I’ve had to take a break from working on the Weird West Cabaret, due to a couple actual paying jobs all coming in at the same time. What are actual paying jobs for me like, you didn’t actually ask? Well, they’re like this example.
I work with a few media houses who email me every now and then with a job creating music and sound effects for whatever project they’re working on. Sometimes it’s a commercial or similar type of campaign, sometimes it’s some promotional video for something or other. Like this short film commissioned by the European Zweifel Chips.
Obviously i do all the music you hear, but i also do all the sfx, meaning, anything that isn’t the voices is being added by me. Footsteps? Yup. Every individual step is added in, every click, even the sound of the air in the room, which you don’t even notice you hear, but i assure you, is there in some cases and is added in by your friendly professional sound designer.
I’ve done a lot of work with this particualr director, Mike Huber, and he, more than anyone has taught and helped make me a better sound designer. He used to do sfx design and it’s advice from him that changed my way of thinking. See, as a musician, sound effects has always been something to be added in and around the music. the music is the central piece of audio, the sfx stuff added in around it to fill out the environment. It was on a project previous to this, a chocolate commercial featuring a squirrel, where he suggested i create an entire bed of sfx without music that would sound as complete and real world as possible, down to the sound of the air in the different spaces. This was an epiphany, creating to complete audio beds, one of music, one of purely sfx. My power with the sound design force grew three sizes that day.
So this is the next project we did and i always really liked it, so i’m going to share it. The current project (this is not the current one) is for FIFA and involves a big band score. But that’s for much later. In the meantime:
