15kHz
15kHz (Fifteen kilohertz) - that’s the threshold, the line that commonly draws itself between the younger generation and the older men and women of yesteryear. 15kHz is a very high frequency which, as people age, becomes undetectable. Teenagers use it for their cellphones as a sort of stealth ringtone in the classroom (See: Mosquito Ringtone). Mall outlets use it to deter younger people from loitering outside their stores. I use it to make sure that I haven’t gone completely deaf yet. I need my ears. For you who insist on blaring your tunes through your earbuds so everyone in the room can witness your poor taste in music, consider this.
The Wilhelm Scream
Last night’s episode of LOST offered a special treat to many familiar with a TV/Cinema soundbite cliche known as the “Wilhelm scream”. It was originally used in the 1951 western, Distant Drums - a flick so mediocre, so typical of its production period, had it not harbored the spark of Hollywood’s greatest gag, it would have simply sunk into the background or 50’s cinema, forgotten forever.
The scream was recorded and archived, never to be heard again until Ben Burtt, the father of modern sound design, discovered it as a studio reel labeled “Man being eaten by alligator.” Ben resurrected the clip by using it in Star Wars Episode IV: A New Hope. The clip is named after the 1953 film The Charge at Feather River character “Private Wilhelm,” who also emitted the scream. As Burtt began including the scream into other movies he worked on, other sound designers followed suit and the joke has since held firmly its place in audio lore.
Here’s the original scream recording,
as well as a compilation video of a small handful of movies to incorporate the scream:
In last night’s episode of LOST, the scream manifested in the last two minutes of the show. After it ended, I walked into my bedroom where my roommate and his fiance were watching License to Wed. Five seconds after entering the room… “aaaAAAAaahgh!” It made my night. 
Ben Burtt - The Father of Modern Sound Design
Born in 1948, Ben Burtt got his career rolling when he spearheaded the audio spectrum in Star Wars - A New Hope. His method of gathering and manipulating sounds (especially in the sci-fi genre) has set the standard of how audio junkies operate. Foley seems fairly straightforward when dealing with everyday objects such as rushing cars, wind, or footsteps. But how does one tackle the problem of creating a believable sound to go along with something that doesn’t exist, like a lightsaber, or laser blaster? If it was not for Ben Burtt, the iconic sounds of Darth Vader’s breathing mask, Indiana Jones’ crackling whip, and the warbling chortle of Wall-E would sound very different.
Today, I had the pleasure of watching the twenty-minute long featurette on Sound Design in the Special Features disc for Wall-E on Blu Ray. If I could post it to my website and avoid copyright infringement, I would do so in a heartbeat. I highly recommend going out and buying Wall-E just for that segment - the man is a true genius. If anyone plans on doing sound for animations, this is a must-see. I found this video on Youtube, which incorporates a couple tidbits from the featurette. Enjoy!
Ben Burtt - The Man Behind the Noise
Ben Burtt, one of my idols, did an interview for Rotten Tomatoes a while back about his work on Wall-E. I recently purchased Wall-E on Blu Ray, but have not watched their twenty minute special feature about sound design in the movie. Rest assured, I shall write a review on it soon. Here’s a tidbit of the article, followed by its source link. Enjoy!
The fun of being a sound designer is always to create a world of sound and, especially if it’s a science-fiction movie, you get the challenge of really creating a whole world because most of the sounds you hear in the movie - from the ambiences, to the motors of the robots, to, in this film, the characters themselves - have to be created. You get to invent something that hasn’t been heard before.
A Sound Designer’s Dream
Ah, the art of sound design. We audio buffs are few and far between, but those of us who are truly dedicated to our craft are not in it for the money. We enjoy recognition, and certainly wouldn’t mind a paycheck now and again. But hey - I’m still learning, and haven’t broken into the industry and made a name for myself. I do what I love, usually for free, but the contacts I make early in my budding career as a professional sound designer are invaluable despite being financially sparse.
My primary artistic outlet comes in the form of Webserials.com. For the most part, the guys behind WebSerials are former classmates from days past in the film academia at Biola University, in La Mirada, California. The production company, a part of Sikora Media Group, has released a handful of successful compelling feature films broken into bite-sized episodes, attracting thousands of loyal subscribers. They are relatively small, and as of now, funded mostly out of pocket - with the exception of the site funding itself through ad revenue.
WebSerials is wonderful in such a way that the people backing it are not in it for money. We are artists who simply long to create, and yearn for a medium that allows as many people to enjoy our work as possible. Turning a profit is second priority to us. In turn, we work freely without the strangulation of corporate oversight.
I have worked with WebSerials since production of Cataclysmo and the Battle for Earth began in early 2008. Since then, I have had the privilege of manufacturing a plethora of unique sound effects - ranging in diversity from airlocks to flying saucers, from the subtle presence of android servos to the thunderous roar from rocket-powered Winnebagos. Truly, working on Cataclysmo has stretched me as a sound designer, and taught me to tackle difficult scenes from unconventional angles.
Cataclysmo finished its run last winter. This year, The Black Dawn reins. I have much work to do. My load has been lightened by the help of fellow sound designer, Chris Irwin, whom I look to for advice on a regular basis. He shall be tackling the more technical side of audio for The Black Dawn as the ADR Mixer, liberating me to focus on my favorite part sound in movies.
This year will be busy, but I hope to post regularly on the topic of sound in music and movies for a very long time. Soon I will permalink to some demos of my work. Your compliments, and criticism alike, are very welcome.
Find a job in Radio/TV/Film!
Chris Wright
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- TheChrisWright: Had a great Labor Day weekend with @CardFire, his midget, and the family five. Back to Modesto tomorrow thru Friday. September 7, 2010
- TheChrisWright: The hypocrisy of some fellow Christians makes me sick. http://i.imgur.com/hCltS.jpg September 3, 2010
- TheChrisWright: Gin makes the headaches go bye bye. September 3, 2010