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Dispatches: Representatives TIMECODE NAME Dialogue MUSIC 00.00.01 NARRATOR This is the BBC Academy Podcast, essential listening for the production, journalism and technology broadcast communities, your guide to everything from craft skills to taking your next step in the industry. 00.00.13 CHARLES Hello and welcome from me, Charles Miller, today we’re getting expert views about the recording and use of sound in media, everything from (music) to (bells) and even a bit of (talking). Today you’re going to be hearing the highlights of an event at BBC Birmingham held in partnership with the Producers Forum where the Director of the BBC Academy, Joe Godwin spoke to three sound professionals. The event was held in the venerable radio drama studio at BBC Birmingham, so Joe first spoke to two people who used it all the time. 00.00.52 CHARLES Huw Kennair-Jones is Editor of the Archers, and Jessica Dromgoole is Editor of Home Front, both on Radio 4, he asked them to demonstrate some of the strange collection of props that were lying around in the studio, it turns out that it would be hard to guess what sounds they are used for. 00.01.07 JESSICA This was, I don’t know what it is normally, it’s probably a gardening glove. But we used it as a bat that got trapped in a room, which was very good and really, really awful, you used dominos. [as ice sometimes], sometimes, we used them as teeth, we pulled teeth in the dentist, so you improvise, according to the weight and the surface of what you’re working with you improvise the sound. 00.01.34 HUW The ironing board [oh yes] for us is. JESSICA A farm gate. 00.01.39 HUW A farm gate. JESSICA I’m not doing it very well; I’m in the right job. HUW What else have we got there’s lot of riding, everybody is riding and sometimes people do actually sit on the saddle. 00.01.57 JESSICA We could in theory play in the sound, electronically, but it helps the actors hugely, I mean it’s like another character the sound. JOE And why have we got a mini display unit from Robert Dyas doorbell department here? 00.02.15 HUW These are all, these are all the different bells, (doorbell) that’s a (doorbell) I don’t know who’s bell that is but there’s some. JOE That’s Glebe Cottage. HUW Apparently oh yes, well yes. And there’s the (doorbell sound), I’d never heard that on the Archers is that on? 00.02.34 HUW That’s just a round of. JESSICA Someone got a new one. HUW That’s Glebe Cottage as well. JESSICA You’ve got a good buzzer haven’t you? www.bbc.co.uk/academy 1 HUW Oh that’s quite good. I don’t think. JOE And that’s Keepers Cottage I believe. HUW Yes. 00.02.45 HUW Oh that’s who has a bell like that, anyway, I think that’s, well that might be retired soon, I think. JOE Thank you for revealing some of the secrets, maybe we’ll just go and have a gin and tonic [thanks] and relax, so and a big thank you to Huw, and Jessica. 00.03.04 CHARLES You’ll never be able to hear those farm gates without thinking of an ironing board. In the main part of the session Joe found out about the work of three people who each work with sound in different ways. Neil Hillman is a Sound Designer and Editor, Mark Silk is a voice over artist and Alice Truman is a sound track composer. JOE Can you each tell us what you actually do, what do your jobs involve, Neil? 00.03.27 NEIL I suppose, well I guess like my colleagues its designed to bring impact to pictures and to make them more memorable, and I tend to do that with the forums of, I work as a sports outsider broadcast mixer, I work as a location sound recordist and then I work in a post production environment as well as a sound designer or supervising sound editor brining a cohesive soundtrack together. JOE Okay, I think we know what you do Mark, tell me about the appeal of sound over vision? 00.03.58 MARK I love the immediacy of sound, I love the fact that you can tell a story in a heartbeat with your own, as an audience you can close your eyes and you are immersed in that place. But shows and films have iconic sound design and Neil will talk about this more later, but if you say light sabre, you know what that sounds like; you know kids in playgrounds will go around making that noise. You know there are certain iconic sound or vocal effects even from cartoon characters, I mean I grew up loving Scooby Doo and so you know when you hear (noise) you know who that is, probably. 00.04.33 You know by the way I’m not the original voice of Scooby Doo, he’s dead. But day to day I’m in mostly in my studio day to day you know technology is our friend, probably about 20% of the work is going around other places around the world, most of the UK, performing characters and creating new voices for new shows, but every now and then there are those certain bits of treasure that those shows or those productions that I grew up with, where the people that did those voices originally aren’t around anymore so they need someone to carry on that legacy. 00.05.10 And I’ve been fortunate enough to get us to do that every now and then. JOE Alice, why did you make the choice rather than the concert platform to go into composing for sound tracks? 00.05.21 ALICE Well I’d always enjoyed writing music but I didn’t really have a focus for it, so I’d write a little tune, didn’t really know what to do with it and then I was actually working at Lighthouse, Media Centre and Peter McCluskey there suggested I entered this www.bbc.co.uk/academy 2 soundtrack competition, and that was literally the first time I thought about doing it. So I had a go and it seemed everything just seemed to click for me then, it just seems to make more sense to me having visuals to work with or I’ve worked a lot in radio drama, music for radio drama. 00.05.56 ALICE Then I’ve got the script to work with, I’ve got the ideas, I’ve got something that I can visualise in my head, and I just really enjoy adding to the emotional content of a film, it’s almost like I’m trying to steal your job a bit, I’m trying to be an actor acting [what!] every role a bit, well you’re more of a voice over actor aren’t you, but I kind of. JOE Do you mean the score is a character in the film? 00.06.27 ALICE Well I’m all the characters and the places. JOE Can I ask you Neil, just this thing about the relationship between sound and pictures, what would you say to somebody who says actually in a movie or a TV drama its actually the pictures that do the heavy lifting and the sounds a nice to have add on? 00.06.46 NEIL Well there’s a famous quote from Stephen Spielberg that says the ICs better when the sound is great, and I think that for the most part people understand that it’s not a conflict between sound is more important than pictures, or pictures are more important. It’s a relationship that changes, depending on the emotional content of what needs to go on, so it is a marriage between the two things, but I think that it’s really not an argument or a discussion point to say that one is more dominant than the other. JOE Although bad sound could be very distracting can’t it? 00.07.20 NEIL It can be and then there’s a quote that I try to say to people that when the sound is bad you notice the sound, when the sound is good you notice the pictures. So it’s one of those things that I think is most fascinating working in sound as the medium, I started in radio, in university radio in actual fact, but I felt that I wanted to have pictures to put my sound against. 00.07.46 CHARLES As well as the relation of pictures and sound, for sound designers there’s also the question of how the music fits with the rest of the soundtrack, here’s Neil’s take on how they should work together rather than compete. 00.07.58 NEIL If you want sound design then you can’t fill your soundtrack with the score, there’s no room for it, so you have to make you know some compromises or decide where you want to go with your film. So one of the things that I as a sound designer, I work very closely with the composer, and obviously with the Director, not only to say well I want to have this scene because there’s such and such going on, but we will have some music, we must have some music in there but there must be some respite to allow some sound to come through.
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