Sound: adding emotions to artwork - CreativeMindClass Blog
Phil Brookes is a music creator and sound designer hailing from Wales. He was a collaborator alongside TedEd, Greenpeace, Tate, Medium, Passion, Strangebeast and many more. His sound and music have also played at events like Cannes, BFI London, GLAS and Giffoni with multi-award-winning films.
In the interview below the interviewer will discuss what Phil was inspired to become an artist and read his tips for how to get started in the realm of sounds. Additionally, you can read about the musical details of a fun Socks project that he created along with Eva Munnich.
Phil Brookes' background
I'm a musician and sound designer who hails from Wales within the UK.
Since I can remember, I have always been attracted to music, sounds, and voices. I remember falling asleep before the washing machine as young children, and being captivated by its drones (appropriate for the kind of project I'll be talking about!) is the first time I've heard a sound.
I began mimicking humorous accents and voice.
My father was an obsessive music lover and would make use of recording equipment to make noises vocally, applying effects like delay and reverb on his voice for the sake of having fun. I used to imitate him and other people such as Jim Carrey and Robin Williams using a dictaphone to duplicate all of the humorous accents and voices they'd make up.
Prince
My older brother played guitar, and it was his love for music and specifically the multi-instrumentalist Prince that really rubbed off on me. After my brother left the guitar he had left at home, and when I was an adolescent I took it as a tool to educate myself how to begin writing as well as recording my music. I was attempting to make music that I'd seen on music albums or television, and then creating my own music to the existing material.
The desire to use the resources available to make or create sound is what still inspires me to continue to push myself to the limit today. I enjoy the process of learning while I write and my favourite way of writing is in the moment. Improvising, experimenting, jamming.
I learned piano for myself and synth to make the music for 'But Milk is important'.
My obsession took my into The University of South Wales in Cardiff which is where I first met an awesome animator named Eirik Gronmo Bjornsen. The animator returned to Norway and created a short film featuring Anna Mantzaris called 'But Milk Is Important'.
I learned piano for myself as well as synthesizer to compose the soundtrack while working on that film, I've assumed sound design roles also, and continue to create.
The X-Files Project, aka the "Socks Project"
Recently I worked with the amazing visual artist, Eva Munnich, on the first of three Lemonade Insurance projects I've created the music and sound tracks for.
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The Lemonade videos are hilarious fifteen to thirty seconds of short animated videos that can be looped. Eva's project had a strong sci-fi/extraterrestrial theme to it, and so she had some great ideas about music and sound.
In nine times of 10, I will start by creating the sound, since the atmosphere I create is likely to inspire me musically.
We've also had a conversation with Eva about the process of making animations and visuals for The X-Files project. Check out an interview with Eva.
The voice, Eva liked the voices I'd done in a prior TedEd animation that I created with Lisa Vertudaches.
In that video I had raised my vocals dramatically. The animator thought that this could work for the sock specifically and wanted me to say "yay" in this voice. When I recorded this "yay" I kept it rolling and added the "seeya" prior to when the sock entered the UFO.
Eva enjoyed it, and it stayed in. The other voices were improvised and created in the same way I observed them.
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If the machine was to speak and a voice, the machine would sound low.
In contrast to the heavy voice of the sock, I decreased my voice in the direction of the washing machine. Since the machine is large and I thought that if it were to have some voice, it'd possess some depth. I blended these in with the foley , and then mixed the sounds ready for the music to be added on.
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I enjoyed the X-Files music as a kid.
Musically, Eva thought it would be interesting to create something inspired by the theme of The X-Files, which I was very happy with as I loved that music when I was a child!
Like most of the projects I've been involved in I'm working with an animatic (almost similar to a storyboard that moves) that the animator gives me, so I can have a rough idea of the timing, etc.
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I like sci-fi film soundtracks as well as game soundtracks.
I enjoy a variety of genres of music, and that includes sci-fi movies and game soundtracks, so along with reference to this particular X Files theme, I had an idea of what instruments could be suitable for the genre.
I used mainly synth-based instruments drones, basses, and drones for the base of my music. Drones that were layering was about getting the perfect atmosphere, and also representing the light that emanates out of the ufo, which is then absorbed by our little sock.
I then created an impressive drum by mixing two kick drum samples along with delay and reverb. Then I added a delay synth that pans from left to right in order to make the music appear more immersive. The last synth I used in was the six-note pattern that is repeated through.
Whistling can be a wonderful personal element that can be added to the music.
It was time to take an inspiration from X-Files and incorporate a delay piano pattern as well as a whistle. I love whistling and find it to be a fantastic factor to include in a piece of music. I initially recorded some part of the bass guitar however I was of the opinion that it took away from the synthetic tone I was trying to achieve.
Piano pattern
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A whistle
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In just fifteen seconds isn't easy.
I really loved working with Eva, and this shorter-form style is extremely enjoyable and exciting to work within. While it's fast however, it's quite a bit of work, and presents its own difficulties.
Establishing and maintaining an atmosphere in just 15 seconds by using sound can be difficult, and composing a melody that doesn't sound like it was recorded in a hurry is a challenge as well.
They are the kinds of challenges that I love however, and, since Eva's animation, I have been working on two additional exciting Lemonade projects! You can find the process videos on my site and my Instagram.
Ideas on how to begin creating sound for images
If you're looking to begin putting sound to an image, there are currently more creative ways to do it than before. And there's the best time to start doing this than right now.
- If you've got an urge to be creative, then follow it to wherever it leads to. The best way to start with your creations is to design something you love and show your creation to others.
- Contact budding filmmakers that are in the same boat like you.they are always looking for advice on sound. you might forge a working relationship.
- The first step is to get started somewhere. I was making ambient music long before I thought about the possibilities to pursue a career in film and I was fortunate to find an animation department at my school, however prior to it, I'd created and recorded enough music and sound that it made sense for me to pursue that path when it presented itself.
- Make friends with other creatives; that's what working together is about. If you are lucky enough to be within a region that hosts film nights, festivals, and events, then go to them and meet other people.
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