With a little pitch and time manipulation you can use that sample to create a giant sinkhole or giant wave it could even be an element for a laser. An example of something fun is when you go on an airplane, the airplane toilets have a great ferocity to them, very aggressive it’s kind of a cool sound. So you take samples of sounds from the real world and manipulate them?Ībsolutely. Then off to the studio to manipulate, combine and generally mangle the elements you’ve collected… Because the CG your designing to usually comes at the very end of the project, you want to have your ducks in a row, know your library so you’ll be able to move fast, that combined with some serious late nights. You can go to your local hardware store and find odd tubes and such to vocalize or blow air through. On one movie, we modified the spark plugs with switches in the vehicle to turn on/off a different number of plugs to change the characteristics of an engine and create cool fire explos out of the tail pipe. ![]() I’ll spend days searching through the existing library till I create a goody bag of sounds that I can draw upon, whether it’s using NASCAR car-bys as a sweeteners for weapons, or manipulating sounds from the Foley stage to create something waaaay different, or adding detail to a designed element, such as body armor or the wings of a creature. I’ll work with Foley artists, use a wide array of synths and/or start recording my voice through processing to add to the collection. I will go out and start recording sounds that I’ll think I’ll need as elements. How do you go about manufacturing sounds for sci-fi movies? For location recording, I have numerous recorders and a list of mics that I have collected over my career that, combined with Soundelux’s collection, offers me a lot of options. My main DAW is a Pro Tools HD-3 with an option of adding two more HD-3s as I need them when I mix. ![]() I am surrounded by computers, monitors, and outboard gear controlled by a D-C ommand and an assortment of keyboards and controllers. It has a full screen projection system with three sets of 5.1 monitoring, for the different industries I work in. It is a 30’ X 22’ room with a tall ceiling. I’ve used so many DAWs over the course of my career, but right now it’s Pro Tools. So, what’s your main instrument as a Sound Designer? Then what happens is, you’ll be playing with your Pro Tools one day, you’ll put a flanger or a vocoder on something, and all of a sudden you’ll go, “Hey, I know that sound!” Listen to the old “Chop Suey” movies, listen to the different tent pole movies of each year, listen to those films or games that have defined a specific era. You need to listen to all styles and genres of movies, like a musician understanding different types of musical compositions. You need to get an audio vocabulary of the sounds of life and fantasy. You’ve got to learn to listen, to hear all the sounds around you. If you want to get into gaming I would recommend learning Wiise. If you want to be in post production, Pro Tools is the best thing to learn, and Nuendo is not a bad thing to learn as well. But just because you know how to use your tools doesn’t mean you have anything to say with them. Like a technically proficient musician, you’ve got to learn your tools. One of the things you need to do is learn the technology you’ve got to learn your “instrument” and the jargon in the industry you want work in. What would you say to someone who wants to become a Sound Designer? I think I was bitten by the bug when I was a kid after seeing Star Wars and Apocalypse Now. One day I realized that instead of making French Horn patches on a Jupiter 8 or DX7, it was more fun to create lasers and exotic sounds. I actually did two things in those days-I worked on both sides of the glass as a recording engineer as well as a synth programmer for several session players. I used to do a lot of live sound and lighting design over at Disneyland while going to college- I did that for 5 years, then I worked my way into the recording studio system I did a stint at Cherokee Studios and other places around town. I went to Berklee College of Music, and then made my way to California, to get into the record business. In this interview, Scott shares some of his insights into the art of Sound Design for motion pictures and games. He has also worked extensively as a designer and mixer for interactive successes such as Gears of War 2, Fable 2 and 3, Final Fantasy XIV, and Lost Planet-Colonies. ![]() Scott Martin Gershin has worked as a Sound Designer and sound supervisor on some of the most popular films of recent years: Star Trek, Hellboy - The Golden Army, American Beauty, Shrek, Chronicles of Riddick, Blade II, Underworld Evolution, Team America, and many more.
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