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Tag Archives: sound design

Aside from working on the sound design on this film and helping produce the music with drummer Will Clark, vocalists the Foreign Beggars and the Scratch Perverts, I have a cameo part as the audio technician… check out the hair (ok it was a while ago).

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Directed by Chris Cairns and produced by Bonnie Anthony at Partizan, this film was a true labour of love and well worth it.

Check out this fairly odd remix for shits ‘n’ giggles (nothing to do with me I hasten to add).

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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Chris Cairns from Partizan and I worked on the music and sound design for this commercial together from the storyboard stage through to the final mix.

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We started by grouping sporting activities with corresponding musical sounds.  Having built samplers within Logic using library sound effects, I wrote the track based around the storyboards, and with a bit of to’ing and fro’ing we ended up with something close to the final tune.  On the shoot, elements of the track were used as playback in order to sync the action, and I attended the set too in order to pick up some foley from the people on set.  Back in the studio in post production, I replaced a lot of the original libary sounds within the track with the foley I recorded on set, and that was about it… anyways, have look – it’s a complex idea to execute and it isn’t without its flaws but I learned a lot from the process and the end result was pretty cool.

I did the sound design on this, with awesome music by Biggi Hilmarsson through Leland music.  When this advert came into the studio at Marmalade where I used to work, the sound from the shoot was mostly unusable, I think I ended up replacing all of it with my own foley and sound effects from our libaries.  Check it out:

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