richard Eigner who has taken denoising to a whole new level.

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Sound of the Week

A + B + C = Corpse Worm

How I made the corpse worm sounds for JourneyQuest.

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Sound of the Week = Faux Scratching

Here’s a quick tutorial video I made about creating a faux dj scratching sound out of an instrument case and a plastic fork.  The concept could easily be applied to other materials as well.  The result is not meant to sound exactly like vinyl scratching but rather a unique variation on that concept.


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Sound of the Week = Zadar Sea Organ

It’s an organ.  Played by the sea!

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Sound of the Week = Ketchup Bottle

This week’s sounds were made for the short film “When I Grow Up” by Colin Hesterly.  The video is an homage to the cartoons of the 40s and 50s so I wanted the sound effects to be reminiscent of that era as well.  

 I found these inspiring videos about the sound effects masters behind the old disney cartoons.

What strikes me watching these videos, is how creating sound effects was so much more of a performance in those days than it typically is now.  I love the comment about how many sound effects artists back then were drummers.  Makes sense.  Being a competent musician is still helpful for modern day sound designers, but with digital technology performance is often taken out of the equation in a way that just wasn’t possible when these cartoons were made.

ketchup  For my contribution to “When I Grow Up” I wanted to incorporate some of these performative elements  back into my workflow.  Of course, being a child of the digital era,  I couldn’t help but do a round of processing as well.  To make the train sound, I first performed the sound by huffing and puffing into an empty plastic ketchup bottle, then I pitched and EQ’d the sound a bit in Pro Tools, layered in a bit of an actual train recording, and edited my performance to better match the tempo of the music.  The ketchup bottle also came in handy when making the sound of the river boat.


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