Detritus 417

▶ searching…



And ▶ how they work: PDF


▶ wow, a pointillistic pinhole camera


▶ cute meme: animal photos anthropomorphised as band photos


Apple, Inc. announced an update earlier today for the popular GarageBand music software that will automatically export finished tracks directly into the Trash folder…. The major announcement concludes months of research. “We’ve used real customer usage data to build this update,” said spokesman Gil Ferro. “For instance, we’ve found that over 98.9% of tracks from GarageBand are moved into the Trash folder within an hour of exporting, which is why that’s the new default behavior.”


▶ Does music have gravity?


▶ siberian tigers 1, robot overlords 0 (via fstoppers)


♥♥♥ summer!

A new expressway was opened today just North from my place… so to get to a nice quiet beach north is only a 10 minute drive now… and as today was too sunny to be stuck inside, I grabbed my drone and went for a drive…

Paekakariki, looking North

Next stop PekaPeka Beach…
which is one of those beaches in NZ that you are allowed to drive along (slowly)

Looking South

Looking North – some good parking!

Then to Waikanae Beach

love the patterns created by streams & rivers, meeting the ocean

Last is a 24 photo panorama shot with DronePan app, auto stitched in AutoPano Giga, tweaked in Photoshop and converted to little planet via Flexify PS plugin… excuse the anomalies….

Sonified Circuits

watch your monitor levels… i.e. turn down

the circuit is a BBD… sonified with refreq

Help out confused Academy voters


I can hear it now,

“And the Oscar for Sound Editing goes to….
I’m sorry, no one voted”

As I understand it, to be an Oscar voter you have to be white & male working or have worked in the film industry… there are about 6000 voters, 22% are actors and when surveyed in 2012, 94% were Caucasian, 77% were male, and 54% were found to be over the age of 60….

So having spent many years professionally working on film, and a lifetime watching & listening to films, one might presume each Academy voter has a fairly good understanding as to how films get made…

But not this voter

While I agree with their abstinence, there should be no need for it…. after all, a lack of knowledge or understanding is not a permanent flaw – it is an educational opportunity!
So for your good deed of the day, lets help this poor voter….

Relative to this voters dilemma, please answer these two questions

Sound Editing is…..



Sound Mixing is….



UPDATE: Thank you Mr Murch

Ai-ling Lee in LA Times: “I get asked this quite a bit,” she laughs. “You start with sound editing, taking the production dialogue recorded on set and cleaning it up so you don’t have any hiss and pop. Eighty percent of sound is added during sound editing — background sound, car doors, giant monster sounds, are all designed and recorded then. The sound editing team basically creates a palette of all of these sounds.”

Next, you move onto the sound mixing. “You take all that material and sift through them to see what is important to focus on,” Lee says. “It’s like when you’re watching a film and the camera is helping you focus on what’s onscreen. Here you do that with the sounds created by the editing team.”

Detritus 416

▶ the tiny trump meme is so great (they should have pitched his voice up a bit)


▶ “It’s a discipline, because the path of least resistance for anyone with a lot of sound-making tools is to keep making more sounds. The path of discipline is to say: Let’s see how few we can get away with.” – guess the artist? (+ some great advice re making versus listening)


▶ “My audition tape was to make a sound like The Enterprise going from warp one to warp seven. I had a little set up in the dining room of my house in LA, so I made this filter sweep tone that kept rolling over itself. I turned in that tape and it became the sound of The Enterprise…” – guess the artist


▶ dogs speak in many languages


▶ A tiny intervention makes a huge difference: animals with forward-facing eyes


▶ the sheep that baas at 1’00” sounds like its been smoking 5 packs of cigarettes a day, for years!


▶ Deconstructing the bassline in Herbie Hancock’s “Chameleon”


▶ another nifty drum machine in your browser: Beadz


▶ You’d imagine a writer winning an award would have a great speech up their sleeve…
damn right!


Missing the fundamental

I’ve spent the last two months recording a set of props for the next HISSandaROAR library and the last aspect I wanted to record was via contact mics…. But which contact mics to use?

I recently bought a set of Leafcutter Johns mics and wanted to compare them, so eventually I decided the best way was to do a test recording. So here was my set up, recording to a Sound Devices 788T

1 Trance Audio Inducer contact mic L via TA Preamp
2 Trance Audio Inducer contact mic R via TA Preamp
3 BB Planar Wave contact mic via Barcus Berry Preamp
4 Leafcutter John contact mic via Barcus Berry Preamp
5 Leafcutter John contact mic via Hosa MIT129 impedance transformer
6 Dazzo contact mic via Hosa MIT129 impedance transformer
7 Leafcutter John contact mic direct line in SD788
8 Dazzo contact mic direct line in SD788

I know how the Trance Audio Inducer responds, and I know how the Barcus Berry Planar Wave responds, as I have used those mic/preamp combinations a lot. So in a way this test was to see how the other options compared. But I also decided to do a test, to verify the science of impedance matching…. hence options 5>8

To minimise phase and/or position relative to nodes, I attached all 8 contact mics and then performed sounds all over the surface of the prop… and the results? I wont upload all of the material recorded but here is a quick example:

So this file is:
1. Trance Audio Inducer contact mic via TA Preamp
2. BB Planar Wave contact mic via Barcus Berry Preamp
3. Leafcutter John contact mic via Barcus Berry Preamp
4. Leafcutter John contact mic via Hosa MIT129 impedance transformer
5. Leafcutter John contact mic direct line in SD788

To my ears the first three sound good – rich in harmonics with a present amount of bass tones. I think the BB Planar Wave sounds the best, followed by the Trance Audio – but in this example that may be placement… Leafcutter John contact mic via Barcus Berry Preamp also sounds good. If it was an instrument the fundamental is clear and present.

But both 4 and 5 are effectively missing the fundamental… If I zoom in on the low frequencies of the spectrum, it seems the Hosa MIT129 impedance transformer is not helping the situation.

Now this is not an exhaustive test by any means, when I mentioned I was doing this test on FB and twitter, a couple of people messaged me asking why am I not testing XYZ brand, and the answer: I do not own XYZ brand. I am doing this test to choose the best options from what I have today. The Dazzo mics did not seem to have the same sensitivity as the others, and by the time I had them at a comparable level the noise floor made them unuseable for my purposes. FWIW the Sanken MO-64 is the only other contact mic I am particularly interested in, but don’t have any plans for recording ants feet so I can live without it…

OK moving forwards, for these recordings I am continuing recording with these 4 channels

1 Trance Audio Inducer contact mic L via TA Preamp
2 Trance Audio Inducer contact mic R via TA Preamp
3 BB Planar Wave contact mic via Barcus Berry Preamp
4 Leafcutter John contact mic via Barcus Berry Preamp

But a final conclusion: if you plug a contact mic straight into your recorder, there is a good chance you will not be recording the fundamental frequency of the source… Whether that matters or not is up to you and what you are recording!

nuzic 20

▶ Nao – Bad Blood (SBTRKT Remix)


20 Years of Baduizm with Gemma Cairney, on BBC


▶ new Little Dragon


▶ new Lusine!


▶ Half Waif – Frost Burn, from upcoming EP “form/a,” out February 24th on Cascine


▶ Chino Amobi – The Prisoners of Nymphaion


Detritus 415

▶ beautiful obituary for sound legend Richard Portman – “his hundreds of film credits include Star Wars, The Godfather, Nashville and his favorite, Harold and Maude. He was the first in Hollywood to mix a film entirely by himself – typically there are three or four mixers – a practice he perfected and preferred. When he retired in 1995, he’d spent more than 90,000 hours behind the panel in a dark room….”

I love his advice offered at the end of the obituary… must read his book: They Wanted a Louder Gun…. also: an interview at Filmsound.org

CAS – You pioneered “one-man” mixing in Hollywood. What are the advantages and disadvantages of that style?

RP – The advantage was that it was my mix – I knew where every sound was – I built my pre-dubbs very carefully combining those sounds I knew would stand up and keeping separate those I knew would not. Because it was my mix I was able to build it in any order I saw fit and that order was completing a double reel before I went on to the next. I was able to record the reels backwards — that is to say I did the background sound effects first, the dialog second (the reason for this is the principle of masking), hard effects third, and lastly the music. However, there were those occasions when I would make a temporary music mix that I would play along whenever I wanted to see how some balance would work with all the elements. On other occasions I would do the foley feet after the reel was completed — only using those foley items which were needed for the domestic and when I did the foreign I would put the rest of the foley in. Another advantage was that I was working all the time with the director or whoever else was to say “yes” or “no” about my efforts and this really speeded up the mix — there was no waiting around. Communication was supreme and the result of good communication is a happy mix. This method had no dis-advantages as far as I was concerned — we were able to make the best mix we could in the shortest practical time. The key to this style is that everything be ready — not a condition that rerecording mixers find very often these days, and the primary reason why mixes sometimes resemble a fist fight.

CAS – Do you think that one-man mixing is still practical, given the huge number of tracks of today’s shows and the limited amount of time to mix them in?

RP – No and Yes. Mainstream movies are vastly over-built and now require more hands. I believe that a Master Mixer working with a good second is the way to go. Now in the low-budget movie world, where things are more or less like they were a number of years ago with a lot less material provided, the one mixer concept is still the way to go.


▶ this is cute, kids would love it: a whalesynth in your browser
via Kottke


▶ Master blaster: the woman making Björk, Aphex Twin and Eno sound so good


▶ interview with La La Lands female sound team


▶ love this photo project: Salaryman Blues by Yusuke Sakai


▶ via Collossal


▶ an infinite drum machine in your browser



▶ a euclidean drum machine in your browser


▶ sound recordists ready when you are… #woollymammoth


▶ Max Richter: Composing with new colors


▶ Listen to the sounds from the deepest hole ever dug


▶ warning: NSFW, if you’re not allowed to swear loudly at work…



by Martin Heck
Within the production-time of 16 weeks, 185,000 photos have been taken, 8TB of raw-material shot, over 220 hours of time captured, 8000km driven and over 1000 hours have been spent for post-production. Visit website for information about the project: timestormfilms.net/new-zealand-ascending/

Cameras: Sony A7RII, Sony A7s, Canon 6D
Lenses: Zeiss Otus 28mm, Canon 11-24mm, Tamron 15-30mm, Zeiss Milvus 35mm, Canon 70-200mm
Motion-Control: eMotimo Spectrum ST4, customized Dynamic Perception Stage One

Incredibly beautiful work!


Such great work from all of the team, including locals (& almost neighbours) Dave Whitehead and Michelle Child

Congrats on the BAFTA… fingers crossed

ARRIVAL Sound Department
Mimi Allard – sound special effects editor
Pierre-Jules Audet – sound effects editor
Niels Barletta – foley mixer
Mathieu Beaudin – sound effects editor
Nicolas Becker – foley artist / foley artist: Special sound effects
Sylvain Bellemare – supervising sound editor
Luc Boudrias – re-recording mixer
Olivier Calvert – sound designer Aliens shell-Vessel
Michelle Child – sound designer: Alien Vocals
Valéry Dufort-Boucher – dialogue editor
Bernard Gariépy Strobl – re-recording mixer
Yannick Gauthier – technical support
Ilyaa Ghafouri – sound assistant
Steven Ghouti – foley mixer
Simon Girard – assistant sound editor
Olivier Guillaume – foley mixer / foley mixer: Special sound effects
Barbara Heller – post adr
Kyle D. Krajewski – adr mixer
Claude La Haye – sound mixer
Gabrielle Labelle Joly – re-recording assistant
Louis-Antoine Lassonde – adr mixer
Gilles Marsalet – assistant to foley artist
James A. Moore – adr recordist
Tyler Newhouse – adr recordist
Steve Perski – sound recordist
Claire Pochon – dialogue editor
Francis Péloquin – boom operator
Patrick Rioux – sfx recordist
Stan Sakellaropoulos – adr supervisor
Joey Simas – technical support
Kathie Talbot – sound designer: trailer
Gregory Vincent – foley artist
Dave Whitehead – sound designer: Alien Vocals
Justin Scott Wilson – sound recordist