Sounds Used In This Task:
A can of John Smith’s being opened (my recording, funnily enough)
The fan from a computer
A passing train,
‘Wooshing’ vocal sound recordings (my recordings)
A hairdryer
An elevator
A dentists drill
A bug zapper
The birdsong from a lyrebird
Report
1).For this task we had to score Sound FX to a scene from James Cameron’s Terminator 2 (1991).
2).The visual elements I chose to highlight were the moving robotic arms, performed by a lyrebird imitating nearby foresters and a camera with a motor drive. In fact, every visual element from 0:08 come from a lyrebird.
3).I took inspiration from Walter Murch’s foley sound design technique: incorporating found sounds into film usually with sounds source deliberately passing unrecognised. This is similar to Pierre Schaeffer’s mode three of listening - Entendre - Schaeffer, (1952) cited in d’Escrivan (2007) states: “we ignore any meaning behind the causation and focus on purely spectral phenomena“ Concentrating on the sounds intrinsic qualities, neglecting the acknowledgment of the sound source.
4).A new audio technique applied was time-stretching and reversing regions to fit the Video accordingly.
5).A music technique I learned during this task was Murch’s foley technique for using found sounds as a platform for sound FX for film.
6).This task was practise as research because I explored into Murch’s foley sound design ideas and adapted it in my own way by not only using a sound that is imitating another, but is actually from a source of another imitation (the lyrebird). Imitation of the next level: the third degree. I think ill call it re-reduced listening! Have that Schaeffer.
7).I would give myself 65% for this task because I took Murch’s foley technique to the next level with the lyrebird, whilst acknowledging and modifying theories from Schaffer and modifying to fit the outlines of the task.
Word Count: 247
Bibliography
Schaeffer. P., (1952). ’Trends in electroacoustic music’. In: J. d’Escrivan and N. Collins, eds., 2007. The Cambridge Companion To Electronic Music. Cambridge: Cambridge University Press, pp.234
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