Music, Sound, and Audio Technology

Bryant Falk has been a producer and engineer for over 12 years working with such clients as �The Ricki Lake Show,� Coca-Cola, Sports Illustrated and Valley National Bank. He recently completed mixing for MTV�s �The Shop.� His company Abacus Audio handles many aspects of the audio production field from creative and production to mixing and final output. http://www.abacusaudio.com/

As one begins the adventure of recording his or her project, a lot of attention is given to what media will do the job. Should it be shot on video or film? 24 progressive or 1080 interlaced? From a creative standpoint different media create a certain feel or �Texture�. Even different film stock can severely impact what is conveyed on screen.

In the world of audio, the same type of thinking can be applied. This can be done from the start by what equipment you plan on using to record location audio, microphones, tape decks, etc. But more likely it is in post where you will be adding many different tracks to a scene that will allow you to decide how you want your project to sound. Audio is unique in its ability to be completely transformed in post.

Deciding on audio texture is like picking a certain type of paper before you begin writing, or canvas, before you begin painting. From matching audio to the historical period of the time, (adding hisses and whirrs to an old radio playing in the background), to creating audio for sci-fi movies made a long, long time ago, (Star Wars), these audio textures can be applied globally to a film project and locally within a scene, (such as with a flashback). Consider the power that audio texturizing has in immersing the viewer quickly and effectively.

Remember when audio cassettes were the craze? They had a certain punch and warmth all at the same time. When working on a period piece, you might consider mixing the project as if it had some of that cassette sound to it.

Now I�m not condoning a feature length mix with a scratchy crackly mix for simulating the first wax cylinder. But as an intro or outro, or even to start and finish a scene, this might be an interesting approach, creating yet a different sonic environment for the viewer.

These textures are wonderful in its ability to paint different colors for different moments. Being in a pool hall today verses being in a pool hall fifty years ago will not only have different music playing but the way we would here that music would be different! These different types of textures can literally be counted. I like to hear at least three to five different textures in a movie. It keeps the listeners� ears fresh and creates momentum for your project.

Another texture to consider is sound effects. From full stereo or surround sound effects to the more simple single track. They all play a role in your project. Putting a pen tapping on a desk in fullsurround may pull the viewer out of the movie as this much information is not the norm in real life. If it�s an effect you�re shooting for, then that�s another story. I like to rank what is most important in a scene for the viewer. This helps put in perspective what really matters in that particular scene. A door slam may or may not be as important as the keys jingling before the engine starts. I might use the door slam in surround to push the size of the garage the car is in or crush it to mono if there is something more acoustically important I want to stress, (for example, the rev of another engine somewhere else or the evil laughter of another character). One interesting past time of mine is watching movies from different time periods to hear how they differ and what the priorities were. From the John Wayne WWII movies to action packed blockbusters of today. I find it interesting how many older movies convey more emotional content than their brethren produced many years later with much �better� technology. In the end, technology is at your disposal to be used how you see fit. Now take a look at the table below as I�ve tried to categorize these textures we�ve been discussing.

Textures to consider
1) Current, (This is what is available today).
2) Historic, (Matching what you would have heard at the period).
3) Retro, (Period in which sound recording went through changes).
4) Effected, (When what you hear and what you see may not match).

So when in the writing phase of your film somewhere in the notes section, try keeping track of the audio texture for each of your scenes. Not just the sound in the scene but how you want it to hit your viewers� ears. Even if you plan on mixing in full surround, older or classic audio flavors can really spring to life when given a surround treatment. Keep your creativity flowing through the mixing phase of your film, and you�ll be surprised and impressed at the results.

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Check out this article in the August 2006 print edition of StudentFilmmakers magazine, page 38.