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The Sounds Project by Far — SFX Labored for a Year and Three Months Shaping the Film's Sounds

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The Sounds Project by Far — SFX Labored for a Year and Three Months Shaping the Film's Sounds 18 COMPUTE! September 1982. Issue 28 The Atari and Apple produce sounds ofgreater purity based sound design studio hired by Disney to collect than some synthesizers, according to Frank Serafine, one and create most of the special sounds heard in of the creators of the TRON sound track. He used these TRON. Equipped with the most advanced audio computers to create some of the movie's most memorable components and sound-dedicated computers sound effects. available, SFX previously had done sound effects for Star Trek: The Motion Picture and The Fog. But TRON was the studio's most innovative and involved The Sounds project by far — SFX labored for a year and three months shaping the film's sounds. Electronic Sound Assembly Of TRON Serafine says the job would have taken even longer had he usedthe established method, improved Tom R. Holfhill litlle since the 1930s,of cutting and splicing bits Features Editor and pieces of the soundtrack on mechanical film editors. Faced with a staggering task, Serafine turned to computers. With his broad array of audio and computer His eyes locked in the grim intensity of equipment, including the Atari and Apple, Serafine combat, the video warrior takes aim at his designed a process he calls "Electronic Sound opponent, slowly winds up like a baseball Assembly." Used for the first time in TRON, it does pitcher, and violently unleashes a glowing forcreation the of sound what word processing discus. Whooshing and screeching, the disc does for writing:it allows the manipulation and arcs over the arena toward its frantically tine-tuning of the work on a video screen. Serafine dodging target — who has dodged too late. can digitalize sound effects, feed them into a Fair- The disc demolishes (he enemy gladiator in a light CMI (Computer Musical Instrument), plot split-second burst of light and sound. the waveforms on a monitor and linker with them The victorious warrior reaches up to almost endlessly. In fact, he can actually alter the retrievedeadly disc, hiswhich zooms bach to sound directly on the screen with a light pen. him like a boomerang. Standing tall in his The results are sounds honed to an unbelieva glowing armor, TRON has triumphed again ble degree of detail. Serafine says he was inspired over the forces of the sinister Master Control by the sound-layering techniques pioneered by the Program. Beatles in the 1960s with considerably less sophisti This early scene from Walt Disney Productions' cated equipment. "They achieved a subliminal summer release, TRON, is typical of the film's effect, something which made you want to listen to pioneering use of animated computer graphics. their music over and over again to hear every But while TRON's stunning visual effects have sound. That's what I tried to do with the sound attracted the most attention from critics and audi effects in TRON." ences, fewer people are aware that the film's sound Consider the roar of the "light cycles," the effects break new ground, too. The sounds, like futuristic motorcycles on which the gladiators of the visuals, also are the producthigh-technology of TRON duel whilealong racingthe circuit grids of computerization. the computer in which theytrapped. are To make the light cycles seem real, Serafine assembled and Apple And Atari Sounds combined more than 50 different sounds. When a What is even more interesting, at leasl for personal cycle makes a 90-degree turn to cut off an opponent, computer enthusiasts, is the equipment used to for example, the sound effect is a combination of fashion those sound effects: many were generated video game tones generated on the Atari and a with an off-the-shelf Atari 800 and an Apple II. recording of a buzz saw. Not only that, but an Atari 800 running a Likewise, the sound of the sleek tanks which commonly available datamanager base program prowl the circuit canyons in TRON are a compilation was used to store, categorize, index, and instantly of dozens of noises made with the Atari, all layered retrieve all the special sound effects collected for together. Serafme first tried recording a real army TRON. How many was that? "Oh, my gosh — tank, but was disappointed by the clanking rattle. thousands, just thousands of sound effects," says "I wanted something that sounded more turbine- one of their key creators, Frank Serafine, of like, more computer-controlled," he explains. Serafine FX Music/Sound Design. SFX — you can see its credits roll by at the end Screaming Monkeys of TRON, if you watch closely — is a Los Angeles- Other notable sound effects in TRON generated by 20 COMPUTE! September 1982. Issue 28 "bonging" sound was overdubbed with recordings of a bullwhip and of monkeys screaming at the San Diego Zoo. "The director [Steven Lis- berger] demanded a concept for each sound effect," explains Serafine. "I couldn't just go around doodling with sound effects. We had to sit around with the director in discussion sessions to talk over the concept of each sound effect. Like, for the disc- throwing sound, we came up with the concept that they had to sound beautiful, yet sad — sad because something so beautiful can at the same time kill. So overlaying the monkey screams lets you know that, although this flying disc is really beautiful, you also know Serafine in his studio, flanked by his Atari and Apple. you'd hate to be hit by it." the Atari include numerous video game bleeps and It was originally Disney's idea to involve per zaps, the sound of the "grid bugs" which arise from sonal computers in the sound production. Serafinc's the circuits below the "solar sailer," the shock proa's background is in audio and multi-media presenta wielded by the Master Control Program's guards, tions, not computers. He was designing planetarium and the collisions of tanks with walls (combined shows in Colorado in 1970 when he first attracted with recordings of real military explosions). Disney's attention. Disney hired him to pui together The Apple II was used with plug-in sound a multi-media presentation for the grand opening cards from Mountain Hardware and an Alpha of Space Mountain al Disneyland in 1977. Centauri keyboard. These add-ons made the Apple A few years later, after Serafine founded SFX. capable of a wider range of sound effects than the Disney hired him to create the sound effects for Atari, says Serafine, but also made it harder to use. TRON and sent him to "Silicon Valley" in California, Still, the added capability was an advantage when the home of America's microcomputer industry. programming certain video game sounds and the Disney figured it was the ideal place to find video "bonging" noise of a thrown discus. game sound effects for a movie whose central The discus sound is a good example of how theme was to be video games. Serafine met with much work went into each effect. The Apple's representatives from Apple and Atari, who set him Sark, assistant to the arch-villain Master Control Program, introduces the killer disc. MCMLXXXII Wa=t Disney Productions. 22 COMPUTE! September 1982. Issue 28 In fact, he thinks the sound capabilities of the computers are underused, partly because the proper tools are not available. "I think Atari and Apple will look at the success of the personal com puters [in TRON) and develop better sound development disks as a result. For example. Atari has a Music Composer which gives you all I lie tools you need to compose music except really good sound. You can't access ail the good sounds in the machine with the Music Composer. Someone at Atari ought to combine the Music Com poser with features of the Sound Development disk, and they'd really have something. Maybe if MCMLXXXIl Walt Disney Productions they read this...." Crack Programmer Fiynn finds himself at the mercy of Serafine sees a future for personal computers distinctly user-unfriendly guard programs. in other productions involving video game-like effects. In fact, his current project is a Pa f-man commercial for Seven-Up. up with computer systems. Alan also lent him an Unfortunately, most people lake sound effects Atari Sound Development Disk, a well-guarded, for granted, he says. The sounds in TR().\ come powerful utility package rarely entrusted to anyone and go so fast that almost nobody realizes the outside Atari itself. amount of labor involved. "Several people spend a Most of the Atari sounds were not actually week of intense work to create something," he programmed by Serafme, though. He got help sighs, "and it lasts only one second." from Ed Rotbeig, an ace Atari programmer who has since left Atari to form his own company, and from another expert — Laurent Basset, who is 17. Three Atari sound effects by Laurent Basset, who BasseL is the son of one of Serafine's friends. helped program many of the Atari sounds in TRON. "He's a whiz kid," says Serafine. "This kid was 10 7 CHR*(125):POKE 710,80:POKE 755,0:? " actually able to do anything 1 wanted done on the THUNDER «c RAIN" machine. I would dream of a sound or a concept, 14 FOR TIME=O TO 1 15 B=INT<2S5*RND(0)+50):X=RND(0>*200 and he would come back to me the next day with 20 FOR PITCH=1 TO BrSOUND O,PITCH,B,15:NEXT PITCH the finished programs." 25 FOR T=l TO X:NEXT T:NEXT TIME:SOUND 0,0,0,0 All the thousands of sound effects created on 27 FDR RAIN=O TD 15 STEP 0.2:S0UND 1,O,O,RAIN:FOR W=l TO 20:NEXT W:NEXT RAIN:FOR the computers or collected on tape were cataloged W=l TO 2000:NEXT W:SOUND 1,0,0,0 on the Atari with FileManager 800, a data base 40 FOR X=l TO 100:NEXT X 50 ? CHR*(125):POKE 710,80:P0KE 755,0:7 " program by Synapse Software.
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