Inspired by classic noir soundtracks and experimental sounds, I built a score dependent on layered sounds and unique textures. This allowed the score and the sound design to overlap and interact together into a seamless backdrop for the film.
The approach to recording the necessary sounds remained minimal throughout the process, and aside from a muted piano sample and a few pad tracks, the instruments heard are all live and real!
In an effort to mimic the traditional sounds of screeching strings in horror films, violinist Samantha Schultz recorded a variety of sounds and patterns which could be layered to create the sound of a string ensemble. Jacob Coons took the same approach on bassoon with drone sounds and even experimental sounds. Lastly, I added layers of my own haunting vocals to create both the eerie whispering effects and to build a layered choir-like pad.
This simplistic, yet unconventional combination of sounds made the perfect score for the suspenseful atmosphere and ghostly occurrences.
Despite only originally joining the project as a composer, I stepped up to the task of adding sound effects and also managing the post-production sound mixing and mastering.
Since the film's score already included ghostly vocals, it was simple to sound design the several occurrences of whispering sounds. For these, I also recorded my own voice, whispering several Latin phrases in a variety of pitches, tempos, and volumes. The overall effect was created by adding layers of these phrases also in reverse, and repeating and layering the phrases continuously into indistinguishable nonsense. These were processed with volume automation and heavy effects, including delay and reverb.
The whispering easily tied into the score, as well as the choir vocals and violin and bassoon sounds, some of which acted at times as sound effects in order to increase the tension and suspense.
Other sound effects included sourcing sounds for slamming doors, a crashing cymbal, creaks, and a car engine, which were placed, edited, and mixed to work with the dialogue and score.
To polish off the finished project, I did several final passes with volume automation to blend together sound effects, dialogue, and music at appropriate levels throughout the film. A last pass of basic mastering helped to create a cohesive sound and to bring the volume up to a consistent streaming level. #shortfilm #sounddesign #filmcomposer #originalscore #soundtrack #recordingengineer #composer #postproductionaudio #mixing #mastering…Inspired by classic noir soundtracks and experimental sounds, I built a score dependent on layered sounds and unique textures. This allowed the score and the sound design to overlap and interact together into a seamless backdrop for the film.
The approach to recording the necessary sounds remained minimal throughout the process, and aside from a muted piano sample and a few pad tracks, the instruments heard are all live and real!
In an effort to mimic the traditional sounds of screeching strings in horror films, violinist Samantha Schultz recorded a variety of sounds and patterns which could be layered to create the sound of a string ensemble. Jacob Coons took the same approach on bassoon with drone sounds and even experimental sounds. Lastly, I added layers of my own haunting vocals to create both the eerie whispering effects and to build a layered choir-like pad.
This simplistic, yet unconventional combination of sounds made the perfect score for the suspenseful atmosphere and ghostly occurrences.
Despite only originally joining the project as a composer, I stepped up to the task of adding sound effects and also managing the post-production sound mixing and mastering.
Since the film's score already included ghostly vocals, it was simple to sound design the several occurrences of whispering sounds. For these, I also recorded my own voice, whispering several Latin phrases in a variety of pitches, tempos, and volumes. The overall effect was created by adding layers of these phrases also in reverse, and repeating and layering the phrases continuously into indistinguishable nonsense. These were processed with volume automation and heavy effects, including delay and reverb.
The whispering easily tied into the score, as well as the choir vocals and violin and bassoon sounds, some of which acted at times as sound effects in order to increase the tension and suspense.
Other sound effects included sourcing sounds for slamming doors, a crashing cymbal, creaks, and a car engine, which were placed, edited, and mixed to work with the dialogue and score.
To polish off the finished project, I did several final passes with volume automation to blend together sound effects, dialogue, and music at appropriate levels throughout the film. A last pass of basic mastering helped to create a cohesive sound and to bring the volume up to a consistent streaming level. #shortfilm #sounddesign #filmcomposer #originalscore #soundtrack #recordingengineer #composer #postproductionaudio #mixing #masteringWW…