tag:blogger.com,1999:blog-7253828033466044498.comments2009-10-23T19:04:35.172-04:00Sound Design ConceptsUnknownnoreply@blogger.comBlogger14125tag:blogger.com,1999:blog-7253828033466044498.post-50173220753667874682009-10-23T19:04:35.172-04:002009-10-23T19:04:35.172-04:00Vinnie, This is really cool. I have always been in...Vinnie, This is really cool. I have always been interested in how to make sound design a standalone art form, and it looks like there are people doing that already. I should put up pictures of my stuff at some point. Thanks for sharing. Chris<br /><br />PS, I swear I haven't forgotten about this blog, but I am still interested in getting it up and useful to us as designers, if you know of anyone who would interested in contributing please let me know..C. Bainehttps://www.blogger.com/profile/10985290166050810414noreply@blogger.comtag:blogger.com,1999:blog-7253828033466044498.post-77775914743844418672009-03-30T00:46:00.000-04:002009-03-30T00:46:00.000-04:00I wonder if there is anything that can be done on ...I wonder if there is anything that can be done on the freelance at USITT front. Especially because students need to know what the job is like as well as the theory. Maybe USITT isn't the place but in an industry like theatre I think its important to know what you are getting into.Ottohttps://www.blogger.com/profile/09333828858207075689noreply@blogger.comtag:blogger.com,1999:blog-7253828033466044498.post-43415800230414727552009-03-27T20:12:00.000-04:002009-03-27T20:12:00.000-04:00I don't think anyone recorded Joe's talk. He had ...I don't think anyone recorded Joe's talk. He had a keynote (powerpoint?) presentation, and he mentioned wanting to put the slides up for anyone to download. Not sure if he's done that yet...<BR/><BR/>And I hear you guys on the challenge of balancing freelance work with USITT. I never went when I was freelancing. I only started going when I started teaching and had the time and resources to do it. There aren't many freelancers who end up at USITT: most of us who attend sound events are students, educators, or work for a company that values USITT. Very few freelancers.Vincent Olivierihttps://www.blogger.com/profile/14928347242320155010noreply@blogger.comtag:blogger.com,1999:blog-7253828033466044498.post-63219104764487493182009-03-27T15:01:00.000-04:002009-03-27T15:01:00.000-04:00I am really interested in that discussion on rhyth...I am really interested in that discussion on rhythm. Did anyone record it? I'd love to hear it. Ryan Rumery expressed a similar notion and used it to great effect for the bombing sequence in Either Or. <BR/><BR/>On a semi related note SXSW records all of their discussions and releases them to the speakers for them to do what they wish. Does USITT do that at all? Would they be interested in it? I think it would really help bring attention to the trade show and what we do.Ottohttps://www.blogger.com/profile/09333828858207075689noreply@blogger.comtag:blogger.com,1999:blog-7253828033466044498.post-21063407845916298022009-03-26T11:32:00.000-04:002009-03-26T11:32:00.000-04:00Vincent~ I wish I had the chance to go this year, ...Vincent~ I wish I had the chance to go this year, it gets to be difficult, being freelance, to sneak away from work for a week. I went to it while in school and really enjoyed it. I love the fact that it is a way we as a community of sound designers can get together and discuss our art, and to give back a little knowledge. I took part in the student presentations the year I went and really loved the feedback. I wish I could of heard Joe Pinos discussion on rhythm, it sounds very interesting. Thanks for the update on this years events, I hope that I can make it back some year. I (of course need to promote this blog) hope that this blog can be a tool for continuation of the discussions that went on at USITT.C. Bainehttps://www.blogger.com/profile/10985290166050810414noreply@blogger.comtag:blogger.com,1999:blog-7253828033466044498.post-63590403299671598732009-02-24T18:42:00.000-05:002009-02-24T18:42:00.000-05:00To comment on the computer generatied music. I don...To comment on the computer generatied music. I don't think it matters how it is generated it is still composing. The Musique Concrete composers you listed above proved that you can compose music in all kinds of different ways. <BR/><BR/>I would even say 3:44 by John Cage is most certainly music, as long as its preformed. I think sitting down to the piano and having the sheet music and counting it out is how it was intended to be preformed and that solves the issue of generative music.Ottohttps://www.blogger.com/profile/09333828858207075689noreply@blogger.comtag:blogger.com,1999:blog-7253828033466044498.post-13145730979232313932009-02-18T11:25:00.000-05:002009-02-18T11:25:00.000-05:00Hey man, thanks for that. Its always nice to hear ...Hey man, thanks for that. Its always nice to hear when people enjoy what you wrote. Hope you can use this blog to think through things on your side of the fence as well, as we all are similar in many ways.C. Bainehttps://www.blogger.com/profile/10985290166050810414noreply@blogger.comtag:blogger.com,1999:blog-7253828033466044498.post-23987545083317919132009-02-17T21:28:00.000-05:002009-02-17T21:28:00.000-05:00Greetings from the Film/TV side of Sound Design! G...Greetings from the Film/TV side of Sound Design! Great article, I enjoyed it a lot. Keep up the good work!Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-7253828033466044498.post-44109554457919889362009-01-03T12:11:00.000-05:002009-01-03T12:11:00.000-05:00So I'll add this comment, as my first foray into t...So I'll add this comment, as my first foray into the world of blogging. Is design not composition with sound? When I design a sonic event, whether a car pass or a full fldeged soundscape, I'll consider tonal, harmonic, and rhythmic content. Additionally, I consider the structural makeup (introduction-exposition-conclusion, ABA-ABB-ABC structures, etc)of a sound. A car doesn't simply pass, what kind of road does it pass over, where am I relative to the road, is there music playing in the car, is the car full of G-men on there way to a raid... <BR/><BR/>The list of compositional elements involved in Sound Design can get quite lengthy.<BR/><BR/>Conversely, the sonic elements involved in a 'musical' composition can be extremely varied. Just listen to the works of Varese, Cage, Stockhausen or any of the Musique Concrete composers to name a few. Even now, I'm working on a composition for piano and metal objects that might ake it's way into a piece.<BR/><BR/>And then, to open another can of musical worms, theres generative and algorithmic composition, in which the human is controlling elements that the computer uses to 'compose' music. But I suspect this is grist for another mill....<BR/><BR/>BenBenSoundshttps://www.blogger.com/profile/04171071663683231596noreply@blogger.comtag:blogger.com,1999:blog-7253828033466044498.post-39999963369362641902008-12-16T15:38:00.000-05:002008-12-16T15:38:00.000-05:00I guess you could say J.D Salinger is a flameout a...I guess you could say J.D Salinger is a flameout as well but we really do not know since he refuses to publish anything else he has written.Ottohttps://www.blogger.com/profile/09333828858207075689noreply@blogger.comtag:blogger.com,1999:blog-7253828033466044498.post-88139519622103468712008-12-16T00:53:00.000-05:002008-12-16T00:53:00.000-05:00I was mostly interested in this article because of...I was mostly interested in this article because of its discussion between what we consider late bloomers and early bloomers, and the difference between the two being the difference between conceptual and experimental art. That idea of a young man coming up with creations based on ideas and concepts, where as an older man taking his time, playing with form and function, creating something that has been almost scientific in nature, is what caught my attention. I don't think, as artists and as designers, we are rigidly trapped within so black and white a notion as this, but I think we drift back and forth between concepts and experimentation, and I see a lot of both of these ideas within myself. Coming up with an idea for a design for a play winds up being very conceptual, and if I had a machine to take what was in my head and put it on paper, I would make a lot of money. But once I sit down to try to create that, it tends to be very experimental. Playing with every sample/ processor/ noise/ etc I can think of until I hit that concept. Sometimes I know exactly what I want and hit it right away, but other times it takes a lot of experimentation to reach my ideals, and sometimes I never hit them, and throw the painting out the window (being careful not to hit anyone on the head).<BR/><BR/>Joseph Heller, the author (and one of my favorites) of Catch 22 was one of those ‘flameouts’ as discussed, creating a masterpiece early in his career and never creating anything as spectacular as this for the rest of his life. One of the interesting things about him though is that he struggled with this for the rest of his life and career. His last book being called ‘The Portrait of an Artist as an Old Man’ he struggles through his character, to create something as worthy as his first book, and while not living up to his own expectations there is something noteworthy in the struggle, in the constant experimentation to figure out where he went wrong and to create a masterpiece again. It’s a really fascinating book.C. Bainehttps://www.blogger.com/profile/10985290166050810414noreply@blogger.comtag:blogger.com,1999:blog-7253828033466044498.post-77108699704184428752008-12-12T14:33:00.000-05:002008-12-12T14:33:00.000-05:00I think it largely depends on the production. In m...I think it largely depends on the production. In my experience it's based on what the design entails. Some shows related more to composition then to creating a soundscape or vica verse. I also think designers tend to pull their designs to aspects they feel more comfortable with and do better work through. <BR/><BR/>Ultimately though it's a designers responsibility to know about composition and sound scaping. I also feel that music is what people most gravitate to since it's easier to keep it in the background and provide emotion. At least more so then a soundscape can.Ottohttps://www.blogger.com/profile/09333828858207075689noreply@blogger.comtag:blogger.com,1999:blog-7253828033466044498.post-65339408775918467642008-12-12T12:52:00.000-05:002008-12-12T12:52:00.000-05:00I think you're right on Vinnie. I too think flame ...I think you're right on Vinnie. I too think flame outs are much more interesting. <BR/><BR/>Obviously people like Van Gogh are doing great work but it takes a long long while for someone to achieve a masterpiece. In any art there is trail and error and learning from each piece so to say they are late blooms is as you said not exactly accurate.<BR/><BR/>I'm trying to think of a flame out that I thought was truly going somewhere but didn't end up getting there. I cannot think of any right now. Thought where does the flame out line fall? Is it one spectacular work and then nothing or is it a few spectacular works and then a quick demise?Ottohttps://www.blogger.com/profile/09333828858207075689noreply@blogger.comtag:blogger.com,1999:blog-7253828033466044498.post-22640605230199722732008-12-12T11:26:00.000-05:002008-12-12T11:26:00.000-05:00Most of what we talk about as early or late bloomi...Most of what we talk about as early or late blooming is actually a comment on when society started making a note of talent. Just because someone is classified as a late bloomer doesn't mean that they weren't doing great work when they were younger; rather, it means that for many reasons (societal, scientific, artistic), the world wasn't ready for them. Look at Van Gogh, for example.<BR/><BR/>What's more interesting to me is looking at flameouts - those creative people who achieved success early in life but failed to keep up with their early pace.Vincent Olivierihttps://www.blogger.com/profile/14928347242320155010noreply@blogger.com