Create buzz for your project or event with a unique listening experienceDon't shoot yourself in the foot by including mediocre sound in your media productions. Based on our long experience creating sound for the movies and television shows in the lineup above, we create custom sound design elements and soundscapes for exhibits, theatrical plays, web sites and special events.
Accustomed to the cinematic marvels of Dolby and THX, audiences expect you to impress them with the visceral impact of magnificent sound. Anything less will be counterproductive, leaving them underwhelmed or, worse, contemptuous of your production and closed to your message.
In more than 20 years in the film sound business, we've come to appreciate that the emotional resonance of a production is created not by the picture, but by the choice of voices, music, sound effects and sonic ambiences, and the way they are blended together to lift the story off the screen. For a quick demonstration of how something as simple as the right voice performance can make all the difference, click here.
We have amassed hundreds of hours of post-production film & TV credits, including the hit series Relic Hunter, Street Legal, The Twilight Zone, Ray Bradbury Theatre and many more. See our IMDB selected credits at http://www.imdb.com/name/nm0362189/.
What is sound design anyway? In a nutshell, sound design is the art or craft (depending on your perspective) of recording, editing, processing, assembling, and mixing sounds together to create informative, convincing and/or emotionally suggestive listening experiences. While powerful software is now available to facilitate many sound design processes on laptops and PCs, keep in mind that owning these tools does not instantly make someone a qualified sound designer, any more than having Microsoft Word on your computer makes you a professional speech writer.
The term “sound design” originated in live theatre to describe the creation of sounds and aural montages specifically for stage plays. Sound design is a unique department, just like lighting design. The term first became synonymous with sound editing for film in 1969, when the great Walter Murch was credited as sound designer on Francis Ford Coppola’s The Rain People. Coppola recalls that, because Murch “wasn’t in the union, the union forbade him getting the credit as sound editor—so Walter said, Well, since they won’t give me that, will they let me be called ‘sound designer’? We said, We’ll try it—you can be the sound designer . . . I always thought it was ironic that ‘Sound Designer’ became this Tiffany title, yet it was created for that reason. We did it to dodge the union constriction.”
David Collison’s fabulous new book, The Sound of Theatre, is a wonderful, illustrated introduction to the development of sound design for live theatre from the ancient Greeks to the modern digital age. For more information: http://www.lsionline.co.uk/books/?jzpz5l