Renowned supervising sound editor, re-recording mixer & sound designer Tim Nielsen has worked on everything from blockbuster franchises such as Lord of the Rings, Pirates of the Caribbean, and Avatar, animated features like Moana / Vaiana and The Little Prince, to documentaries like The Territory and The Cave in his long film sound career. Here's his top-35 list of key insights and lessons learned from his 24+ years in sound. There's a lot of wisdom to be found here - have a look:
Written by Tim Nielsen (@TimNielsen) and republished here with his kind permission
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Written by Tim Nielsen (@TimNielsen) and republished here with his kind permission
Tim Nielsen’s Top 35 of Essential Insights & Lessons Learned From A Life In Sound:
01
Editing is what you do AFTER Assembling. You cannot edit something that doesn’t exist. Editing is the process of refinement and is crucial to the process. Many people stop after assembling, not realizing that it is only then that the REAL work is about to begin.
Editing is what you do AFTER Assembling. You cannot edit something that doesn’t exist. Editing is the process of refinement and is crucial to the process. Many people stop after assembling, not realizing that it is only then that the REAL work is about to begin.
02
To do the job at hand with the least amount of sound is the goal. Be concise. Too many tracks simply layer into mud. It’s about finding the right sound, not about track count. More tracks do not equal better sound. Usually the opposite.
To do the job at hand with the least amount of sound is the goal. Be concise. Too many tracks simply layer into mud. It’s about finding the right sound, not about track count. More tracks do not equal better sound. Usually the opposite.
03
I originally cut about 70 tracks of rain for the Bree scene in Lord of the Rings. I had convinced myself that every one I added was ‘adding’ something. I was wrong. In the end, the mixer and I realized we needed about 6 of those tracks.
I originally cut about 70 tracks of rain for the Bree scene in Lord of the Rings. I had convinced myself that every one I added was ‘adding’ something. I was wrong. In the end, the mixer and I realized we needed about 6 of those tracks.
04
“Perfection is achieved not when there is nothing more to add, but when there is nothing more to take away.” Your job is literally not done until you have removed every single sound that you can. The goal is to keep only that which is essential.
“Perfection is achieved not when there is nothing more to add, but when there is nothing more to take away.” Your job is literally not done until you have removed every single sound that you can. The goal is to keep only that which is essential.
05
Do not become attached to the sounds. Nothing is precious. If you can mute something and not hear any difference, not only should you mute that sound, but you should also remove it from the tracks.
Do not become attached to the sounds. Nothing is precious. If you can mute something and not hear any difference, not only should you mute that sound, but you should also remove it from the tracks.
06
You will rarely find the exact sound you want. You will likely have to build it from at least a few pieces. Learn to dissect the sound you hear in your head, and search for the parts. The low end, the attack, the decay.
You will rarely find the exact sound you want. You will likely have to build it from at least a few pieces. Learn to dissect the sound you hear in your head, and search for the parts. The low end, the attack, the decay.
07
Plugins are often not your friend. Over-processing is rampant these days. I use plugins almost always as a last resort, not step one. Finding the right sound(s) and simple manipulation and editing tools should get you 90% of the way there.
Plugins are often not your friend. Over-processing is rampant these days. I use plugins almost always as a last resort, not step one. Finding the right sound(s) and simple manipulation and editing tools should get you 90% of the way there.
08
Editing and Mixing are two halves of the same coin. A good editor is always mixing, and a good mixer is always editing. While the toolset might differ slightly, these are not two entirely distinct jobs.
Editing and Mixing are two halves of the same coin. A good editor is always mixing, and a good mixer is always editing. While the toolset might differ slightly, these are not two entirely distinct jobs.
09
The lack of sound is often more powerful than the existence of sound.
The lack of sound is often more powerful than the existence of sound.
10
Adding a sound for the sole purpose of removing it later for dramatic effect is one of the most powerful tools you have. It can raise tension, focus attention, and enhance suspense. Have some background activity going on and then to heighten tension, slowly remove it.
Adding a sound for the sole purpose of removing it later for dramatic effect is one of the most powerful tools you have. It can raise tension, focus attention, and enhance suspense. Have some background activity going on and then to heighten tension, slowly remove it.
11
The mind is amazing at removing static sounds. Even simple room tones and airs tend to work better with some movement in them. I believe the mind notices ‘changes’ in sound, not sound itself. Use this to your advantage.
The mind is amazing at removing static sounds. Even simple room tones and airs tend to work better with some movement in them. I believe the mind notices ‘changes’ in sound, not sound itself. Use this to your advantage.
12
The power of film music is all about how it starts and how it ends. These are the powerful moments. When you cover your film wall to wall in music, the power of your music will be lost.
The power of film music is all about how it starts and how it ends. These are the powerful moments. When you cover your film wall to wall in music, the power of your music will be lost.
13
If you are a composer, learn to score AROUND the sound effects, around the action. We have no choice but to hit sync; you do not, and often should not.
If you are a composer, learn to score AROUND the sound effects, around the action. We have no choice but to hit sync; you do not, and often should not.
14
There is no loud without quiet. Dynamics are your friend.
There is no loud without quiet. Dynamics are your friend.
15
Dialog panning into the surrounds is in general a very bad idea, no matter what Alejandro Iniratu thinks :)
Dialog panning into the surrounds is in general a very bad idea, no matter what Alejandro Iniratu thinks :)
16
More channels of sound do not inherently make a better soundtrack. Often the reverse. Atmos is great, but some of the greatest sound moments in film were done in mono.
More channels of sound do not inherently make a better soundtrack. Often the reverse. Atmos is great, but some of the greatest sound moments in film were done in mono.
17
The best sound moments are simple, not complex. They are about the ideas and then skillful execution.
The best sound moments are simple, not complex. They are about the ideas and then skillful execution.
18
Great sound design is about awareness. Awareness of story, character, plot, theme, mood… Sound design is an Aware, Emotional, Dynamic, and Intentional use of sound to support the story.
Great sound design is about awareness. Awareness of story, character, plot, theme, mood… Sound design is an Aware, Emotional, Dynamic, and Intentional use of sound to support the story.
19
Great sound cannot save a mediocre film. You cannot fix it in post. You will never be able to fix it in post.
Great sound cannot save a mediocre film. You cannot fix it in post. You will never be able to fix it in post.
20
There are as many creative opportunities for sound in documentaries, podcasts, and independent dramas as in big Hollywood features and AAA games. Sometimes more. Great sound transcends genre or industry.
There are as many creative opportunities for sound in documentaries, podcasts, and independent dramas as in big Hollywood features and AAA games. Sometimes more. Great sound transcends genre or industry.
21
Carry a recorder with you always, or have one close by and ready to go. You never know what amazing sound will present itself out of the blue. Record your own sounds. It is what will help you create your own sound. Build a library and keep it well organized.
Carry a recorder with you always, or have one close by and ready to go. You never know what amazing sound will present itself out of the blue. Record your own sounds. It is what will help you create your own sound. Build a library and keep it well organized.
22
You really need to only learn and master a handful of plugins. An EQ, a compressor, a reverb. Pick one and master it. You do not need 12 different compressors and 15 EQs. One good one will suffice.
You really need to only learn and master a handful of plugins. An EQ, a compressor, a reverb. Pick one and master it. You do not need 12 different compressors and 15 EQs. One good one will suffice.
23
Noise reduction, Izotope, all of these tools can do wonders, but it’s very easy to overuse them and suck the life out of a sound. Use them just enough to achieve what you want, then back off a little. Once the backgrounds are in, it will mask many things you are trying to remove.
Noise reduction, Izotope, all of these tools can do wonders, but it’s very easy to overuse them and suck the life out of a sound. Use them just enough to achieve what you want, then back off a little. Once the backgrounds are in, it will mask many things you are trying to remove.
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24
Show your work to others that you trust. Find people who will understand what YOU’RE trying to do and not just opine about what THEY would do. Learn to accept criticism as the ultimate gift. But always accept and give it with kindness.
Show your work to others that you trust. Find people who will understand what YOU’RE trying to do and not just opine about what THEY would do. Learn to accept criticism as the ultimate gift. But always accept and give it with kindness.
25
Never become attached or precious about the sounds you’re working with. Be prepared to sacrifice work you love or are proud of when it becomes clear that it’s no longer working for the film or you’re simply overruled by clients.
Never become attached or precious about the sounds you’re working with. Be prepared to sacrifice work you love or are proud of when it becomes clear that it’s no longer working for the film or you’re simply overruled by clients.
26
But fight for what you believe in, to a point. If you truly believe something in sound will improve the movie, stick up for it, and present it to the director. Speak up when you know it’s coming from a place of bettering the film, and not when it’s clear it’s your own ego.
But fight for what you believe in, to a point. If you truly believe something in sound will improve the movie, stick up for it, and present it to the director. Speak up when you know it’s coming from a place of bettering the film, and not when it’s clear it’s your own ego.
27
A good picture editor should be as open to hearing your ideas about making a picture edit as they expect you to be about making a sound edit. I have often gotten picture edits that help sound better help the film.
A good picture editor should be as open to hearing your ideas about making a picture edit as they expect you to be about making a sound edit. I have often gotten picture edits that help sound better help the film.
28
A good composer should accept criticism the same way they dish it out. Music is not more precious than sound effects just because it cost a lot more. Music is malleable. Music is mutable.
A good composer should accept criticism the same way they dish it out. Music is not more precious than sound effects just because it cost a lot more. Music is malleable. Music is mutable.
29
Check your ego at the door. It won’t suit you. The best experiences, the best mixes, are always achieved when everyone present understands that we all work in the service of the film, not our own agendas, wants, or desires.
Check your ego at the door. It won’t suit you. The best experiences, the best mixes, are always achieved when everyone present understands that we all work in the service of the film, not our own agendas, wants, or desires.
30
Mix stages are very expensive editing rooms.
Mix stages are very expensive editing rooms.
31
Little Gold Statues are fleeting. Try not to get attached to them.
Little Gold Statues are fleeting. Try not to get attached to them.
32
Every person you meet has something to teach you. Never close yourself off to that idea.
Every person you meet has something to teach you. Never close yourself off to that idea.
33
Be content. There are always projects you will miss out on, places you’d rather be, and companies you’d rather work for. Stay focused on doing the best work you can wherever you are, in whatever industry. Enjoy the process and stop imagining rewards you think lie elsewhere.
Be content. There are always projects you will miss out on, places you’d rather be, and companies you’d rather work for. Stay focused on doing the best work you can wherever you are, in whatever industry. Enjoy the process and stop imagining rewards you think lie elsewhere.
34
Take care of yourself. In mind, body, and spirit. We don’t talk about the toll this industry will take, in hours, stress, and mental health. Put yourself and your well-being first.
Take care of yourself. In mind, body, and spirit. We don’t talk about the toll this industry will take, in hours, stress, and mental health. Put yourself and your well-being first.
35
Take care of your co-workers. Stand up for what is right when someone is being mistreated. Notice when they are stressed, and a simple gesture of kindness can go a long way to help someone who is suffering.
Take care of your co-workers. Stand up for what is right when someone is being mistreated. Notice when they are stressed, and a simple gesture of kindness can go a long way to help someone who is suffering.
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More stories from Tim Nielsen:
• Tim Nielsen releases the final version of the Universal Category System for sound effects
• Tim Nielsen offers insight into the role of Supervising Sound Editor
• The A Sound Effect podcast returns! Tim Nielsen on the SFX Metadata revolution
• How Tim Nielsen & Team Made ‘Moana / Vaiana’ Sound So Good
• In-depth: The story behind Tim Nielsen’s brilliant sound design for The Little Prince
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Wise words Tim! These are all excellent reminders. Thanks for sharing this mindful list.