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Monthly Archives: March 2012

This is a real golden oldie, directed by Team Stush at Partizan back in 2006… half of them got food poisoning in the making of this.

I took the classic track ‘Hooray For Hollywood’ and remixed it adding a squelchy bass and some extra drums.  Then I sampled the end of the track and automated the end point of the loop in Kontakt (sampler) until it became a pitched note, finally squawking to a finish as the fruit dance enters the can. Add sfx et voila!  If that didn’t make sense, watch the film and that should clear things up.

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This film was part of a series of films imagined and directed by Jane Laffey at Nickelodeon.  I wrote the music and did the sound design and mix – it was a real pleasure to work on such inspiring stuff.

The voice is a recording of a kid and their true story, captured by Bold Creative and then animated to bring it to life.  The film was recognised with a Bafta and Promax Gold award, testament to a great bit of film making!

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My sound track for this mood film for Nike (directed by Saam Farahmand) is made of very low frequency stuff so turn it up or stick your cans on.  Most of the sound was created by playing a couple of hardware keyboards live to picture, fairly heavily distorted, with lots of automated plugin effects to create the movement, and an LFO on a low resonant bass sound, with several passes being mixed with eachother.

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I edited/compiled this radio advert from a script proposed by the advertising agency, BBH.  I was supplied with party conference speeches from the three main heads of uk government parties, Gordon Brown, David Cameron and Nick Clegg.  I then began the arduous task of picking through these hour long recordings looking for random words to make up the script… but even with all this material, some of the words had to be built from individual syllables in the edit to make the audio work.  Have a listen, I think the end result was a success, it got recognised with a monthly Aerial award too, which is nice…

This film is one of a series of animations for Mini.  They were projected on a huge scale on the sides of buildings, and the sound could be heard through PA systems at viewpoints where the public could interact with the films and choose what played next.

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As the cars were all animated, we had a Mini Cooper recorded with a multiple mic setup as it was put through its paces by a test driver, who performed donuts and skids until the engine blew out.  It was from these multitrack recordings that I pieced together all the car movements in the sound edit.  In this particular film (Lasers) I created a bunch of laser sounds using sound effects combined with synth blasts made on a Novation Supernova 2, along with a bunch of rock and explosion sfx from the sound library.

I did the sound design for this short animation many moons ago for Olly Courtney (when he was at MTV).

I seem to remember we had less than two hours to make the soundtrack, so I grabbed a few rough tunes that I was writing at the time, sped them up beyond musical recognition, chopped them in, added a load of scrunching sweet wrappers for foley, a few sound effects of apples crunching and vines growing, stuck Olly’s voice through a Roland vp9000, et voila!  Sometimes having no time to think and chew on things can produce great stuff.  It can also mean you end up with a load of crap, just very quickly… anyway you be the judge:

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This promo was directed by Derek Best at Nickelodeon and animated in house I think.  I wrote the track for this with the multi-talented Simon Thompson, with chopped up vocals from Amanda Moocha.  Most of the drum hits were from the ‘Driven Machine Drums’ collection, with bassline courtesy of my SH-101:

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Them kids love to dance… I liked this track lots, but before Simon got to work on the vocals it weren’t nuthin special – a bit of collaboration can go a long way.  Btw the end voice-over is Lewis McLeod in one of his many guises…

Check out this track I wrote for Nokia starring card flourisher Max Vlassenko.

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To go with the homemade brief, most of the percussion was recorded in my talented percussionist and friend Nick Smalley’s front room… we recorded anything we could get our hands on that sounded tasty.  Everything from a humble cheese grater to a didgeridoo got hit, all recorded on my Sony PCM D50 handheld recorder.  I then made selects, chopped them up and polished it all into the finished thing in my studio within Pro Tools.