Facts about Opera:
– Originated in Italy in the late 1500’s
– Combines Music and drama
– Music is an inseparable part of the stage presentation, drives the drama and
emotion while commenting on the story and characters
– Notes on early Opera: |
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– Dafne by Jacopo Peri – Considered to be the first opera , Tells the story of
Apollo falling in love
– Claudio Monteverdi – Perhaps the most famous purveyor of early Opera,
Famous works include L’Arianna, L’Orfeo and Scherzi Musicali. |
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Musical Theater:;
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– Showboat ; 1927 – The first American ;musical-play,; meaning that the music; and
story; were written to work organically together.
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Film to Theater/Opera:
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;-Initially, motion pictures featured no included soundtrack .
-Dialogue was given as ;caption; frames between the action .
-Yet, silent films were never truly ;silent .;
-Piano Accompaniment
-Provided a ;background ; to the film
-Used to mask sound of the loud projector .-Less literal to the actions in the film due to the difficulty of improvisation; along
with action and synchronizing pianistʼs playing to the film each time.
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Synchronized Music on Film is the same every time the movie plays back.; This means
the soundtrack is the same each time and can be part of the story.
As such it can now be used to:
-Foreshadow
-Punctuate Dramatic/Emotional Moments
– create tension .
-Make Jokes
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Edmund Meisel ; composer of Potemkin;
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Each action in the film has; corresponding musical elements .;
The music is an; inseparable; part of the experience of watching the film
The Music ; comments; on the Film;
This is massive because:
Music can now be seen as a description of the emotion of the character
Audience begins to rely on music for clues as to emotions and meaning of
elements of the plot
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Film Music Jobs:
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Music Executive;
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-Works directly for; production company .
-Has no control over the style or; placement; of music (and, really, no clue about
it either)
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In charge of negotiating with; record labels; for the music that will
be used in the film. -In charge of selecting tracks for; retail soundtrack; (not style or placement in film)
-Works directly for production company
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;Writes; original score; for the Film
-Consists of: ;
; themes ;
; melodies ;
;Needs to understand function of Music in film
;Dramatic/Emotional influence
;Part of telling the story of the Film, etc.
;Must be willing to write music that fits into the; directors vision .
;The Composers music is part of the vision, but must work within it with all
of the other elements.
;Communicates with Director in; dramatic; terms (rather than musical).
;Must speak the language of the; major creative force; behind the film and
translate it into musical ideas (ie ; making a piece of music sound
;Bouncy;)
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Part of composer’s team
-Arranges and composes music for the proper instrumentation
-This is based on the function of the music within the scene.
-Ensures that all of the parts of the score are:
-playable .
-Within the range of the selected instruments
-Not technically for musicians
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Generates parts for individual members of the orchestra
•Aware of musical preperation conventions.
• bar numbers below each measure for rehearsal and ease in picking up
recording from a certain place
•Considers page turns throughout score
•Prepares orchestra breakdown
•Which cues are completed
•Title of each piece and assigned cue numbers
•Length in bars
• instrument list for each piece, including any special percussion instruments
needed.
•Extracts parts from the score
•Uses a program like Finale or Sibelius
•Makes PDF or Tiff Image of Sheet Music
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Sibelius:is a Digidesign owned notation Software
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•Notation View for those more comfortable with conventional musical notation
•Uses kontakt for sample sounds
•Has a video window right in the software for composing music along with a
quicktime .
•Export to Sibelius from Pro Tools
•Useful for communication between Composer and music editor .
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The Conductor is frequently either:
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• THE COMPOSER
• THE ORCHESTRATOR
•A PROFESSIONAL CONDUCTOR hired specifically for the job
•Each has benefits and drawbacks
•The Composer might be better utilized in the control room with the director
discussing PERFORMANCES . •The Orchestrator might be better utilized finishing ORCHESTRATIONS .
•The Professional Conductor may not be as familiar with the NUANCES of the
score in the same way the Conductor or Orchestrator would be.
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Musicians for Film Scores work frequently and should exhibit the following qualities:
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•Highly PROFESSIONAL
•Good SIGHT READERS
• VERSATILE in style and ability to play many different genres of music
(sometimes film soundtracks are bizarre and frightening!) |
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Music Editor – Acts as LIAISON between Director, Composer and Mixer
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•Creates TEMP SCORE
•Must be familiar with Scores/Soundtracks and with a BROAD VARIETY of
music
•Assigns CUE NUMBERS to all musical cues
•Spotting and timing notes
•Each cue with start and end times
•Description of DRAMATIC FUNCTION
•Creates CLICK TRACKS and Streamers
•Keeps track of cues
Which ones are finished and through the ORCHESTRATION phase
Which ones still need to be recorded
•Responsible for Post-Recording FIXES
•Re-edits score if edit of movie changes
•Makes smaller CUES from larger ones (for use elsewhere in the film)
•Cuts Score and SOURCE music to film
•Places all of the music where it will end up in RELATION TO THE PICTURE
•Documents and Manages changes to music over the development of the film. •In the final mix, acts as the “ PROTECTOR OF THE SCORE ”
Keeping “Score” elements and preventing producers from using, for
instance, all current/popular source music
• AMATEUR COMPOSERS want to know Music Editors
Can use their compositions in Temp Score
This is usually unpaid, but creates exposure as Director and Producers will
hear temp score!
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The Work of the Music Editor:
Music Spotting
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Director, Producers and *Music Editor* decide which scenes will have
music and which wonʼt
-Generate SPOTTING NOTES |
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•Film is divided into REELS that are between 16 and 20 minutes long
•Reels will be edited together, end to end, by the PROJECTIONIST or manager
at each theater (so it will not be the same everywhere)
•Having music cross boundary between reels could cause GAPS OR SKIPS so
we need to know where each reel ends!
•LFOA, or, LAST FRAME OF ACTION indicates the end of a reel |
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Decide what types of music will be used:
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• SOURCE – Pre-existing music licensed for use in the production
• SCORE – Music written specifically to correspond with scenes in the film
• INCIDENTAL – Music that is “in” the scene, can be heard by the characters
Can be Source music (ex: radio in background) or Score music (ex: music
box)
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• TEMP SCORE – Created by *Music Editor* out of pre-existing music
Cut to the film TEMPORARILY |
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Used to communicate the STYLE in which the score will eventually be
written
Used as the music track in the TEMP MIX
Music comes from Amateur Composers, Music Editors Collection or Pre-
made Music Libraries |
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Mix of the film that is used to show test audiences
•Combines Temp Music, Production Audio and some Temporary Sound Effects
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must follow the specifications laid out by whomever they are going to
•Work Tapes are usually created by INTERNS OR DIGITAL ASSISTANTS |
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•Composer creates score based on
CONCEPTS discussed with director
DIRECTION communicated in the Temp Score
Skill at expressing INTERPRETED EMOTION of scenes in musical terms |
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Term for a Melodic Phrase or passage in the music of the film
that accompanies the re-occurrence of a theme, character action or situation.
•Orchestrator Orchestrates
•Copyist Extracts and Copies
•Contractor Hires Orchestra
•Stage is chosen
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where the live Orchestra is lead by the conductor in the
performance of the score
•Large Screen displaying film, conductor watches and conducts orchestra along
with film. |
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Mix of score recordings which is given to the music editor.
•Acts as a “ MUSIC PREDUB ” •Can be mixed in SURROUND
•Given to *Music Editor* to be synced to picture |
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Process where the *Music Editor* Places or Re-syncs score in the
event that the edit of the film is changed or adjusted prior to release.
•May be referred to as “ CONFORMING ” to picture
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Combines final Music Stem, Dialogue Stem and Sound Effects Stem
See Re-Recording section for more details
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Document that has the final timings of music
•Done after PRINTMASTER is finished
•given to the PRODUCTION COMPANY
•Used to determine who and how much is paid to the “ MUSIC PEOPLE ”
•Based on how much of their music is used in FINAL MIX of the film
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| Use of a specific performance of a song by a specific artist. |
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Involves use of JUST the song, not the performance
•Typically used when a song will be re-performed by a cheaper artist.
•Common for TV COMMERCIALS , etc.
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Different Types:
NEEDLE / LASER DROP |
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Payment made based on the number of times a piece of
music is utilized in a production.
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PRODUCTION BLANKET LASER DROP
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Fixed price for unlimited number of drops
for one piece (price set based on length of production. |
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| Typically used for a TV show theme, renewed annually. |
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Unlimited use of entire library of music.
Licensing Companies:
•Killer Tracks
•APM/KPM •Freeplay |
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The blending of edited sound elements into one continuous soundtrack
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Positions on the Dub Stage:
Dialogue Re-Recording Mixer
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HEAD of the Re-Recording stage
• Takes direction from the DIRECTOR
• May Help MIX FOLEY
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Sound Effects Re-Recording Mixer
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• Mixes BACKGROUND
• Mixes SOUND EFFECTS
• Mixes FOLEY |
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| The Workplace: Stage Setup |
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• Film stages are the size of an average AVERAGE MOVIE THEATER
• TELEVISION stages are usually a bit smaller |
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• 2/3 away from the screen
• Can be 30 – 40 ft in length
• Anywhere from 150 TO 700 inputs |
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• Outboard PROCESSING and patch bays
• The only place you will find AUDIO on a Digital stage |
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DTS & Dolby Digital
•L-C-R speakers BEHIND THE SCREEN
•LS-RS arrays along the side and BACK WALLS |
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•Added LEFT INNER and RIGHT INNER channel
• SURROUND arrays are the same as DTS/Dolby Digital |
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•L-C-R speakers pinked at 85 dB SPL C-weighted
•Ls-Rs are pinked at 82 dB SPL
•The sub is pinked at 95 dB C-weighted
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•1. Send reference tone to Main Monitors with output set to -20dB
•2. Pan the signal to center in Pro Tools
•3. Set the speaker-to-speaker balance for all speakers in the system
using Individual Output Trim mode
•Activate the control room output
•Press and hold the Channel Select switch until the switch flashes.
•Turn the Main Output encoder knob to set the trim value.
•Press the flashing Channel Select switch to exit Trim mode. |
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•5. Solo the Center speaker
•6. Adjust Control Room Output encoder until the sound pressure level
meter displays target reference level
•7. Press and hold the Calibration Mode switch until it flashes.
•8. Adjust the Main Control Room Output level encoder until target
reference level is displayed
•9. Repeat for all speakers |
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•Changes from Gain (dB) to Sound Pressure Level (dB SPL)
•Must calibrate first to display output in SPL
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Beyond the Stage: CONTROL ROOM
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•DADs, MAG Dubbers, DA-88s
•DSP Core & Converters of digital consoles
•Patchbays
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•Blending source elements from EDITORIAL
•Creating more manageable SUB MIXES
•Keys to setting up predubs:
•Each predub will consist of SIMILAR ELEMENTS recorded to MTR
• LIKE SOUNDS – share common genres.
• LIKE FREQUENCY CONTENT – common frequencies
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Dialogue Predub: Principal Production
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Recorded to limited number of tracks on MTR
•Split based on PERSPECTIVE
•Routed to the CENTER CHANNEL for monitoring
•Processed to sound as clean as possible |
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| •Series of pieces of outboard gear used to fix |
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| SINGLE ENDED NOISE REDUCTION |
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Cedar Box DNS-2000
•Available for Pro Tools HD Systems
•Behringer DeNoiser –
• REMOVE ELECTRICAL NOISE
•X-Hum from Waves
•Alternative to the Behringer DeNoiser |
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Notches out specific sounds in the same
FREQUENCY RANGE as the dialogue
•Adds life to tracks that have been over
processed.
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USED AS A HIGH OR LOW CUT FILTER
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Alternative to the Urie 565.
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Alternative to Brooke De-Esser
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Keeps level under control and allows the use
of a bit of A BIT OF COMPRESSION
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| •Alternative to the Aphex Expressor |
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•Can be recorded to up to 8 tracks on MTR .
•Split based on CHARACTER.
•Routed to the CENTER CHANNEL for monitoring
•Processed to match PRODUCTION
•“Putting It In The Room”
•Process with EQ AND REVERB . |
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•Recorded to five tracks on MTR
•Consists of WALLA , panned call outs, 5.0 reverb
•Routed to the L,C,R,LS,&,RS channels for monitoring
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| Often used to get a reference for ADR |
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Used as a back up, just in case…
When dialogue is panned and bounces around based upon perspective
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•Foley
•Cloth
•Recorded to ONE CHANNEL on MTR
•Routed to the CENTER CHANNEL for monitoring
•Processed to match PRODUCTION
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Recorded to ONE CHANNEL on MTR
•Routed to the CENTER CHANNEL for monitoring
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Recorded THREE CHANNELS on MTR
•Routed to L-C-R CHANNELS for monitoring
•Processed to MATCH production
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•Recorded to ONE CHANNEL on MTR
•Generally related to PRINCIPAL CHARACTERS
•Routed to the CENTER CHANNEL for monitoring
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•Recorded to THEREE CHANNELS on MTR
•Routed to L-C-R for monitoring
•Processed to MATCH PRODUCTION |
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4 + 1 Channel BGʼs
•Offers most FLEXIBILITY
•Quad BGʼs recorded to 4 TRACKS on MTR
•Quad BGʼs routed to L-R-LS-RS CHANNELS for
monitoring
•“+1” mono fill track recorded to 1 CHANNEL ,
•Routed to the CENTER CHANNEL for monitoring |
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•Recorded as 5.0 mix to 5 CHANNELS on MTR
•Routed to L-C-R-LS-RS for monitoring
•No mono fill = LESS FLEXIBILITY
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Sound Effects designed for the FRONT of the theater
•Recorded to THREE CHANNELS on MTR
•Routed to L-C-R channels for monitoring |
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Effects designed to take advantage of SUB AND/OR
SURROUNDS .
•Recorded to SIX CHANNELS on MTR
•Routed to L-C-R-LS-RS-LFE channels for monitoring |
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| Mixing Predubs: Some General Rules |
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•Stay organized
•Monitor your RETURNS
•Only the returns of predub BEING RECORDED are monitored
during the recording
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•NEVER process more than HALFWAY
•What works by itself may not work with other elements.
•If you do overdo it, youʼre stuck with it. |
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•Understand….
•how we localize sound.
•the limitations of your audienceʼs hearing as well as your own.
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Will not all PERCEIVE INTENSITY equally
•Can hear between 20HZ-20KHZ at birth
•Average person under 40 with no hearing loss can hear roughly 20HZ-16KHZ
•Will not perceive ALL FREQUENCIES equally
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| Human Sound Localization Cues: |
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•Static Cues
•Cues that DO NOT CHANGE
•Dynamic Cues
•Involves movement of the LISTENER’S BODY ;
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Static Cues: Interaural; INTERAURAL TIME DIFFERENCE (ITD)
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;The delay between sounds arriving at the left and right ears
;Static
;Azimuth
;Most effective between; 270HZ ; 500HZ ;
;Listeners can perceive a 1 degree difference |
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| Interaural; INTENSITY DIFFERENCE |
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;Difference in intensity of a sound reaching the left and right ear
;Static
;Azimuth
;Predominate frequencies above; 1400HZ
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;Effect of the; EXTERNAL EAR; on a sound
;Static
;Azimuth and Zenith
;Front to Rear ;
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;The reflections of sound off of the shoulders into the ear
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;Static ;
; 1KHZ-3KHZ; are most clearly reflected ;
;Echoes perceived as very small time delays
;zenith (elevation) of a sound |
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| Dynamic Cues: HEAD; Movement |
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;Turning to; LOCALIZE; the source ;
;Dynamic
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;Look to confirm what you hear.
;Dynamic |
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Reflections within the first 50 ; 100ms
;Dynamic ;
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;The natural decay of; SOUND IN SPACE .
;Dynamic ;
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; SIMPLEST; localization cue
;Calculate distance
;Speed of sound is 1128 ft/sec @ 70
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| Fletcher Munson Equal Loudness Contours |
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measure of sound pressure (dB SPL) vs. frequency for which a listener
perceives a; CONSTANT LOUDNESS ;
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Octaves 1-4
;Considered the; BASS RANGE ;
;Conveys; STRENGTH and; POWER ;
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;Power, Boom ;; FULLNESS
;Sounds in this frequency range:
;Thunder, Traffic, ; Explosions
;Piano, Tuba, Organ, Bass
;A little goes a; LONG WAY
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;Serves aural structure in the same way as the horizon serves
visual structure
;Gives sounds fullness or; BOTTOM
;Too much = boomy ( 80HZ-160HZ )
;Too little = thin
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is the; TRANSITION octave
;;thumpiness;
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;Overlap Alert ;
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;Too Much; 250HZ-500HZ; can be boxy |
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;Said to give sound; INTENSITY ;
;Most of the frequencies of the; HUMAN VOICE ;
;Fundamental ; lower harmonics of most sounds
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Octave 5 ( 320HZ-640HZ );
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Known for fullness, roundness, ; body
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Octave 6 ( 640HZ-1280HZ )
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Hornlike ;
;Central parts of most; INSTRUMENT’S spectra
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Octave 7 ( 1280HZ-2560HZ )
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•Said to add DEFINITION
•Too much = TINNY
•Extended listening:
•can be annoying
•causes ear fatigue |
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| Octave 8 ( 2560HZ-5120HZ): |
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•Upper mids
•Known as the “ PRESENCE OCTAVE ”
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| The lower part of the 8th octave |
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2200HZ-3500HZ
•Improves speech INTELLIGIBILITY
•Too much emphasis
•Dialogue can sound LISPY
•Consonants hard to understand
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3500HZ-5120HZ
•Adds DEFINITION , realism and clarity
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| 8th Octave + lower part of the 9th (around 6KHZ ) |
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•Causes sounds to be perceived as NEARBY
•Said to add EDGE
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Gives the impression of an overall LOUDNESS INCREASE
throughout the mids |
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Octaves 9-10 ( 5120HZ-20KHZ)
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Treble frequencies
•Reduce sibilance by attenuating in the 9TH OCTAVE
• 5120HZ-10240HZ |
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Sounds HISSY and ELECTRONIC
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Emphasis between 15KHZ-20KHZ
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| creates an “airy, SWEET , and open” feel |
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Final Mix: All of the components of the soundtrack are mixed together
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General Rules:
•All audio is polished
•Levels balanced between PREDUBS
•Final Processing (EQ & Reverb)
• MUSIC is added
•Reels are listened to together to ensure the CONTINUITY
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Tools for Final Mix: COCKTAIL PARTY Effect
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Allows the listener to “ TUNE IN ” to what one speaker is saying
despite the chatter of many other speakers that are talking
simultaneously |
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| Tools for Final Mix: BINAURAL Masking |
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The ear shifts the combined response of the unwanted signal in
two ears and PARTIALLY CANCELS IT OUT .
•Why this is important?
•Make better use of space
•Create more REALISTIC DEPTH
•Turn layered sounds into cohesive sound event
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We hear a sound as coming from the DIRECTION from which it
first reaches us |
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| Crowding of wave fronts around a MOVING SOUND SOURCE |
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• INTENSITY of the source.
•Inverse Square Law
•Ratio of Direct to REVERBERANT SOUND
•The Amount of HIGH FREQUENCY Content |
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| ICON mixing tools: VCA Faders |
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•Fader used to control OVERALL LEVEL of a group
•Allows a single fader to adjust the overall level of a group
•Individual tracks remain INDEPENDENT of the group |
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•Create a VCA Master track
•Assign OUTPUT of the VCA Master track to desired group |
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Result of mixing the PREDUBS
•Dialogue
•6 tracks routed to 5 channels.
•L, C, R, Ls, Rs, and Aux.
•Contains all elements of the DIALOGUE PREDUBS .
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•Consists of six tracks routed to SIX channels
•L, C, R, Ls, Rs, and Sub
•Contains all elements other than Dialogue or Music.
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•Consists of six tracks routed to SIX channels.
•L, C, R, Ls, Rs, and Sub
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•In addition to the stems
•Each is usually three channels – L-C-R .
•The Foley add is used in the M&E
•The Sound effects add is for last minute EFFECTS . |
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Six channel CONTROLLED transfer mix of the film.
•A controlled transfer is routing the stems through the console with the faders set
to unity.
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Six Channel Discrete except for SDDS
•(L, C, R, Ls, Rs, & LFE).
•Found in most THEATERS
•Dolby SR-D
•DTS
•SDDS.
•All three formats are on EVERY FILM . |
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•Six discrete inputs.
• AC-3 Compression.
•5 full bandwidth channels
•(L, C, R, Ls, Rs)
•1 limited bandwidth sub.
•SR-D is printed between the SPROCKET HOLES on the left side
of the film.
•Has +20DB of headroom. |
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Six discrete inputs.
•6 Full Bandwidth Channels
•(L, C, R, Ls, Rs, and Sub) |
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Six discrete inputs.
•6 Full Bandwidth Channels
•(L, C, R, Ls, Rs, and Sub) |
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Sub is filtered at 80Hz Lowpass, and added to the surround
channels.
•This audio is then encoded to CD-ROM as 5 Channels.
•Uses sub-band coding with linear prediction and quantization
•Has 20 DB of Headroom. |
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5 channel discrete output
•Any sound from the surrounds that is below 80 Hz is directed to
the sub
•This is done to prevent the surround channels from being
overdriven with low frequencies and also to playback the
audio that was sent there in the initial conversion process. |
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| Audio is played back from CD-ROM which is following DTS |
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•CD-Rom follows 30FPS proprietary DTS Timecode.
•Printed on the film to the right of the audio track |
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•Uses ATRAC compression scheme
•Can be 4, 6, or 8 discrete inputs
• 8 Channel output that adds a left inner and right inner channel
•(L, Li, C, Ri, R, Ls, Rs,& Lfe)
•Encoded audio is printed on the outer edges of both sides of the
film.
•Has 20DM of headroom.
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| Optical Print Master (Analogue Release) |
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DOLBY SR
• 2 channel stereo mix.
•Back-up should there be a drop-out or a malfunction with the digital tracks
•The Dolby SR optical track is a 4-2-4 matrix
•Takes the L, C, R, and NON Discrete surrounds and reduces them to two
channels.
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| Optical Print Master (Analogue Release) |
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•The sub is derived with crossovers.
• OPTICAL heads only read the difference between black & white
•Only +9DB of headroom |
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| To work in game audio, do I need to be a programmer? |
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A: No.
Though it doesn’t hurt to have a basic understanding of programming, it isn’t necessary
to know C++ or anything advanced like that.
Anything you absolutely NEED for your specific work will likely be covered in on-the-job
training.
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| If I start out working in film and want to do game audio later, will it be possible? |
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A: Yes!
As a matter of fact, the game industry is increasingly basing its production flow off of
the Hollywood Model.
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| Will I have to join a union? |
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A: Not necessarily
Unions not as common as in Hollywood
Depends on the facility and type of work |
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| Am I likely to find work in game audio? |
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Though the game industry is HUGE at the moment, it is highly competitive.
You will need to be on the top of your game.
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| If I do find work how is the money and hours? |
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Games outsold movies between 2004-2007
The money is typically good, but…
Hours can be strenuous, especially when nearing release date.
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| Three Dimensional Awareness |
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You must be aware of all aspects of a games design and where you fit in to
the big picture
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Why we play
Actions and Outcomes: we are in the “drivers seat”
Meaningful interaction is at the root of "playing" games of any variety |
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Goal: enveloping
Realistic participation and interaction create the meaningful experience!
Responsibilities of Sound Team in Games
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| Interpreting the "SOUND NEEDS" based on DESIGN DOCUMENT |
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Read the design document and conceptualize
List the sounds found there
Note ideas that you have about those sounds
Design Document
Lists all factors involved in the game
platform
Style of game
Specific environment
Player elements
Npc’s/AIs/ enemies
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Creating Sound "PROTOTYPES"
Temporary/Placeholder sounds
Mockups that will probably be improved upon later
Example: Sports game Protoypes
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Recording FOLEY
Much like film
NEEDS BASED
you get the ideas from the design document
May have "MOCKUPS" or "test animations" to use for VISUAL REFERENCE
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FIELD RECORDING
Used as basis for sound designs
Gives an "ORIGINAL" flare to sounds in game
Field Recording lecture for more info!
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MUCH LIKE FILM
Done on a level by level basis
May have “TEST ANIMATION" based on actions that can occur in
game to use as the visual reference for your design
Remember – Sound might be played 10 times in 5 minutes!
Must not be REPETITIVE OR ANNOYING!
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“All I do is DESIGN SOUNDS ”
FALSE!
50% design, 50% implementation
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Asset Management
Organizing Sounds
DATABASING SOUNDS
Sound Miner
BaseHead
Excel Spreadsheet Proficiency
LOGICAL ORGANIZATION
Name files sequentially
Use FOLDERS,SUBFOLDERS,ARCHIVES etc.
Consistency is of the UTMOST importance!
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