Asbjoern Andersen


Sound designer Charles Maynes has worked on blockbusters like the Spider-Man series, Total Recall, After Earth and a myriad of others. He’s also a noted sound effects recordist for film and video games such as Call of Duty, Metal of Honor, BLACK and Tom Clancy’s Ghost Recon series.

Today, I’m delighted to present this guest post from him here on A Sound Effect, where he shares the 10 notions he finds essential to great sound design.

 

Asbjoern asked me to contribute a musing about the concept of ‘Sound Design’ and what I thought were important considerations for the A Sound Effect visitors.

After reflecting on what I might think was valuable – and what my heroes think about the idea – I came up with the following notions or suggestions for all of us in the world of the sonic arts.

It was good fun, and I hope it is of some interest.

I have to thank so sincerely all of those folks who have provided me both mentoring and inspiration.

Specifically, these would be Randy Thom, Stephen Hunter Flick, Ron Bochar, Jon Johnson, Skip Lievsey, Jay Wilkinson, Bill Jacobs, Charles Deenen, Ann Kroeber, Gary Rydstrom and David Yewdall. I thank them from the bottom of my heart for being both great artists, and inspirations.

Below, I present my chosen notions – with explanations on why I think they’re so important to the work we do as sound designers.
 

But first: What IS a Sound Designer anyway?

A quick preamble which addresses a continuing Pandora’s box in our community:

There has been much talk about “what” a “Sound Designer” is.

I could write pages on the discussion, but I largely feel that it comes down to two basic distinctions which I label the “upper” and “lower” case description of the job.

In the “upper” case “Sound Designer” variant, I would say this has been best described by Randy Thom (who definitely fits in this realm) as something akin to a “Sound Director”. Ie. someone who is really defining the true aesthetic of the project.

Classic examples would be the work of Walter Murch, especially in films such as “Apocalypse Now”, “The Conversation” and “American Grafitti”.

The Sound Designer will be using ALL of the sound groups to accomplish this task

With this, it is important to say that the Sound Designer will be using ALL of the sound groups to accomplish this task; Dialog, Music, Sound Effects, Foley, and special sound design.

The sound designer will usually have a significant role in the mixing of the elements to achieve the vision of the director, and will be participating in the decision making at the level of the Picture Editor and Cinematographer.

The second, what I call the “lower-case” “sound designer”, is what might better be described as a sound effects designer- ie. someone who creates sound effects for a certain action or space, but doesn’t have that larger imprint on how (or if) it will be used.

At one point, there was more of a division with this and sound effects editing, but I believe that distinction has largely disappeared for the most part, as we sound editors are almost constantly having to create effects where existing material might be not available.

So, with that being said.. off we go!
 

1: “No matter how much experience you have, you do good art by making lots of mistakes and learning from them. That’s the way it happens early in your career, and it changes very little even after several decades.” – Randy Thom

Randy is just an amazing, amazing man. What he says in this comment is the mark of his humility, and in that comment we do confront the classical business issue of “Fast/Cheap/Good” which is omnipresent in our western society.

The problem with that paradigm is that “Art” doesn’t mind timetables well, and if we are hoping to create “Art” which is new, and original, it sometimes takes some time to formulate those ideas. That is why most commercials and short turnaround work usually sounds like other things you have heard before.

When we look at films like “The Matrix” or “Gravity”, we see daring choices that were dangerous and thought-provoking. These choices though were ultimately agreed upon and approved by people other than the “Sound Designer”. We are hired to serve our collaborators in our work, so their viewpoint will indeed dictate the degree of freedom and latitude we have in our work.

An attachment to this would be to realize that is that the brilliant ideas we come up with might be discarded like the pristinely perfect parsley that comes with a fine meal. This is not an indictment on the quality of our contribution though.
 

2: ‘Never use the “right” sound for an action’ 
-A concept from Treg Brown, legendary sound designer for the original Warner Brothers cartoons

Treg Brown is probably one of the most important figures in sound design history. His work redefined animated sounds, and his work is truly foundational to modern sound design.

And when we read about Gary Rydstrom using the sound of dog food being sucked out of a can for the sound of the Terminator going through prison bars, we can trace the thinking in that exploration back to Mr. Brown’s sweeping influence on our art form.

I have always considered this to be a literary parallel to sound: When we metaphorically approach the sound we are envisioning. So thinking in the terms of metaphor and simile can be terrifically useful in creating an emotionally compelling aural experience.
 

3: “Should” is a dangerous word.
Wow, that’s an ambiguous statement – but it addresses the notion of “Formulaic outcome”, which can often simply be the process of attaching cliché to art.

“Should” is a pretty useful word usually. To really address this sub-topic, we need to ask of if we are working in “high” and “low” art – but we have a difficult condition where “art” isn’t demanded, or even desired, but “craft” is.

Not every project presents itself with the need for creative or abstract sound

Not every project presents itself with the need for creative or abstract sound. In those cases sometimes the dialog is so key that it doesn’t require more, or in other cases, music might be key to the drama.

One example that I think of in this case was the film “Tinker, Tailor, Soldier, Spy” which had a great score, which drove the emotional tenor of the film. The sound design was actually brilliant, but it was largely overshadowed by the amazing score.
 

4: Your director is the first most important person to want to please. There are others who can see that you are replaced at a whim though.

Our director is the one person who has a singular vision for all the parts that make up his experience. Usually though, he or she will not have absolute control over the end product.

Producers will also have a say in the matter, and will hopefully be communicating those ideas in advance to the Director and Editors involved ahead of us.

We are in the service business, and we serve our work like other businesses make food, or other goods.

Though in many ways, as “sound designers” we are in the same sort of boat as musicians trying to make a living with their work. There are many, many qualified people who do creative work as a simply matter of fact. Sometimes the work we do ends up getting recognition, which might elevate our visibility – and sometimes we do amazing work that is largely unrecognized.
 


Popular on A Sound Effect right now - article continues below:

 

Latest releases:  
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    Each impact has been layered multiple times to create rich, full sounds, composed of recorded hits and synthetic blasts. This collection contains a wide variety of sounds to accent every possible on-screen action imaginable: from simple knock sounds and small hits, to massive wide impacts designed with 50+ layers of material.

    This collection is divided into 10 folders, according the type of sound:

    – Animated Impacts (45): Big, colorful, super-real impacts.
    – Deep Impacts (22): Low end, dark and bassy impacts.
    – Designed Knocks (10): Simple designed knock sounds.
    – Dry Impacts (29): Hard hits, multi-layered, with no processing.
    – Hard Impacts (24): Designed for maximum destruction.
    – Junk (43): Imagine piles of junk falling from the sky.
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    – Other (9): Various materials, including plastic and water.
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    BONUS MATERIAL:
    The 3Maze 'IMPACTUS' collection is included free in this package. An additional 423 designed and recorded impacts, bringing this collection to 723 impacts!

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    From raw recordings to ready-to-use sound effects, all the content has been recorded and designed at 24bit, 96 KHz, all fully tagged with metadatas, by sound designers Arnaud Noble and Benoît Marsalone.
    This library is split in two different sections:

    The Raw section:
    Captured with the Aquarians H2a Hydrophone in different locations (pool, river or inside several props), the raw section allows you to sculpt, create, and edit your own sounds with more than 1300 individuals sounds, with many variations.
    This is your toolkit for all your underwater scenes and projects.

    The Designed Section:
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    From huge to tiny, this collection delivers Cinematic Impacts, Ambiences, Whooshes, Explosions, Propellers, Lava sounds, Sci-fi sounds and many more.

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    Collection consists of 20 carefully mastered and rendered rain ambiences with baked-in Soundminer’s metadata.
    All sounds (with one exception – see metadata) loop seamlessly which makes them perfect for games, meditation apps etc.
    All sounds have been created and processed using top tier gear in order to deliver crisp, modern, error free sound.

    RECORDED WITH: Sony PCM D100
    EDITED WITH: iZotope RX, Pro Tools.

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5: There are many ways to Mecca, and many are highly compelling.

A quote from General George S. Patton. Actually, he said this:

“Never tell people how to do things. Tell them what to do and they will surprise you with their ingenuity.”

This is a concept which is sort of covered in the others, but it is important to iterate: If we are allowed to be creative, ideally we will not be micro-managed in doing so. Sometimes that’s not the case though – but we can hope for the best.
 

6: Should sound be really cool, or invisible as a component?

Another sort of multi-faceted comment: Will sound make a bad film or whatever be good? Will “bad” sound wreck an otherwise great film or media experience?

What is “good” sound?

Back when I was younger, the phrase “Turd polishing” was sort of popular. On a creative level, doing that is always unsatisfying, because bad stories are generally not going morph into good stories through elaborate adornments.

The obvious thing here though is that we are for-hire labor, so we really don’t always have much of a say as to the quality of our projects when not working is the alternative. So I suppose this should really give us an appreciation of our place in an imperfect world.

When we however look at “good” films, strangely, sound seems less important.

Try to find as much joy in the project as is possible, and to attach as much of yourself to its success as well

Sure, with films like “The Matrix”, “Saving Private Ryan” or “Jurassic Park” sound plays a huge role in the experience, but largely, the experience would be nearly as visceral silent. That is the mark of exquisite film making.

One tool I find very important though is to try to find as much joy in the project as is possible, and to attach as much of yourself to its success as well.

When it misfires at the starting line we may be disappointed, but we will have the satisfaction of knowing the best possible work we could have provided WAS provided.
 

7: Go out and sound explore. Hearing sound in the first person and actively listening is a very important experience.

There is not a lot to add here: Being involved in the real world is a great thing.
 

8: Verbalizing effects is often useful, and sometimes, those effects are actually what’s used in the end.

Perhaps not an obvious thing, but it’s terrifically useful. Especially if you can’t quite get the sound you are looking for via editorial. Many of the biggest names in sound design do this, and though we can sometimes be a little too self-critical, it usually is very useful to do.
 

9: ‘Sound Design, Sound Editing, and Sound Mixing are all about Editorial. It is the process of purifying the sonic moment. And often means reducing things, not adding more.’ – Randy Thom

Randy is always very eloquent, and I would be reluctant to add much to his comment on this. I will say that it is difficult to be too critical with our own work though.
 

10: A second quote from General George S. Patton, and one I hold quite dearly: ‘Prepare for the unknown by studying how others in the past have coped with the unforeseeable and the unpredictable.’

Again things that have been mentioned speak to this. But in the end, it speaks to education. We can learn tons by reading and listening to those who went before us. As Shakespeare said, “there are no new ideas under the sun”. We can take those previous approaches and mix them up to suit the needs of the project.

A bonus suggestion: Take everything you hear from your peers and colleagues with a pound of salt.
 

– Charles Maynes
Sound Designer, field recordist and hopeful activist.

 


 
A big thanks to Charles Maynes for his insights!

 

Please share this:


 


 
 
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  • Environments Submersion Play Track 1800+ sounds included, 383 mins total $70 $56

    Submersion is a sound effect library delivering over 1800 high quality sounds in 377 files (more than 9Gb), from bubbles and impacts over whooshes to ambiences, propellers sounds and many more, this collection has all you need to create an exciting underwater audio experience.
    From raw recordings to ready-to-use sound effects, all the content has been recorded and designed at 24bit, 96 KHz, all fully tagged with metadatas, by sound designers Arnaud Noble and Benoît Marsalone.
    This library is split in two different sections:

    The Raw section:
    Captured with the Aquarians H2a Hydrophone in different locations (pool, river or inside several props), the raw section allows you to sculpt, create, and edit your own sounds with more than 1300 individuals sounds, with many variations.
    This is your toolkit for all your underwater scenes and projects.

    The Designed Section:
    This section provides you ready-to-use sounds (over 593 individuals sounds in 172 files), all created and designed from the Raw section materials.
    From huge to tiny, this collection delivers Cinematic Impacts, Ambiences, Whooshes, Explosions, Propellers, Lava sounds, Sci-fi sounds and many more.

    Included sounds / Keywords

    Ambience – Impact – Explosion – Movement – Whoosh – Swim – Bubble – Propeller – Air release – Stream – Scrape – Squeak – Creak – Crack – Waves – Ice – Lava – Hot – Embers – Sizzle – Crackle – Acid – Soak – Quench – Combustion – Organic – Fizz – Pulses – Plunger – Bottle – Drip – Boil – Drain – Pour – Rattle – Bounce – Slide – Hollow – Crush – Plonk – Snap – Metal – Plastic – Wood – Realistic – Sci-fi – Abstract – Alien
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    All audio files have been recorded at superb 192KHZ 24BIT. Multiple mic positions to capture all the little details such as rollers, creaky wood etc

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    LOCATION: Spain, Costa Blanca. Traditional Spanish hacienda before renovation.
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Explore the full, unique collection here

Horror Sound Effects Sale

The Horror Sound Effects Sale is now live!

Land huge savings on scary sound effects libraries here


Latest sound effects libraries:
 
  • FINAL IMPACT is an extremely detailed and comprehensive collection of 300 designed impacts, smashes and hits. Carefully layered and designed with game audio, animators and filmmakers in mind, we believe that this could be the last impact sound collection you will ever need.

    Each impact has been layered multiple times to create rich, full sounds, composed of recorded hits and synthetic blasts. This collection contains a wide variety of sounds to accent every possible on-screen action imaginable: from simple knock sounds and small hits, to massive wide impacts designed with 50+ layers of material.

    This collection is divided into 10 folders, according the type of sound:

    – Animated Impacts (45): Big, colorful, super-real impacts.
    – Deep Impacts (22): Low end, dark and bassy impacts.
    – Designed Knocks (10): Simple designed knock sounds.
    – Dry Impacts (29): Hard hits, multi-layered, with no processing.
    – Hard Impacts (24): Designed for maximum destruction.
    – Junk (43): Imagine piles of junk falling from the sky.
    – Layered Material Hits (93): Multi-layered with dry and processed hits.
    – Metal Hits (8): Metal based hits.
    – Other (9): Various materials, including plastic and water.
    – Synthetic Wrecks (17): Synthesized, chaotic impacts.

    BONUS MATERIAL:
    The 3Maze 'IMPACTUS' collection is included free in this package. An additional 423 designed and recorded impacts, bringing this collection to 723 impacts!

    Included formats: 24-bit / 96kHz wav, 16-bit / 44.1kHz and 320k Mp3.

    All sounds were designed, processed and edited at 24-bit / 96kHz, with embedded meta data and accompanying spreadsheet.

    20 %
    OFF
    Ends 1540940400
  • Environments Submersion Play Track 1800+ sounds included, 383 mins total $70 $56

    Submersion is a sound effect library delivering over 1800 high quality sounds in 377 files (more than 9Gb), from bubbles and impacts over whooshes to ambiences, propellers sounds and many more, this collection has all you need to create an exciting underwater audio experience.
    From raw recordings to ready-to-use sound effects, all the content has been recorded and designed at 24bit, 96 KHz, all fully tagged with metadatas, by sound designers Arnaud Noble and Benoît Marsalone.
    This library is split in two different sections:

    The Raw section:
    Captured with the Aquarians H2a Hydrophone in different locations (pool, river or inside several props), the raw section allows you to sculpt, create, and edit your own sounds with more than 1300 individuals sounds, with many variations.
    This is your toolkit for all your underwater scenes and projects.

    The Designed Section:
    This section provides you ready-to-use sounds (over 593 individuals sounds in 172 files), all created and designed from the Raw section materials.
    From huge to tiny, this collection delivers Cinematic Impacts, Ambiences, Whooshes, Explosions, Propellers, Lava sounds, Sci-fi sounds and many more.

    Included sounds / Keywords
    Ambience – Impact – Explosion – Movement – Whoosh – Swim – Bubble – Propeller – Air release – Stream – Scrape – Squeak – Creak – Crack – Waves – Ice – Lava – Hot – Embers – Sizzle – Crackle – Acid – Soak – Quench – Combustion – Organic – Fizz – Pulses – Plunger – Bottle – Drip – Boil – Drain – Pour – Rattle – Bounce – Slide – Hollow – Crush – Plonk – Snap – Metal – Plastic – Wood – Realistic – Sci-fi – Abstract – Alien

    20 %
    OFF
    Ends 1541113200
  • Weather Back Alley Rain Play Track 20 sounds included, 15 mins total $19.99

    Back Alley Rain is a collection of 20 rain & thunder sound effects.
    Light/medium/downpour rain, aftermath, drips, muffled thunder and more

    Collection consists of 20 carefully mastered and rendered rain ambiences with baked-in Soundminer’s metadata.
    All sounds (with one exception – see metadata) loop seamlessly which makes them perfect for games, meditation apps etc.
    All sounds have been created and processed using top tier gear in order to deliver crisp, modern, error free sound.

    RECORDED WITH: Sony PCM D100
    EDITED WITH: iZotope RX, Pro Tools.

  • Horror Gore (SSP) Play Track 257 sounds included, 13 mins total $19.99 $16.99

    The Gore library contains 257 total sounds of squishes, smashes, squelches melee weapon attacks, zombies and more. All effects have been thoughtfully named and crafted into multiple variations making them extremely flexible and easy to use. This library will work well if you need ready to use sounds for your game or if you’re a sound editor needing some extra material for your latest project. Sounds are well rounded and simple enough to fit Sci-Fi, Horror, Fantasy and any other genre where you might need some blood and guts.

    Sound types include:

    • General Gore Attacks
    • Melee Weaponry
    • Basic Smashes, Hits and Slaps (Yeah Slaps).
    • Squishes and Squelches
    • Bonus Zombie Grows and Horror Ambience!
    15 %
    OFF
    Ends 1541026800
  • World Sounds Background Morocco Play Track 55 sounds included, 105 mins total $10

    Ambience library recorded in Marrakech, Essaouira, and the Agafay Desert. Birds, insects, wind, foliage, market/souk, prayer, etc. Recorded at 96kHz stereo/binaural.

 
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