Hello there 2011, we are back for some more. If I'm not wrong (the camera moves a bit hectically so I'm not 100% sure), the room that Matthew Wood shows, used to be the sound designer room mainly used by Gary Rydstrom and later on by Randy Thom.
There is little to be learned from this, but it is always neat to catch a fresh glimpse from the ranch and the great people that work there.
"Another post and yet another introduction, this time a nice little piece by Matt Marks (an audio student at The Art Institute of Austin) on Ben Burtt and an award he was recently given. Enjoy, - Sam"
We all know Ben Burtt as the Golden Ear who created some of the worlds most recognized movie sounds – the Star Wars Lightsaber hum, R2-D2’s voice, Indiana Jones’ Whip, WALL-E’s vocabulary, and of course Darth Vader’s deep breathing. Because of his accomplishments within the sound world, Ben Burtt has received numerous awards including Special Achievement in Sound Editing Oscars® for “Star Wars: Episode IV: A New Hope” and “Raiders of the Lost Ark” – and on November 12th, 2009 his legacy was honored once again when he received The Charles S. Swartz Award from the Hollywood Post Alliance.
“Star Trek” Director JJ Abrams presented the award, following a short presentation commemorating some of the iconic movies and sounds credited to Mr. Burtt. The acceptance speech itself is inspiring and full of advice - by the man of the hour himself. For anyone interested in Skywalker Sound, its roots, or just the legend that is Ben Burtt – this video is a must see:
Happy new year Skywalkers!
I was fortunate enough to have been contacted by a few readers regarding my last post. That means that this new year you'll also be reading new contributors.
So, let me introduce to you Mr. Noah Jurcin, aka Phonaut. He is not only a lover of all things Skywalker Sound but also a sound designer himself, working on the videogame industry. Without any further ado, I'll let you read this wonderful post he prepared for us.
- Sam
Editor
The Lightsaber sound. What more can be said about one of the most iconic sounds in one of the most iconic sagas in film history? Rather than retread what has already been discussed about these futuristic swords of light, this month's blog entry is a convenient roundup of resources available on the web about how this sound was created, and how you can make similar sounds using easily available and inexpensive gear. Let's start with Ben Burtt's own comments about how he discovered and created the components of the basic lightsaber humming noise:
As mentioned in the video clip, the lower-pitched component of the saber-hum originated from a Simplex projector with interlock motors, while the brighter, buzzing component came from the quite serendipitous action of walking around a cathode ray tube while he was holding a microphone. The interference from the CRT as captured by his particular microphone created a textural sound which, when combined with the projector noise, created the lush drone we all know as the lightsaber sound. You can approximate these effects without having access to these exact pieces of equipment. Radio Shack stocks an inexpensive ($8) item called the "Recorder Telephone Pickup" which you can use to make the basic humming loop.
I plugged one of these into my handheld recorder and captured a multitude of strange, otherworldy electronic noises simply by walking around my apartment. All electronic gear creates an electronic field just begging to be tapped into by anyone interested enough to tap into it. Check out this small collection of sounds produced by commonplace household devices such as a laptop, microwave, a CRT computer monitor, and a clock. You will hear that my loops contain the all-pervasive 60Hz hum that wall-outlet electronics in the USA create (or 50Hz outside the USA).
The next step brings us to the remarkably simple technique Burtt used to add movement and realism to the hum. This technique tricks the listener into thinking the lightsabers are moving around in space by adding subtle doppler shifts to the humming loop. Just play one of the steady loops out through a speaker in a room while holding a microphone in your hand. A shotgun mic might work better because of the elongated shape. By swinging the mic toward and around the source speaker playing the loop, you will add slight doppler shifts to the microphone recording you are making. I approximated this effect by moving my telephone pickup device in various ways around my kitchen microwave. This method didn't add doppler shifts per se, but did add textural variations of interference which mixed in different ways depending on the position of my pickup device.
For sound designers ready for a much more meticulous and detailed account of recreating lightsaber sound effects, I highly encourage you to stop over and read the Lightsaber Sound Cookbook put together by Derrin Blondin.
Hello there audiophiles! I’m so sorry that I left this blog somewhat abandoned, life always manages to get in the way. But I decided to administer all the info and news in order to have more posts and less waiting time.
So let’s see, a few days ago the official Star Wars website released a very very interesting sound related feature.
The Star Wars Soundboards. It’s an interactive interface in which you are provided with a lot of individual original sounds (without background music or ambience!) from the trilogy, to mix them as you want in a two channels mixer. In fact, I don’t really understand what’s the fun of doing that, because there is no music or other elements to play with. You have lots of voice snippets from all the main good characters (Luke, Han, Leia), R2-D2, Chewbacca, even the Tie Fighters and X-Wings, which is all awesome. But I don’t get what fun you can get playing with those sounds with the tools they provide you with. But I guess I don’t have to tell how much more fun you can have if you download/record those individual sounds into your personal library. I’m sure they are not in HD quality, but they sound pretty good anyway, and I bet most of the sounds (the voices mainly) haven’t been available before.
If you do anything interesting with them, let me know, so I can post it here. May the sound be with you!
Hi there, So, I had some more news left I wanted to share. Once I'm done with that I hope to post something a bit more interesting (other than just news) and I'm also preparing a little something for this holidays.
Ok, let's get to the news and close some tabs.
We can never get enough of good ol' Ben right? Check out this fun little Q&A with the always wonderful Ben Burtt.
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Matthew Wood (right) and David Acord (left) got interviewed by TheForce.net and the resulting podcast (or Force-Cast) is really funny. It's very insightful as well. Get it HERE.
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Well, that's all for now. A couple of things about this blog. I don't really have an agenda (besides posting news more or less as they appear), there are things I know I want to do, but beyond than that is a mystery. Dear reader, you are more than welcome to leave your requests in the comments. If you'd like me to post about a specific thing regarding Skywalker Sound, whether is a sound designer, or a film, or a technical thing, just let me know and I'll see what I can do.
The other thing. Blogger users, dear loyal readers, I invite you to "follow" this blog (so I can have extra motivation for posting). It's right down there on the white sidebar. Did you just clicked on it? Thanks! you are the best.
More news and info regarding Skywalker Sound: The latest Spencer Brewer album "Cinematic" was recorded at the scoring stage, and one song in particular was written in it, called "The Walls that Move" inspired by the actual moving walls in the stage (which can provide natural reverb). It was released on July 15 this year.
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One of EA's latest games Dead Space, had it's score recorded at Skywalker Sound. The score features over three hours of music (composed by Jason Graves) recorded during two different recording sessions. In the first session Graves conducted sixty musicians of the acclaimed Northwest Sinfonia Orchestra at the Bastyr Chapel in Seattle, and a year later Graves conducted sixty players of the Skywalker Symphony Orchestra and twenty voice choir at the world famous Skywalker Sound Scoring Stage. During both sessions, co-produced by Jason Graves and Rod Abernethy, the orchestra was recorded individually by section (woodwinds, brass, percussion and strings) with multiple dynamic levels and variations to be implemented as adaptive layers of music in the game. EA’s audio team designed the music system to be multi-layered so the music could be mixed at run-time based on gameplay and situation. Read the whole press release HERE. Dead Space was released on October 14.
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Nice interview with Dustin Cawood, an assistent sound designer and sound effects supervisor at Skywalker Sound. Read HERE.
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The new Star Wars: The Clone Wars tv series has recently begun screening on Cartoon Network. Here is a nice behind the scenes video from MovieBeat:
We can never get enough of good ol' Ben right? 
