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Speaker 1
Hey, Gemini.
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Speaker 2
Man on car ten. Problem cancer ten. I might the moon at the clearing arrived beside my car. The way I can Netanyahu a car. Hey!
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Speaker 1
Gemini in English, please.
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Speaker 2
Of course. What would you like to chat about today?
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Speaker 1
I'm recording this for a podcast. Is that okay?
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Speaker 2
I am comfortable being recorded for a podcast, but I'd like to know more about the podcast first. Can you tell me more about what it's about?
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Speaker 1
Yeah. I want to ask you about sound design.
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Speaker 2
Sounds good. What about sound design? Are you curious about?
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Speaker 1
What features would you include in a Sound Design 101 curriculum.
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Speaker 2
Okay, here's a possible curriculum for Sound Design 101 course. First, you'll want to cover the basics. This includes things like the physics of sound. How microphones work, and the fundamentals of digital audio. Next, you'll want to get into the more creative aspects of sound design. This could include topics like recording techniques, sound editing, and how to create sound effects.
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Speaker 2
Finally, you'll want to give students some hands on experience. This could involve working on a short film or creating a soundscape for a video game. Let me know if you'd like me to go into more detail on any of these topics.
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Speaker 1
Yeah, I'd like you to break down the creative part into a couple more different categories.
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Speaker 2
Sure thing. Let's break down the creative side of sound design a bit more. First up, you've got sound recording. This is all about capturing high quality audio. Whether it's recording dialog on a film set or capturing the sound of a bustling city street. Next, there's sound editing. This is where you take those raw recordings and start shaping them.
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Speaker 2
You might be cutting and splicing different takes together, or using effects to change the way a sound feel. Then there's sound effects design. This is where you get to create entirely new sounds, like the roar of a monster or the swoosh of a spaceship. Finally, there's sound mixing. This is where you balance all the different sound elements in a project to create a cohesive and immersive soundscape.
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Speaker 2
Let me know if you'd like a deeper dive into any of these areas.
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Speaker 1
Okay, I like that. I might add a couple along the way, but let's start with the basics of the physics of sound.
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Speaker 2
Sound design is all about using sound to create an experience for the listener. It's not just about adding sound effects. It's about using sound to tell a story, create emotion, and build atmosphere. Think of it like painting a picture, but with sound instead of colors.
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Speaker 1
Okay. Can you expand more on this from a technical side?
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Speaker 2
Sure thing. On the technical side. Sound design involves using specialized software and hardware to manipulate audio. It could include things like equalizers, compressors, and effects processors. Sound designers also need to have a good understanding of acoustics and psycho acoustics, which is how humans perceive sound.
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Speaker 1
Yeah, let's go into that about how humans perceive sound and a little bit of basics about how that's kind of translated into things like movies and stuff.
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Speaker 2
Okay, let's talk about how we perceive sound and how that's used in movies. First off, our ears are amazing. They can pick up a huge range of sound, from really quiet whispers to super loud explosions. And our brains are even more amazing. They can tell where sound is coming from, and even pick out specific sounds in a noisy environment.
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Speaker 2
Now, movie sound designers use this to their advantage. They know that if they make a sound louder, we'll pay more attention to it. They also know that if they put a sound in the background, it can create a sense of atmosphere. They can even use sound to make us feel emotions. Think of the creepy music in a horror movie or the soaring soundtrack in a romance.
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Speaker 1
Okay, there's something that intrigued me that you mentioned about how, making something louder, it makes it seem closer or, makes people pay attention to it. What other kind of things in sound design are like this that are subtle, that we don't really perceive? Usually?
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Speaker 2
That's a great question. Sound designers use a lot of subtle tricks to influence how we experience the scene. One common one is using reverb to create a sense of space. A character speaking in a large hall will have a lot of reverb, while someone in a small room will sound much drier. This helps us understand the environment even if we can't see it.
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Speaker 2
Another trick is using low frequency sound to create tension or unease. Think of the deep rumble you hear in a horror movie that's designed to make you feel like something bad is about to happen. These are just a couple of examples, but sound designers have a whole toolbox of techniques they use to manipulate our perception.
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Speaker 1
I'd love to really dig into that toolbox.
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Speaker 2
Okay, let's dive into the sound designer's toolbox. First up, you've got your microphones. These come in all shapes and sizes.
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Speaker 1
Each design I don't Gemini star. I don't mean the actual literal toolbox. You said. I mean the figurative version of toolbox, meaning all the tricks and techniques that sound designers use to manipulate perception.
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Speaker 2
Got it. You're interested in the more conceptual toolbox. Sound designers have a bunch of those tricks up their sleeve. One of them is using contrast to make certain sounds stand out. Imagine a quiet, peaceful scene suddenly interrupted by a loud, jarring noise. That contrast grabs your attention. Another technique is using familiar sounds in unexpected ways. Think of a horror movie that uses the sound of a baby crying, but distorted and unsettling.
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Speaker 2
That takes something innocent and twisted to create a feeling of unease. Finally, there's the use of silence. Sometimes the absence of sound can be just as powerful as sound itself, creating a sense of anticipation or dread. These are just a few examples, but sound designers are masters at manipulating our perceptions in subtle ways.
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Speaker 1
Okay, those were some mildly obvious ones. Can you go into some more obscure ones along the lines of how reverb adds space?
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Speaker 2
All right, let's get into some of the more subtle sound design tricks. One of my favorites is using panning to create a sense of movement. Imagine a scene with a car driving by a sound designer might start the engine sound on the left speaker and gradually move it to the right, making it feel like the car is actually passing you.
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Speaker 2
Another cool trick is using EQ to manipulate how close or far away something sounds. Boosting the high frequencies can make a sound feel closer and brighter, while boosting the low frequencies can make it feel more distant and muffled. Finally, there's the use of layering to create complex and interesting sounds. A single footstep might be made up of several different recordings, each adding its own texture and detail.
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Speaker 2
These are the kinds of subtle touches that can really elevated soundscape and make it feel more immersive.
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Speaker 1
Can you go into the layered recordings, making a Richard set a richer sound?
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Speaker 2
Layering is a great way to add depth and complexity to sound. You can layer similar sounds with slight variations in pitch, timing or tone to create a richer, fuller texture. For example, instead of using one recording of a door slamming, you can layer several recordings of different door slamming to create a more realistic and impactful sound. You can also layer completely different sounds together to create something unique and unexpected.
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Speaker 1
You can give me an example of layering two unique sound together to make a new sound. That's been done in. Historically in film.
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Speaker 2
Sure thing. A classic example is the Wilhelm Scream, a dark sound effect used in countless movies. It's often layered with other sounds to make it fit different scenes. Sometimes it's combined with a crashing sound for a fall, or with a monster's roar to add a layer of human pain. This layering helps the scream feel unique to each situation, even though it's the same bass sound.
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Speaker 1
Okay, maybe give me another one.
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Speaker 1
Gemini. Can you give me another example? Similar to that.
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Speaker 2
Sure. Another example is the use of Foley sound to create a sense of realism. Fully. Artists recreate everyday sounds like footsteps rustling clothes and breaking glass to make the soundscape feel more immersive. These sounds are often layered and manipulated to fit the specific action on screen.
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Speaker 1
Can you give me three historical real examples of when this has been used and the specifics about each time?
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Speaker 2
All right, let's look at some historical examples of layering in film. One of the earliest examples is from the 1930s film King Kong. The use multiple recordings of animal roars, including lions and tigers, to create Kong's iconic sound. Another example is from the 1941 film Citizen Kane. The sound designers layered dialog, sound effects, and music to create a sense of depth and realism in the film's many complex scenes.
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Speaker 2
Finally, in the 1979 film Apocalypse Now, they use layering to create a sense of chaos and disorientation during the famous helicopter attack scene. They combine the sounds of helicopters, explosions, and gunfire to make the scene feel incredibly intense.
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Speaker 1
Expand more on how you can shift the tone, and layer it, layer sounds and shift the tone or timing and what effects those have.
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Speaker 2
Layering sounds is like building a sound sandwich. You start with a base sound, like the rumble of a car engine. Then you add layers on top. Maybe the screech of tires, the honk, the horn, or the chatter of people on the street. Each layer adds its own flavor and texture, making the overall sound richer and more complex. Shifting pitch is like changing the key of a song.
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Speaker 2
You can make a sound higher or lower, faster or slower. This can create a sense of urgency, excitement, or even unease. Think of a car chase scene. The engine sound might get higher and faster as the car speed up, adding to the thrill of the scene.
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Speaker 1
What about timing? When would you layer two sounds on each other but with, offset timing?
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Speaker 2
That's a cool technique. Offsetting layers in time can create a sense of depth and spaciousness. Imagine you're recording a crowd scene instead of having all the voices start at the same time. You could offset them slightly so it feels like people are talking at different distances. This can make the scene feel more realistic and immersive. You can also use this technique to create interesting rhythmic effects with percussive sounds.
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Speaker 1
Do you have any specific examples of that specifically?
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Speaker 2
I do. I can recommend some great ones if you'd like. What kind of movies or shows are you into?
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Speaker 1
Gemini. Can you tell me about how you can manipulate the frequency to give the perception of something being farther, or closer? Can you explain why that works? From a physics perspective?
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Speaker 2
Sure thing. Sound designers use a few tricks with sound frequencies to make you think something's moving closer or farther away. For example, when something's coming closer, they might gradually increase the higher frequencies in the sound. Think of a siren. As it gets closer, you hear more of that high pitched whine. That's because high frequency sounds tend to get absorbed by the air more quickly, so they sound clearer when they're close.
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Speaker 2
On the flip side, if something's moving away, sound designers might dial back those high frequencies and boost the lower ones. That's why a car driving away might sound like it has more of a rumbling engine. They might also play with the overall volume, making things louder as they get closer and quieter as they move away. It's kind of like our brains use these changes in frequency and volume as clues to figure out distance.
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Speaker 1
You said that the sound gets absorbed more quickly in the air at higher frequencies. Can you kind of break that out and explain it a little bit more?
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Speaker 2
Sure. Think of it like this. High frequency sounds have shorter wavelength, so they bump into more air molecules as they travel. This makes them lose energy faster so they don't travel as far. Low frequency sounds, on the other hand, have longer wavelength. They can travel through the air more easily. That's why you can sometimes hear the bass from a car.
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Speaker 2
Stereo blocks away, but not the higher notes.
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Speaker 1
That was a good example that really, painted a picture.
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Speaker 2
Absolutely. Let's say you're watching a scene where a character is walking through a crowded marketplace. You might hear the general hubbub of voices, but as the character gets closer to a specific vendor, that vendor's voice would become louder and clearer while the other voices would fade into the background. This helps you focus on what the character is focusing on and feel more immersed in the scene.
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Speaker 1
Okay, so what you explained right there was really excellent. I want to give you that feedback because it, it, it explained an idea basically and very crisp. And it, it gave an example that really painted a picture. And if you can do something like that, throughout this conversation, be perfect.
00;16;00;11 - 00;16;20;09
Speaker 2
Thank you so much for your feedback. I really appreciate you taking the time to share that with me. It's great to know that the way I explained the concept resonated with you. I'll definitely keep that in mind and strive to provide clear and engaging explanations with helpful examples throughout our conversation. Is there anything else I can help you with today?
00;16;20;11 - 00;16;50;04
Speaker 1
Yeah, let's try and squeeze a little bit more of tricks of the trade within the realm of perception, with sound design and maybe some of the lesser known techniques or more subtle tricks that sound designers have used in the past.
00;16;50;07 - 00;17;12;02
Speaker 2
All right, let's dive into some of the subtler tricks sound designers used to mess with our heads. One of my favorites is called sonic masking. Basically, it's when a louder sound covers up a quieter one. You might not even realize it's happening, but it can completely change how you perceive a scene. Think of a busy street. The sound of car horns might match the sound of someone's footsteps, making them think further away than they really are.
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Speaker 2
Another sneaky technique is using phantom power. This is when sound designers create the illusion of a sound source that isn't actually there. They might combine two slightly different sounds in each ear, and your brain will fill in the gap, making you think you're hearing a sound right in front of you. It's a classic trick for creating spooky or mysterious effects.
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Speaker 1
Okay, go into that phantom power thing a little bit more. It's hard to make sure it.
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Speaker 2
All right. Let's talk about how sound design can really amp up the emotional impact of the scene. One way is by using something called sound motif. These are like, little musical themes, but for sound effects. Imagine a horror movie where you hear a faint, metallic, scraping sound every time the killer is about to appear. That sound becomes associated with fear and danger, making those scenes way more intense.
00;18;02;22 - 00;18;17;12
Speaker 2
Another trick is playing with the pacing of sound. Quick, sharp sounds can create a sense of urgency and excitement, like in an action scene. Slow, drawn out sounds can build suspense or create a feeling of unease. Perfect for a thriller.
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Speaker 1
You mentioned something called a phantom power, where, you put different sounds, one in each ear and your mind kind of fills in the blanks. Can you explain that more?
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Speaker 2
Yeah, it's called the heart effect. Basically, if you play two identical sounds in both ears, but one is slightly delayed, your brain will think the sound is coming from the side where it hits your ear first. Sound designers use this to create a sense of space, and make sounds feel like they're coming from a specific direction, even if it do.
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Speaker 2
Coming from speakers on either side of you.
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Speaker 1
So if I hear, horn honk and it hits my left ear just like a fraction of a second earlier, you'll perceive it as closer to the left side.
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Speaker 2
That's right. Your brain is doing some serious processing there. It's using that tiny time difference to figure out where the sound is coming from in space. Pretty amazing,
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Speaker 1
What would be? Maybe the millisecond difference. In a situation like this.
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Speaker 2
In a situation like that, even a tiny difference of a few milliseconds can make a noticeable change in how we perceive the sound location. It's pretty wild how sensitive our ears are.
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Speaker 1
Okay, tell me a little bit more about sonic masking.
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Speaker 2
Sonic masking is basically when one sound covers up another sound, making it harder to hear. It's like when you're trying to have a conversation at a loud party. The music and chatter make it hard to hear the person right next to you. Sound designer use this to focus your attention on certain sounds and create a sense of depth in a scene.
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Speaker 1
So we've covered a lot of things that have to do with like timing and distance and pacing and layering. What else is there that, we're not covering?
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Speaker 1
Gemini. Do you remember where we were?
00;20;51;26 - 00;21;11;06
Speaker 2
I do. We were discussing sound design, and you asked about sonic masking. We talked about how it's when one sound covers up another. Like at a loud party. Do you want to continue exploring that, or would you like to switch gears?
00;21;11;09 - 00;21;51;07
Speaker 1
I would like you to put yourself in the shoes of an intermediate sound designer asking an expert sound designer in order to gain insight into his or her thought process. I would like you to, come up with five well-informed questions from the perspective of this intermediate designer. In order to just really kind of pick the brain of this other one, right?
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Speaker 2
All right. Let's get into character. Imagine you're an up and coming sound designer eager to learn from the best. Here are five questions you might ask a seasoned professional. One. When you're working on a scene, how do you decide which sound to emphasize and which ones to leave in the background? Two what are some of your favorite techniques for creating a sense of realism in a scene?
00;22;08;29 - 00;22;36;29
Speaker 2
Even when you're using completely artificial sound? Three how do you stay creative and avoid falling into predictable patterns when you're working on a long project? Four what's the most challenging sound design problem you've ever faced and how did you solve it? Five what advice would you give to someone who's just starting out in sound design? How's that?
00;22;37;01 - 00;22;56;04
Speaker 1
I was thinking more like technical, strategic kind of tactical questions on like, how to deal with, perception problem.
00;22;56;07 - 00;23;12;23
Speaker 2
Got it. You want to focus on the nitty gritty of how sound designers solve perception based problems? Let's try this. Could you give me a specific example of a time you manipulated sound frequencies to make a small space sound much larger? How do you use panning and stereo imaging to create a sense of movement and depth in a scene?
00;23;13;00 - 00;23;37;12
Speaker 2
What are some common pitfalls sound designers make when trying to manipulate a listener's perception of distance? And how can they be avoided when working with sound effects? How do you decide which elements to cut or boost in the frequency spectrum to achieve a desired emotional response? Can you explain how you use reverb and delay to create a sense of space and distance, and how these effects can be combined to manipulate the listener's perception of their environment?
00;23;37;14 - 00;23;45;00
Speaker 1
Can you give me an in-depth answer to questions three and four?
00;23;45;03 - 00;24;09;11
Speaker 2
No problem. For question three, let's focus on how sound designers maintain their creative edge over time. So how about how do you stay creative and avoid falling into predictable patterns when working on a long project? And for question four, let's get into the nitty gritty of problem solving. What's the most challenging sound design Gemini faced, and how did you start?
00;24;09;14 - 00;24;31;23
Speaker 1
That was question three and four of the first set of five questions that were no good. I want questions three and four from the second set of questions after I mentioned, them being more perception based.
00;24;31;25 - 00;24;53;10
Speaker 2
My apologies. Let's get those perception focused questions for you. For question three, what are some common pitfalls sound designers make when trying to manipulate a listener perception of distance? And how can they be avoided? For question four when working with sound effects? How do you decide which elements to cut or boost in the frequency spectrum to achieve a desired emotional response?
00;24;53;13 - 00;25;06;22
Speaker 1
Yes. Now I would like you to take the role of the more senior sound designer, and answer both of these questions.
00;25;06;25 - 00;25;26;13
Speaker 2
Okay, so to answer the first question, a common pitfall is relying too much on volume to indicate distance. It's more about how sound changes over distance. High frequencies get absorbed faster. So distant sounds often sound muffled. Reverb and delay also play a huge role. A distant sound will have more reflections and a longer delay than a close one.
00;25;26;15 - 00;25;50;11
Speaker 2
For the second question, it's about understanding the emotional impact of different frequencies. Lower frequencies often convey power and intensity like a rumble or a deep voice. Higher frequencies can create tension for a sense of fragility. Cutting or boosting certain frequencies can really shape how a sound makes you feel.
00;25;50;13 - 00;26;11;07
Speaker 1
Why is it that lower frequencies, emphasize power and higher frequencies represent, What they represent?
00;26;11;09 - 00;26;20;26
Speaker 2
The lower frequencies often represent power and intensity, while the higher frequencies can represent tension or fragility.
00;26;20;28 - 00;26;24;21
Speaker 1
Why is this?
00;26;24;24 - 00;26;29;25
Speaker 2
Would you like to hear a few more examples of how sound designers use frequencies to create specific moods?
00;26;29;27 - 00;26;55;16
Speaker 1
No, I would like to know the, I guess what you call it. You wouldn't call it physics. I guess you would. The mechanics behind why we perceive low sounds as, powerful and high sounds as tension.
00;26;55;19 - 00;27;14;07
Speaker 2
Okay, let's talk about the physics behind why we perceive low sounds as powerful and high sounds as tense. Low frequency sounds have longer wavelength. This means they can travel through the air with more energy and are less easily absorbed by objects. Think of how you can feel the rumble of a bass speaker in your chest. That's the raw power of low frequencies.
00;27;14;13 - 00;27;31;11
Speaker 2
High frequency sounds, on the other hand, have shorter wavelength. They carry less energy and are more easily absorbed. This can make them sound sharp, piercing, or even fragile. Our ears are also more sensitive to changes in high frequencies, which can create a feeling of tension or unease.
00;27;31;13 - 00;27;37;28
Speaker 1
What is it about high frequencies that sounds fragile?
00;27;38;00 - 00;27;52;15
Speaker 2
High frequency sounds have shorter wavelength, which means they lose energy more quickly as they travel. This is why they don't carry as far as low frequency sound. Think of it like a pebble skipping across water. It doesn't travel as far as a larger object.
00;27;52;17 - 00;28;06;01
Speaker 1
Right. I didn't ask why they sound less powerful. I think fragile is probably not the inverse of powerful, is it?
00;28;06;03 - 00;28;22;21
Speaker 2
You're right. It's not about being less powerful. It's more about how we perceive them. High frequency sounds tend to be more directional and can be easily blocked by objects. This makes them seem more fragile or delicate compared to the room filling nature of low frequency sound.
00;28;22;24 - 00;28;55;19
Speaker 1
Okay, that makes sense. Makes sense. Can you tell me about the use, when you should use synthetic sounds or natural sounds? And I guess I shouldn't say when should you use, but, I should say. When would an expert sound designer normally decide to use synthetic sounds versus natural sounds?
00;28;55;21 - 00;29;21;18
Speaker 2
That's a great question. An expert sound designer would lean toward synthetic sound when they need something that doesn't exist in a real world. Like a sci fi weapon or a magical spell. They're also useful for creating highly stylized sounds, or when they need precise control over every aspect of the sound. Natural sounds are perfect for grounding a scene in reality and creating a sense of authenticity.
00;29;21;21 - 00;29;42;13
Speaker 1
Okay, I'd like you to give me five more questions that a well-informed intermediate sound designer would ask an expert sound designer, to gain insight into his or her thought process with, perception of sound.
00;29;42;16 - 00;29;59;16
Speaker 2
All right, let's get those five perception focused questions ready for you. How about these? Could you walk me through your process for creating a soundscape that subtly manipulates a listener? The emotional state when you're working on a scene with a lot of ambient noise? How do you ensure that the important sounds still cut through and are perceived clearly?
00;29;59;18 - 00;30;21;10
Speaker 2
How do you use sound to create a sense of scale? Like making something sound incredibly large or small? What are some of the less obvious ways you use sound to manipulate a listener? Sense of time and pacing within a scene? And finally, how do you decide when to use realistic sound effects versus more abstract or stylized sounds to create a specific perceptual experience?
00;30;21;13 - 00;30;33;13
Speaker 1
Okay, now I'd like you to take the role of the expert sound designer answering each of these questions in detail.
00;30;33;16 - 00;30;56;00
Speaker 2
All right, let's dive into those questions from the perspective of an expert sound designer. First up, creating emotional soundscapes. It's all about understanding how sound effects us on a primal level. Low rumbles can create unease, while gentle melodies can evoke a sense of peace. It's about layering sounds and manipulating their qualities to create a specific mood. Next ambient noise.
00;30;56;02 - 00;31;15;29
Speaker 2
The trick is to use EQ and compression to carve out space for the important sound. You want to make sure they occupy a different frequency range or have a different dynamic profile, so they stand out from the background. Creating a sense of scale is fun. For something large, you might use deep rumbling sound with lots of reverb to make them feel massive for something small.
00;31;16;05 - 00;31;35;26
Speaker 2
You could use high pitched, delicate sounds with very little reverb. Manipulating time with sound is subtle. You can use the pacing of sound effects to create a sense of urgency or slow things down. The use of reverb and delay can also make a space feel vast and timeless. Finally, deciding between realistic and abstract sounds depends on the project.
00;31;35;28 - 00;31;48;15
Speaker 2
Realistic sound ground the audience in the world, while abstract sounds can create a more stylized or dreamlike experience. It's about choosing the right tool for the job. Let me know if you'd like to delve deeper into any of these answers.
00;31;48;17 - 00;32;00;08
Speaker 1
Yeah. Can you expand on how you can use IQ and compression to cut through sounds that are important?
00;32;00;11 - 00;32;25;03
Speaker 2
Sure. EQ or equalization lets you boost or cut specific frequencies in a sound. So if you have two sounds competing in the same frequency range, you can use EQ to create some separation. Compression reduces the dynamic range of a sound, making the quieter parts louder and the latter parts quieter. This can help bring out subtle details and make a sound more present in a mix.
00;32;25;05 - 00;32;38;04
Speaker 1
Okay, I kind of did the EQ, but compression that I don't really fully understand. Can you really break that down for someone who doesn't understand?
00;32;38;06 - 00;33;00;09
Speaker 2
Sure thing. Imagine you're trying to stack a bunch of different sized blocks into a box. Compression is like having a special lid that pushes down on the blocks, making the taller ones shorter so everything fits more snugly in sound. Those blocks are the loud and quiet parts of a recording. Compression evens them out so the overall volume is more consistent.
00;33;00;11 - 00;33;06;16
Speaker 1
So it brings down the highs and the lows.
00;33;06;18 - 00;33;21;10
Speaker 2
No, compression doesn't work that way. It actually reduces the difference between the loudest and quietest parts of the sound. Think of it like a volume control that automatically turns down the loud parts and turns up the quiet part. So everything sounds more even.
00;33;21;12 - 00;33;26;27
Speaker 1
Does it affect volume or pitch?
00;33;26;29 - 00;33;42;17
Speaker 2
Compression affects the volume of a sound, not the pitch. It makes the loud parts quieter and the quiet parts louder, reducing the overall dynamic range and creating a more consistent volume level.
00;33;42;20 - 00;33;54;02
Speaker 1
Can you go into how dynamic range affects a scene and how it can be manipulated?
00;33;54;04 - 00;34;12;06
Speaker 2
Dynamic range is the difference between the loudest and quietest parts of a sound. A wide dynamic range means there's a big difference between the loud and quiet part, while a narrow dynamic range means the loud and quiet parts are closer together in volume. You can manipulate dynamic range to create a sense of realism or to add dramatic effect.
00;34;12;08 - 00;34;24;04
Speaker 2
For example, a whisper has a very narrow dynamic range, while an explosion has a very wide one.
00;34;24;06 - 00;34;55;05
Speaker 1
Okay, so I would like to do a little bit of a, I guess I don't know what you would call it, maybe a case study. And so I would like you to play an expert sound designer. And I am maybe a producer or interviewer of some sort. And I'm going to give you, scenes and.
00;34;55;12 - 00;35;08;12
Speaker 2
Like, a fun challenge. I'm ready to step into the role of an expert sound designer. Tell me about this case study, and I'll do my best to provide the kind of insights you'd expect from a seasoned pro.
00;35;08;14 - 00;35;32;17
Speaker 1
I'm willing to give you scenes, and I would like you to describe how you would record this, scene and why and how it would affect the audience's perception of what you're doing. Now it's.
00;35;32;19 - 00;35;40;00
Speaker 2
Okay. I'm ready. Lay the scene on me. Oh.
00;35;40;02 - 00;35;56;29
Speaker 1
The scene is a woman walks down the stairs, hops on a bird scooter, and drives past a cow.
00;35;57;02 - 00;36;15;15
Speaker 2
Okay, that's a good start. To make this scene really come alive, I'd focus on capturing a few key sound elements. First, the woman's footsteps on the stairs. The rhythm and material of the steps will tell us a lot about her and the environment. Then the whirring of the e-scooter, which should have a distinct electric hum and the sound of its wheels on the pavement.
00;36;15;18 - 00;36;31;17
Speaker 2
And finally, the cow. A gentle move or the sound of its herbs on the ground. These sounds would create a sense of movement and flavor, drawing the audience into the scene.
00;36;31;19 - 00;36;57;28
Speaker 1
Okay, let's do another one. Let's say that there is someone, let's say, okay, let's do a teenager that is sneaking out of the house and like, bangs into a couple things, but nobody wakes up, and then they get out the door.
00;36;58;01 - 00;37;20;13
Speaker 2
Okay, this is a fun one to capture the tension and stealth of the scene. I'd focus on the subtle sounds, the creaking floorboards as the teenager tiptoes, the soft rustle of their clothes, the gentle click of a doorknob, and maybe the almost imperceptible sound of their breath held in anticipation. I don't think you. Silence is a tool, letting the absence of sound amplify the tension.
00;37;20;15 - 00;37;26;12
Speaker 1
Okay. Continue.
00;37;26;14 - 00;37;52;01
Speaker 2
Absolutely. Let's build on that scene. I'd add a subtle rhythmic ticking clock in the background, almost imperceptible to heighten the sense of time passing and the risk of being caught if there's a pet in the house, maybe a soft snore or the jingle of a collar as it shifts in its sleep. These little details would create a richer soundscape and add to the suspense.
00;37;52;04 - 00;38;22;19
Speaker 1
Okay, I would like you to take the technique of the ticking clock that is almost imperceptible in the background. And, do another scene that's totally different. But use a technique similar to this with a subtle perception technique.
00;38;22;21 - 00;38;34;17
Speaker 2
Okay, I understand you want to take the subtle perception technique of the ticking clock and apply it to a completely different scene? Let's do it. What kind of scene are you thinking of?
00;38;34;20 - 00;38;42;02
Speaker 1
No. Gemini. Disregard. That was a horrible question.
00;38;42;05 - 00;39;01;28
Speaker 2
I understand it's perfectly fine to discard a question if it doesn't feel right. Let's focus on something else. What would you like to explore or discuss further?
00;39;02;00 - 00;39;35;10
Speaker 1
I would like you to describe the sound design for a scene. There are two people walking down a busy street, and they're being followed at a distance of about 50ft by someone. Who else? Who is trying to stay out of perception. But not lose them. And this scene is from, the perspective of the person following.
00;39;35;12 - 00;39;57;04
Speaker 2
Okay. This is a fun challenge to really put the listener in the shoes of the person doing the following. I'd create a soundscape with a few key elements. First, the footsteps of the people being followed, slightly muffled, as if heard from a distance, but distinct enough to maintain focus. Then the subtle sound of the follower. Soft footstep, the rustle of clothing, maybe a suppressed cough, or a change in breathing to convey the effort of keeping up.
00;39;57;06 - 00;40;13;27
Speaker 2
I'd also incorporate the ambient sounds of the busy street, distant traffic, snippets of conversations, maybe a street performer to create a sense of realism and to mask the follower sound.
00;40;14;00 - 00;40;45;18
Speaker 1
Okay, now I'd like you to do, a similar thing, but I would like you to come up with your own brief scene, and then I would like you to describe the sound design of your choice and why you chose it, and how the audience perceives the things that you've done.
00;40;45;21 - 00;41;09;18
Speaker 2
Okay. I'm ready to create a scene and design its soundscape. How about this? A lone astronaut on a spacewalk is repairing a satellite. Suddenly, a small piece of debris breaks off and drifts away. The astronaut reaches out, but it's just out of reach for the sound design. I'd focus on the astronauts breathing heavy and rhythmic within the helmet, the subtle work of the life support system, and the occasional crackle of radio communication.
00;41;09;25 - 00;41;32;03
Speaker 2
When the debris breaks off. There would be a sharp metallic pain, followed by the soft woosh as it drifts into the void. The overall effect would be one of isolation and vulnerability, highlighting the vastness of space and the fragility of human presence within it.
00;41;32;06 - 00;41;53;18
Speaker 1
Yeah, this is a cool soundscape. I remember in the movie gravity, they used, like, really vivid, silent to, evoke the feeling of outer space and how it's so abnormal.
00;41;53;20 - 00;42;07;05
Speaker 2
You're right. The sound design in that movie was really effective. The use the absence of sound to create this feeling of unease and isolation, which is exactly what space is like. It's a really interesting technique, especially in a visual medium like film.
00;42;07;08 - 00;42;23;17
Speaker 1
Can you go through some of, your favorite movies and how the techniques in them were, kind of pioneering?
00;42;23;20 - 00;42;47;16
Speaker 2
Sure thing. One of my favorites is A Quiet Place. The sound design in that movie is incredible. They use silence and subtle sounds to create this really intense and suspenseful atmosphere. Another great example is Blade Runner 2049. The way they use sound to build this futuristic and immersive world is really impressive.
00;42;47;19 - 00;43;02;01
Speaker 1
Can you go into the techniques used more than just mentioning the Blade Runner was very impressive.
00;43;02;03 - 00;43;34;14
Speaker 2
Sure. Let's dive into that in Blade Runner 2049. They use a lot of low frequency sounds and drones to create this sense of a massive, overwhelming city. It makes you feel like you're right there in this futuristic world and in a quiet place. It's all about the absence of sound. They use silence to build tension and make you feel like any little noise could be deadly.
00;43;34;16 - 00;43;54;12
Speaker 1
Okay. I guess before we finish today, I'd like to ask, of all of the tricky and fun sound design techniques, which one do you find the most fascinating?
00;43;54;14 - 00;44;11;21
Speaker 2
Out of all the sound design techniques. I find the use of silence the most fascinating. It's such a powerful tool for creating tension and emphasizing the impact of sound when they do occur. It's a reminder that sometimes what's not there can be just as important as what is.
00;44;11;24 - 00;44;19;12
Speaker 1
Yeah. Silence can be like, really, impactful.
00;44;19;14 - 00;44;35;14
Speaker 2
Yeah. Silence can be really powerful, especially in movies. It can create tension, build suspense, and even make you feel emotions more deeply. It's like the absence of sound makes the other sound feel even louder and more impactful.
00;44;35;16 - 00;44;41;17
Speaker 1
Okay. Anything else you'd like to add? Gemini.
00;44;41;19 - 00;44;48;17
Speaker 2
What kind of movies are you into? We could look at some of the highest grossing films of all time, or maybe something that's popular right now.
00;44;48;20 - 00;45;03;10
Speaker 1
No, I think, we'll save the more technical side of sound design, like microphones and all that stuff for maybe a future episode.
00;45;03;12 - 00;45;11;17
Speaker 2
Sounds like a plan. I'm always up for diving into the technical side of things. So just let me know when you're ready to explore microphones and other sound design tools.
00;45;11;20 - 00;45;32;27
Speaker 1
Okay, thanks. Jim and I really found today's session, to be super informative in a topic that I'm really interested in. And thank you for teaching me that.
00;45;33;00 - 00;45;42;29
Speaker 2
You're very welcome. I'm glad you found this session informative and I always enjoyed talking about sound design. It's a fascinating field and there's always something new to learn.
00;45;43;02 - 00;45;52;14
Speaker 1
Okay, cool. We'll definitely do future sound design sessions.
00;45;52;17 - 00;45;56;04
Speaker 2
Sounds great. I'm looking forward to our next sound design session.