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    The other scene that struck me was when Weisz walks through the passageway and comes upon Emma Stone in bed. You can feel her stalking through the darkness and it works so well visually and sonically. Johnnie Burn: I’m glad you liked it because we did some work there. Before that, the Queen’s having her legs massaged, and we almost comedically use the winds to accent the music. When you cut to Rachel, she’s geographically and philosophically distanced, and we cut in a very cold wind. It sets up a different atmosphere for her scenes, and that really helped. She then floats down the corridor and the wind becomes a pure note.When you see Abigail in bed with the Queen, the outgoing music is in a minor chord. However, the next piece comes in on a major chord. There’s only a four second gap between the music. When the gap is that small but musical change is that big, you register it as a major piece of discordance. So we used modulated the wind from the corridor through changing the frequency, and it actually completes the key change. All the supporting atmospheres are working musically to support what you’re watching on the screen. It was a really fun bit to do. It is fun to alter the sound effects and design to help alter the interpretation of the image.To progress successfully into employment in today’s music industry takes a lot of hard work, focus, commitment and passion.Choosing to work in the music industry is not for everyone. It also requires a strong set of competent skills and a well developed ‘creative muscle’. We aim to support you in developing all of these areas during your time at DYNAMICS School of Audio Engineering .If you are passionate about building and developing your skills in sound engineering, music production, studio recording, mixing and remixing, mastering, listening skills, creative music technology, synthesis, sampling, creative process, collaboration and much much more, then you should definitely carry on reading.
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    What were some of the strategies you used in scaring the audience versus shocking them using sound in the film? Gary Rydstrom :There are two ways of going at it; it's the old Alfred Hitchcock story about the bomb under the table. You can shoot the scene two ways, either show the bomb and get the audience to worry about it for a long time before it explodes or don't show the audience the bomb and when it explodes, it's a real shock. It's the same thing with the sound. You either have the simple shock moments like a loud pop in a fireplace. It is the simplest trick in the book. It is simply a real fireplace pop played very loud. With a change in levels, you sneak into it. Everything is meant to get almost whispery and then the POP! has a real shock. On the other hand, there are moments when you just get a sense of something being off, and it evolves into that scary and suspenseful moment. When Nell saw something in the fireplace, it ultimately turned into a big shock with the lion flue coming out and banging into the screen. But during the time leading up to that moment, there were tiny little wind wisps in the fireplace ... but those could also be someone breathing and moving the chains back and forth in the fireplace. The sound builds with suspense to the shock of the lion head coming out. Those moments extend the creepiness a lot longer. The movie is full of examples of both. To progress successfully into employment in today’s music industry takes a lot of hard work, focus, commitment and passion.Choosing to work in the music industry is not for everyone. It also requires a strong set of competent skills and a well developed ‘creative muscle’. We aim to support you in developing all of these areas during your time at DYNAMICS School of Audio Engineering .If you are passionate about building and developing your skills in sound engineering, music production, studio recording, mixing and remixing, mastering, listening skills, creative music technology, synthesis, sampling, creative process, collaboration and much much more, then you should definitely carry on reading.
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    How was Mercury’s voice brought to life for the film? I understand that the final product emerged from a combination of elements.John Warhurst: Wherever we had Freddie, we always used Freddie, because it’s so hard to beat that voice, and we wanted people to enjoy the fact that it’s almost the spirit of Freddie in the film. On set, Rami would sing at the top of his voice. We were always recording Rami’s vocal down, every time we shot a scene, and from that, we would pull out elements of Rami—his breath in, and things like that—which helped us enormously in making you suspend the belief that he is Freddie Mercury. So, we were combining Rami and Freddie in that sense, and then we found a voice double of Freddie because there are scenes in the movie—for example, when he was writing “Love Of My Life” at the piano—where we don’t have that recording of Freddie Mercury. We don’t have a recording of Freddie singing “Happy Birthday” at his parents’ house, or singing “Doing All Right” in the car park, so that was where we had to dip into voice double. Now, the way we created that was on set. Rami just sang that in his own voice; then, in post-production, we would get the voice double to match exactly the songs that Rami had done. We knew we wanted to stay true to Rami’s performance of Freddie, but we needed the voice to sound like the voice that you hear in the concerts, as well. So, we tried to make sure that it was seamless between the dialogue and all the elements of the scenes throughout the film.To progress successfully into employment in today’s music industry takes a lot of hard work, focus, commitment and passion.Choosing to work in the music industry is not for everyone. It also requires a strong set of competent skills and a well developed ‘creative muscle’. We aim to support you in developing all of these areas during your time at DYNAMICS School of Audio Engineering .If you are passionate about building and developing your skills in sound engineering, music production, studio recording, mixing and remixing, mastering, listening skills, creative music technology, synthesis, sampling, creative process, collaboration and much much more, then you should definitely carry on reading.
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    “It would be inappropriate to go into too much detail about how we go about revealing the maximum power and beauty in these live recordings, but it was policy from day one that the Live Aid performance should have the absolute least amount of enhancement, The very fact that we have a multi-track recording of Live Aid at all is a miracle in itself because, as I understand it, Jeff Griffin (the BBC Radio producer at the event) was instructed by Bob Geldof – in no uncertain terms – NOT to roll multi-track tape. Happily for us, Jeff felt that he couldn’t not record it!On one of the shoots, a 595- person crowd turned up so they could do all the Live Aid aerial shots. I recorded the crowd singing in between camera setups so we could start building a library. What we wanted to do was create a hyperreal version of being at Live Aid, so when the camera settles into the crowd, you can feel the presence of the people around you, the perspective of the band and the music would change depending on the shots.We could use the archive crowd recordings as very big beds. John’s recordings of the crowd in between shoots for Live Aid acted as the second layer, and the next layer was the bed that I would provide, which was recordings of smaller groups of about 40 people, in groups of eight or less.”-Shirley smith/ Nina Hartstone.To progress successfully into employment in today’s music industry takes a lot of hard work, focus, commitment and passion.Choosing to work in the music industry is not for everyone. It also requires a strong set of competent skills and a well developed ‘creative muscle’. We aim to support you in developing all of these areas during your time at DYNAMICS School of Audio Engineering .If you are passionate about building and developing your skills in sound engineering, music production, studio recording, mixing and remixing, mastering, listening skills, creative music technology, synthesis, sampling, creative process, collaboration and much much more, then you should definitely carry on reading.
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    “My feeling of string miking is quite different than normal pop miking. I like to mike from much more of a distance. It is a question of taste. My feeling is that if everything is miked close, the strings are kind of piercing and sharp. I prefer a mellower string sound, and that is the way I like to do it. It is my style. Again, it is a classical sound, as opposed to a pop sound, where everything is close miked, and people desire a more biting sound.I like the natural room ambiance, but I am more constrained by a good or bad hall. If you are miking close, and it is not a good hall, you are not really hurt by it. If I am miking at a distance, and it is a bad hall, it is going to sound bad. It has to be a good hall for my type of miking to work. It has to have ambiance, and it has to have a high ceiling.Some of the great halls—Carnegie, the Princeton University Hall, the Concertgebouw in Holland—are hard to get because they are booked well in advance. You have to book many months in advance to get a good hall.”-Bud Graham.To progress successfully into employment in today’s music industry takes a lot of hard work, focus, commitment and passion.Choosing to work in the music industry is not for everyone. It also requires a strong set of competent skills and a well developed ‘creative muscle’. We aim to support you in developing all of these areas during your time at DYNAMICS School of Audio Engineering .If you are passionate about building and developing your skills in sound engineering, music production, studio recording, mixing and remixing, mastering, listening skills, creative music technology, synthesis, sampling, creative process, collaboration and much much more, then you should definitely carry on reading.
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    First of all, how did you begin working in sound design?Johnnie Burn: I was actually at university working on a business degree, and I wasn’t geling with it. I thought “what am I doing here?” and I left to go get a job. A friend of mine was a film producer said there was a job open recording sound in London SoHo. He thought I’d love it because I was DJing at the time. It was luck that helped me fall into working as a runner in a recording studio. I worked my way up from that.I have been very lucky my entire career, both by starting my own company twenty years ago and working with Jonathan Glazer. I’ve done most of his work, and he really likes the details. He especially like works through the details face-to-face, and it’s very difficult to not learn a lot when you’re sitting next to one of the world’s best directors and he’s telling you why a piece of sound works with a shot.To progress successfully into employment in today’s music industry takes a lot of hard work, focus, commitment and passion.Choosing to work in the music industry is not for everyone. It also requires a strong set of competent skills and a well developed ‘creative muscle’. We aim to support you in developing all of these areas during your time at DYNAMICS School of Audio Engineering .If you are passionate about building and developing your skills in sound engineering, music production, studio recording, mixing and remixing, mastering, listening skills, creative music technology, synthesis, sampling, creative process, collaboration and much much more, then you should definitely carry on reading.
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