Wednesday, June 6, 2012

Thirteen Ways of Looking at a Blackbird

We race through our lives like rats in maze – head down, focusing on getting through, getting to that other side. How will we know when we made it? With my blinders down, I find myself charging forward and often forget to put my head up and look around. In moments like these, I look to Wallace Stevens, one of the best insurance salesmen ever, to slow me down and give me perspective. Right now, I currently feel like Part II. Enjoy.



Thirteen Ways of Looking at a Blackbird

By Wallace Stevens

I
Among twenty snowy mountains,
The only moving thing
Was the eye of the blackbird.

II
I was of three minds,
Like a tree
In which there are three blackbirds.

III
The blackbird whirled in the autumn winds.
It was a small part of the pantomime.



IV
A man and a woman
Are one.
A man and a woman and a blackbird
Are one.

V
I do not know which to prefer,
The beauty of inflections
Or the beauty of innuendoes,
The blackbird whistling
Or just after.



VI
Icicles filled the long window
With barbaric glass.
The shadow of the blackbird
Crossed it, to and fro.
The mood
Traced in the shadow
An indecipherable cause.

VII
O thin men of Haddam,
Why do you imagine golden birds?
Do you not see how the blackbird
Walks around the feet
Of the women about you?

VIII
I know noble accents
And lucid, inescapable rhythms;
But I know, too,
That the blackbird is involved
In what I know.

IX
When the blackbird flew out of sight,
It marked the edge
Of one of many circles.



X
At the sight of blackbirds
Flying in a green light,
Even the bawds of euphony
Would cry out sharply.

XI
He rode over Connecticut
In a glass coach.
Once, a fear pierced him,
In that he mistook
The shadow of his equipage
For blackbirds.

XII
The river is moving.
The blackbird must be flying.

XIII
It was evening all afternoon.
It was snowing
And it was going to snow.
The blackbird sat
In the cedar-limbs.

Tuesday, May 1, 2012

Here's The Story . . .

I relish the opportunity to write music whenever possible, especially when there are constraints involved. The hardest thing about writing music is the vastness of possibilities. This is the nonsense, the space, the absence of form or wit. This is why I write my blog and my fascination with creation and form.

When I write music for myself, I start with the guitar – a riff, a chord change. From there, a melody is born. Out of the melody comes a mood and then words coalesce on the tip of my tongue. At first I usually mumble some sounds but eventually, meaning takes shape and I develop a theme. The rhythm of language and the melody, and the mood drive the lyrics and then the force of will and the cerebrum takes over. From there comes a song.

Working as a professional composer, the contraints are much tighter. Take Nickelodeon. Take irony. Nick at Nite bought the rights to play the Brady Bunch on the network but through some strange contractual snafu, they were not allowed to use the theme song in the promos. So they called me up and said – Tim, do what you do. The constraints this time was to create a piece of music that evoked the Brady Bunch theme song but did not impinge on the copyright. I must come as close to stealing as I possibly can without stealing.

Arrangement, rhythm, timbre, bpm, performance (in a manner), tonality . . . none of that can be copyrighted. So I take those things as much as I can and change the melody, which can be copyrighted. In the case of the Brady Bunch theme, I actually created a harmony part (mostly) and used that as a melody. This is probably pushing the envelope. No law suits yet (knock on wood).

This is the theme song we all know and love:



It's cool in a shitty 80's TV Theme Song kinda way. It's got a great white-boy groove. I can almost see the band – eyes cloyed, overbite in full force . . .

Here is what I wrote:



OK yeah I don't have a good white-boy groove, nor do I have a real drummer or horns. I mixed the horns low because frankly they don't sound that good. Fake horns never do. But I think I nailed the breakdown and the guitar/bass. That I can rock out on.

Here's the spot. The opening music is stock music.



And here's the spot with music only. I had to cut it up a bit to fit the spot, as you will see.



Friday, April 27, 2012

Longmire



Can you say BOOM? This promo just drips with the Boom Sound Effects Library. In a pinch, that library can take you from zero to that's a wrap in less than 2 hours. That's about how long it takes me to mix a promo like this puppy.

Cheers to an awesome voiceover by the lead actor, Robert Taylor. Other than my killer SFX, the voiceover truly makes the spot. The music sets a nice mood too. Oh and the cinematography. Don't ya just love Wyoming? My favorite state in the Union, hands down.

"Watch the moon . . . smiling in the sky, hum a tune – prairie lullaby. Peaceful wind. Old coyotes cry. Song of home, my Sweet Wyoming Home." Cheers, Danny Gotham.

As always, here is the SFX split out. Boom. Boom.

Wednesday, April 4, 2012

The Legend of Korra

From time to time, I have the privilege of working on some fairly high profile projects. Whether it's the launch of a new product like HBO GO, rebranding a network, or mixing a documentary on fallen soldiers in Iraq, there are some opportunities that come along that remind me that creativity and content creation can impact our lives in profound ways. Sometimes it's disruptive, sometimes it's fun, sometimes it helps to make us think and make us better people. It's a great feeling to be part of these moments.

When I was asked to mix some spots to promote a new Nickelodeon show called The Legend of Korra, I knew that this was a moment that would affect millions kids around the world. The Legend of Korra is a follow up of the critically acclaimed and widely popular series Avatar, the Last Airbender. I knew that the mix on the spots that I did for Korra were very important to help sell the excitement in the series so I really tried to push the envelope and make a dynamic and powerful mix on the promos. Here is one of my favorites.



The back end of the spot has a lot of loud/soft/loud/soft to increase the excitement and energy of the spot. Although the FX and music tail off a little bit, there is mostly absolute silence and dialogue right before the Polar Dog burst through the window. Hopefully I will knock some kids off the couch with that one. :)

Although a lot of the sound effects were from the series (and all the great music is from the show), I did add quite a few. Here is the SFX split.

Monday, April 2, 2012

Lost Girl


I'm not quite sure what this show is about. A girl who seems to have some sort of special powers. It's a little creepy, a little dark, a little eerie. Is she dead? Is she magic? Is she a lesbian? The world may never know the truth.

As always, here is the SFX only.



The sound I used when the light is coming out of her mouth is blended cymbal scrape, some whoosh action and a little electric guitar feedback.

Storage Wars Sweeps


Storage Wars. Reality television at its finest [note sarcasm]. Whatever, it was fun to make the sound effects.

No really! Here's the FX only mix.



I have been especially enjoying using the Sound Toys "Speed" plug-in to modulate whooshes and other FX to give them a little more movement and doppler feel. Sound tends to have a lot of pitch involved when moving quickly. Listen to the last sound effect on the SFX pass when the endpage comes on and you can hear some of that Speed working it's magic.

Thursday, January 26, 2012

Dog the Bounty Hunter



Breakin' the law. Breakin' the law! Don't skip bail when Dog the Bounty Hunter is in your neck of the woods. I usually avoid him at all costs when I skip bail.

Cheers to the producers at A&E that always pick great music. Made this spot happen. I think this was Leigh Ornstein.

As always, here is the SFX split out. I had fun with this one. Guns, chases, drama. Gotta love it.

Friday, December 9, 2011

Nick Holiday Giveaway

500 iPads????!!!!!!



I had plenty of time to work on this spot but somehow it came down to the wire. Still, it's nice to be able to really explore the sound to go with such cool looking 3D graphics. And as always, for your listening please, the SFX Splits:



Tuesday, November 15, 2011

Spike Sports Sizzle



It's always fun to work on a Sizzle spot that is not for air. You get to use cool music tracks like The Beastie Boys "Sabotage" Here's the SFX Split:



Friday, November 11, 2011

Contact Mic Recording with Hiss and a Roar

CONTACT MIC RECORDING from tim prebble on Vimeo.

Tim Prebble never ceases to impress me with his obsession with cool sounds. I picked up Pressure Max and Vegetable Violence a while back but this contact mic library looks like a must have. Such a variety of cool sounds that can be applied all over the place to give a unique stamp to any piece.

CONTACT MIC PREVIEW by timprebble

Friday, November 4, 2011

Winx Club



Just wrapped a long week with my friends at Nickelodeon putting together the finishing touches on the promos for a new show – Winx Club. Toward the beginning of the campaign, we spent a few days looking for the perfect piece of music and never found it so I offered up to compose something. In the end, we used two pieces of music – it started off with drop music and then went into my piece. This is the music track by itself:



Here's the full music track I composed:

Nick WinxClub ID Music Full MSTR by noisepatterns

And as always, here is the sound effects split out:

Wednesday, October 19, 2011

Breakout Kings


Breakout Kings. Second season of the series on A&E with Domenick Lombardozzi from The Wire and Entourage. A classic tough guy cop.

The mix for this spot was a little rushed. Seems like they had a lot of sound effects already in place from another edit. But they were all mono so I kind of went through it and replaced or added to a lot of the original effects. It ended up sounding a lot better. But in fact the original mix sounded pretty cool at times. I was able to get some good ideas from it. Then made them sound a lot better. They put in whooshes and room tone all over the place! Kind of overkill but hey, it's a trailer after all.

At other times I questioned the orignal mix. You could tell the mixer was pretty inexperienced. Instead of removing the noise from a sound bite, they decided to cut around the dialogue and removed the noise only when the character was not talking. So you could hear these massive shifts in the noise floor (25 seconds in, Shea Daniels being interviewed outside). And because they cut out all the clean noise, that is, the noise in isolation when Shea was not talking, I had very little time to sample the noise in isolation. Anyone who knows much about noise, you know you need to isolate the noise in order to remove it. The plug-ins need a clean sample. And the worst thing you can do is to sample some noise that has a breath or other noise in it. Then your noise-reduction filter ends up taking out too much noise and you get this watery type of reverberant effect.

Long story short is I was still able to make the clip sound better and in fact, I think the average listener will not hear the noise floor jumps now. Not in the mix, at least. You can still hear it pretty clearly in isolation. But it sounds much better than before.

Thursday, October 6, 2011

Bag Of Bones Behind The Scenes


This behind the scenes interview with Pierce Brosnan is particularly funny when he talks about shooting 3 sex scenes in one day. You can practically hear him thinking – "jealous much?" Oh Pierce.

Apparently this scene will be playing in theaters across the country. I really pushed the dynamic range more than I normally would for TV. Although not as much as an actual film since I figure they're going to be playing it while people are finding their seats and talking to each other. But hopefully the big hits and the bass will get their attention. I hope I can find out when it's airing and check it out.

Oh and if you can't tell, that's me making the labored breathing sounds at the top and the end. I'll add the FX only version later for you fanboys out there. Come on, I know you're out there.

To be honest, I had tried to be a lot more subtle with some of the sound FX but they kept saying more more more. And what Johnny wants – Johnny gets.

Wednesday, October 5, 2011

Kina Grannis



Cute video, nice song. I listened to an interview with Kina Grannis on This Week In Music and really enjoyed hearing how she grew her career organically through her youtube page and taking the time to interact with her fans at shows and through social media. Social promotion and online marketing is the future of the music business. A business that does not need media moguls or fat cat producers, just talent and drive. Good looks don't hurt either.

Seems like she has borrowed a little bit from another youtube favorite of mine, Pomplamoose, who got a lot of attention last Christmas with the Hyundai holiday commercial.



One of my favorite covers they have done, Beyonce's "Single Ladies." Somehow those vocals gain a particular haunting quality, especially combined with Nataly Dawn's deadpan stare.

Thursday, September 22, 2011

Supah Ninjas



I had a lot of time to make this spot sound super kick ass, appropriately for the subject matter.

This spot features internet sensation Ryan Higa. I looked him up on Wikipedia. Apparently I'm old or out of touch. Or both. Because this guy has had about a billion youtube views. They're actually pretty funny. Especially if you're about 13 years old. This guy has basically created a career for himself by being pretty funny and posting videos on youtube. Wow. That's awesome. Much respect for the internet.

I also included an FX only version so you could hear all the intricacies:

Wednesday, September 7, 2011

Intervention on A&E


Another fine mix for the A&E network. I had a hard time looking at the acne though. Over and over again as I mixed. Yuck.

Monday, August 29, 2011

Gulp


This is one big stop motion movie! Great work. Nice to see advertising supporting cool creative projects.

Friday, August 19, 2011

Cinemax Sizzle


I hit the ground running when I started my new job at Nutmeg. Here's a spot I mixed for Cinemax.

Saturday, July 9, 2011

Mangled Metal

This sounds awesome! I'm definitely going to have to spring for this one. From The Recordist, via Designing Sound

Friday, July 8, 2011

The Sound of Transformers



I was ready to write off this movie as another crappy Hollywood crappy crap. But then I saw this about the sound. Wow. Great sound design video. Original post by Michael Coleman here.