Behind The Sound Of 'The Mandalorian' Season 2 - With Re-Recording Mixer Bonnie Wild & Sound Designer/Supervising Sound Editor Dave Acord:

Posted January 5, 2021 by Asbjoern Andersen in Television sound

Our friends at The Tonebenders are back with a brand new audio interview - this time on the excellent sound for season two of Disney's hit series The Mandalorian, featuring Re-Recording Mixer Bonnie Wild & Sound Designer/Supervising Sound Editor Dave Acord.

Hear the whole thing below - and if you want to learn more about the sound of the Star Wars universe, we've added in 6 additional features and documentaries on exactly that as a bonus:

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The Tonebenders’ official introduction:

We are joined by the sound team behind the hit series The Mandalorian. Re-Recording Mixer Bonnie Wild & Sound Designer/Supervising Sound Editor Dave Acord tell us about making the sounds of the light sabres, the beskar spear, and seismic bombs. They also discuss their approach to creating the endless array of new creature vocals that the Star Wars universe conjures up.

Hear the episode below:

Want more great podcast episodes about sound? Check out what the members of the Audio Podcast Alliance have in store for you here

If you’re hungry for more on the sound of Star Wars, check out these additional interviews and stories:

ABC’s fantastic Force of Sound documentary:

Go behind the sound of Star Wars in ABC’s fantastic documentary below:

Behind the sound of ‘The Mandalorian’ Season 2 – with Re-Recording Mixer Bonnie Wild & Sound Designer/Supervising Sound Editor Dave Acord:

Audio interviews:

In this Soundworks Collection interview, supervising sound editors Matthew Wood and David Acord delve into the conceptual and sonic intricacies of evolving “force lightning,” and about working in stages from temp mixes to the final mix in a film with a legacy. They share experiences working playfully and dynamically with director J.J. Abrams, recording lines in actor Adam Driver’s closet, and working on previous Star Wars films.

Matthew Wood and David Acord, co-sound supervisors on Star Wars: The Rise of Skywalker, have been working on the sound of the SW films for nearly two decades. Join us for a wide-ranging conversation on the audio restorations of the original films, the voice of Baby Yoda from the new streaming series The Mandalorian, the importance of sound to George Lucas…and even the controversy about whether Han or Greedo shot first and the notorious “Maclunkey.”

(via @Soundworks)

Ben Burtt, on the sound of Star Wars:

Mike James Gallagher has released this brilliant educational video with commentary by legendary sound designer Ben Burtt, giving you the interesting stories behind the making of the Star Wars: A New Hope sound design:

Watch the video here:

Star Wars: A New Hope sound design explained by Ben Burtt

Shaping the satisfying sound of ‘Star Wars Jedi: Fallen Order’

How Respawn Entertainment’s sound team designed their first Star Wars game — Jedi: Fallen Order:

Read the story here

Go behind the sound of Rogue One here:

Get the story behind he sound for Rogue One: A Star Wars Story in this in-depth feature:

Sound Design for Rogue One: A Star Wars Story

Hear the Rise of Skywalker score here:

Here’s legendary composer John Williams on creating the score for Rise of Skywalker:

John Williams on Star Wars: The Rise of Skywalker Score

Hear the full score below, via Spotify:

Want the story behind the earlier scores? Travel back in time to 1980 with this vintage feature on John Williams’ score for The Empire Strikes Back:

https://www.youtube.com/watch?v=hu7_dMhdciw

More great Star Wars reads:
Hear how Star Wars Battlefront II’s stellar sound was made here • Go behind the excellent Star Wars Battlefront trailer sound design here

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A special section of the library features samples recorded at 384KHz. For these sounds an additional microphone was employed, specifically the CMPA by Avisoft-Bioacoustics which records up to 200 KHz. This microphone was actually used to record most of the library but the 384KHz format was preserved only where energy was found beyond 96KHz not to occupy unnecessary disk space.
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