WEBVTT

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Well, hello everybody.

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It's great to see all of you folks here.

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Thanks for being here.

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Thank you for giving me the time of day.

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My name is Peter Leonard.

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I am an audio engineer, sound designer, composer for Gimlet

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Media.

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And at Gimlet, I've worked on a lot of shows at this point.

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Started off on Startup.

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I worked on Without Fail, and then Science Versus,

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The Cut on Tuesdays.

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Stolen the Search for Germain.

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I've worked on the Journal.

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And now I work on a show called How to Save a Planet.

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Quick plug if you are looking for an optimistic climate

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centric podcast.

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But today, what I wanted to do with you all is show you

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just the fun and power of sound design and podcasting.

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So what we're going to look at--

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as you can kind of see, I'm sharing my screen--

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this is an episode of Science Versus that aired about two

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years ago.

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It's from season six.

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And just like a 10,000 foot view of the episode.

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This is about-- this is a historical episode.

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It's about when President James Garfield was assassinated.

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He didn't die as you may have expected from just the gunshot

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wound itself.

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The reason that James Garfield died

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was through many complications thereafter.

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And all those complications advanced the theory

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in the medical community that germs actually existed.

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So this event was super big for the medical community

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because it forced them to reckon with all the theory

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around there being tiny little microscopic things

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that you couldn't see that cause infection

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and health problems.

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So the episode is great.

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We're going to be focusing on about a minute of it.

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A minute where there is a scene described.

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Basically, the scene being described

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is the actual time that President Garfield was shot.

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And before we actually dive into this proxel session,

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we listened through the scene that we're

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going to design together.

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I just wanted to give you all a little clue in why sound design

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at all, why is it valuable?

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Well, if you think about scoring in a podcast,

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very often it's used to, of course, bolster

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the emotions that you're meant to feel as a listener,

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gets you to potentially relate to the story a little bit more

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through having the emotions that you're supposed to be--

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that might want to feel be teased out

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by the qualities of the scoring.

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But also, it's purely, in my opinion, an attention thing.

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A lot of people listen to podcasts passively.

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I'm sure that many of you have this experience too.

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You listen passively.

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You listen while your other senses are tied up,

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doing something else, cooking, cleaning, commuting, running,

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exercising of some sort.

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Rarely ever do you listen to podcasts like this.

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No, it's-- and I view things like scoring in sound design

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as tools to shape a listener's attention,

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choose when to immerse them in the moment,

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and when you can kind of release them into not having

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to pay nearly as close attention.

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And sound design is just yet another one of those tools

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that can create a concentrated, cool moment

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for your listener to really be immersed in the story

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that you're trying to tell.

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Sometimes, it's not enough to just have the events having

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taken place be described.

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That's not enough to actually nail home the point that you

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are attempting to make or have the right details be picked up

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by your listener.

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Sometimes, it's not enough just to hear the words.

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Sometimes, you know, you want--

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I'm sure many people have told you this in your production life.

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Show, don't tell.

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Everybody says that all the time.

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Show, don't tell.

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Sound design is one of the tools that you can use to do that.

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So that's why do this at all.

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Why sound design at all?

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That's kind of why.

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And as you'll kind of start to get a sense of here,

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this is a pretty intense, very detail-oriented process.

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And so given all of the work that goes into sound designing

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a moment, I often say for, say, like two minutes of sound

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design, it's probably somewhere between two and five

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hours of work.

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People in video, there's an old saying,

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10 hours for two minutes.

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Why do all of this detail-oriented,

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like, exhaustive work for just such a short period of time?

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Well, in the same way that over the course of a 30-minute long

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podcast, there are moments of the story

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that you really want to be able to immerse your listener in.

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It's the same idea with sound design.

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You can use the concentrated moment, the 30 seconds

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to two minutes of sound design to emphasize

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that this part is a part to be listened to.

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This part is one where we really want

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you to remember what happened because it's

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going to become important in the narrative later.

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So that's why sound design--

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what you're looking at on my screen,

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this is your peek under the hood into this Science Versus

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episode.

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Basically, what you're looking at all below this point right

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here, this is all of the dialogue for the podcast.

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So all of these red tracks right here that I'm highlighting,

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these are all the two hosts talking to each other, Wendy

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Zuckerman and Caitlin Sorry, telling the story of James

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Garfield's death.

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And then below here, this is all of our guest tape,

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archival, any ambi that I need to use in order

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to smooth edits, et cetera, et cetera.

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And then this whole-- well, before I go into that,

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the stuff at the top, this is all scoring,

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times that I've chosen to score in the podcast.

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And then this whole blank space in the middle,

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this is going to be our canvas to sound design on.

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So with that, I just want to zoom into the about 30 second

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long-- let's see how long this thing is in all, actually.

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It's about a minute and 22, and the scene

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that we are actually going to design is 44 seconds.

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So we're going to listen to this minute and 21 second clip

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describing the actual incidents of President James

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Garfield being shot by a man called Charles Gato, who

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had had it out for Garfield for a while

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and had finally decided this is when I'm going to make my move.

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And so he buys a gun.

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That's our way into the story.

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That's where we are.

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Gato is about to make his move on James Garfield.

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And so we're going to listen to this.

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What I want you to think about during this scene, what

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settings and actions are being described by the hosts that

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need to be sonified, need to have some kind of sound

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associated with them?

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That's where I want your head to be.

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What is being described that needs to have a sound associated

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with it?

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And when you're thinking about that, think small and specific.

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So for example, if we hear hosts narrate the lines,

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he walked up to the building, rang the buzzer,

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and was let into the apartment.

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Just that one little sentence.

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He walked into the building--

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or up to the building from the outside.

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He walked up to the building, rang the buzzer,

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and was let into the apartment.

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You would think that sonifying that would maybe

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be simple given that it's only about 20 words.

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But there are tons of little micro-actions in here

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that need to have sounds attached to them.

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So he walked up to the building.

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OK, we need footsteps.

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We need to decide what type of shoes he's wearing.

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We need to know the material of the street

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that he was walking on.

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Is it cobblestone?

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Is it asphalt?

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We need to know what city he's in.

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We need to know in what historical time periods

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that we can get the city ambi right.

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We need to know what kind of clothes he's wearing.

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Is he wearing leather?

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Is he wearing nylon so that the swishes are right?

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We need those footsteps to eventually stop at the door.

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We need the sound of a clothing swish as he brings his arm up.

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We need the sound of his finger hitting the button.

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We need the buzzer sound.

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We need some kind of intercom, like,

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"Roo-ra-zert!" or something like that.

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We need then the sound of the buzzer.

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We need a door opening.

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We need footsteps crossing the threshold.

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What else?

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We need the door slamming shut after he gets into the building,

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et cetera, et cetera, et cetera.

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You see how this gets very fine, very detailed, very quickly.

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So that's where I want your head to be at.

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All right.

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Since we're going to be playing from this pro tool session,

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now I'm going to actually change this to be in stereo.

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You probably just noticed that my voice just went just

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into your left ear.

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It's going to be like that for the remainder of the time

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that we were listening to this pro tool session.

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Just give you a heads up on that.

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So yeah, let's listen.

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So Gato buys a gun and he starts following Garfield.

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And in 1881, the president doesn't have a security detail.

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So Garfield is a sitting duck.

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He was basically stalking the president

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and watching where he was going.

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Had not.

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How long for?

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A couple of weeks.

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He's taking notes on everywhere he's going

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and basically figuring out when he's going to try and shoot him.

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And the president, of course, has no idea he's in danger.

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And on the morning of July 2nd, 1881,

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Garfield's going out of town.

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The president's going on summer vacation

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because it's the middle of summer holidays.

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And he heads to the train station to start his holiday.

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Like they got out of their carriages and walked in.

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And they had just gotten inside.

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Like they weren't-- because Gato was waiting for them.

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He knew that they were going to the train station that day.

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So he was essentially laying in wait.

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He had just this look on his face of like calm and collected

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and raised his gun and fired the first shot that

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raised Garfield's arm.

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And that's when Garfield was like, oh my god, what is this?

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Gato shoots again.

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This one nails President Garfield in the back.

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The president falls to the ground and all hell breaks loose.

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But he doesn't die straight away.

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And--

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All right, that's the end of our scene.

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I'm actually going to play it through again.

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I realize that all of this information probably just

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was flying at everybody.

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And try to make your observations about what

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needs to be sonified again.

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In my opinion, when I was designing this,

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I started my scene when Caitlin Sorry says--

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And he heads to the train station to start his holiday.

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He heads to the train station.

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That was where, for me, it was the most compelling point

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to actually start the scene.

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This is-- she's actually placing you in a specific place.

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She's starting the story, picking up

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exactly having the events actually

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happen one after another.

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That's why I thought so.

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So this part for the context, great.

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But then right here when she says he

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heads into the train station, that's where, let's say,

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that's where we'll actually start designing our scene.

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And then we'll take it out after Katie says,

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but he doesn't die straight away.

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So let's listen through again.

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Make your observations about what we need,

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what kind of sound effects we need.

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Old.

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So Gato buys a gun and he starts following Garfield.

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And in 1881, the president doesn't have a security detail.

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So Garfield is a sitting duck.

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He was basically stalking the president

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and watching where he was going.

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Had not--

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How long for?

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A couple of weeks.

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He's taking notes on everywhere he's going

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and basically figuring out when he's

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going to try and shoot him.

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And the president, of course, has no idea he's in danger.

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And on the morning of July 2nd, 1881,

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Garfield's going out of town.

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The president's going on summer vacation

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because it's the middle of summer holidays.

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And he heads to the train station to start his holiday.

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Like, they got out of the carriages and walked in.

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And they had just gotten inside.

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Like, they weren't-- because Gato was waiting for them.

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He knew that they were going to the train station that day.

00:15:43.320 --> 00:15:45.840
So he was essentially laying in wait.

00:15:45.840 --> 00:15:50.760
He had just this look on his face of, like, calm and collected

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and raised his gun and fired the first shot that

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grazed Garfield's arm.

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And that's when Garfield was like, oh, my god, what is this?

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Gato shoots again.

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This one nails President Garfield in the back.

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The president falls to the ground and all hell breaks loose.

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But he doesn't die straight away.

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And in the fight--

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All right.

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So answering the chat, you can also unmute yourself

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and speak these things into existence.

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But what are some things that you

00:16:24.320 --> 00:16:26.960
notice that need to be sonified here?

00:16:26.960 --> 00:16:38.320
Gunshots.

00:16:38.320 --> 00:16:42.440
Yeah, that is-- that's the first and probably most obvious.

00:16:42.440 --> 00:16:43.600
One thing, of course.

00:16:43.600 --> 00:16:46.920
Raised his gun and fired the first shot that grazed Garfield's

00:16:46.920 --> 00:16:47.280
arm.

00:16:47.280 --> 00:16:48.440
OK.

00:16:48.440 --> 00:16:49.320
Great, yeah.

00:16:49.320 --> 00:16:50.480
Steam engines.

00:16:50.480 --> 00:16:52.320
Awesome, yeah.

00:16:52.320 --> 00:16:55.280
Footsteps for sure.

00:16:55.280 --> 00:16:58.120
Many footsteps probably in many, many different places.

00:16:58.120 --> 00:17:02.640
We need Garfield walking into the train station

00:17:02.640 --> 00:17:05.520
from his carriage.

00:17:05.520 --> 00:17:08.000
We need-- once we're in the train station,

00:17:08.000 --> 00:17:11.320
we probably need many footsteps as all the people around them

00:17:11.320 --> 00:17:13.600
are walking.

00:17:13.600 --> 00:17:16.320
Crowd noise, yeah, definitely, definitely, definitely,

00:17:16.320 --> 00:17:19.040
especially in the train station.

00:17:19.040 --> 00:17:21.080
We have two settings to realize.

00:17:21.080 --> 00:17:24.360
We kind of have outside of the train station right here.

00:17:24.360 --> 00:17:27.240
Like they got out of their carriages and walked in.

00:17:27.240 --> 00:17:29.240
And they would just gotten inside.

00:17:29.240 --> 00:17:31.320
Like they weren't-- because Gato was waiting for them.

00:17:31.320 --> 00:17:35.440
So basically, for this period of about four seconds,

00:17:35.440 --> 00:17:37.760
we're outside of the train station.

00:17:37.760 --> 00:17:40.680
Like they got out of their carriages and walked in.

00:17:40.680 --> 00:17:41.560
OK.

00:17:41.560 --> 00:17:45.880
So they're outside of the train station in a carriage.

00:17:45.880 --> 00:17:49.680
And they walked up to the train station.

00:17:49.680 --> 00:17:51.560
That's even that little bit is something

00:17:51.560 --> 00:17:53.360
that we're going to need to take into.

00:17:53.360 --> 00:17:58.640
So we need crowd noise during that part that sounds like we

00:17:58.640 --> 00:18:00.960
are outside of a train station.

00:18:00.960 --> 00:18:02.640
We're on cobblestone streets.

00:18:02.640 --> 00:18:07.720
We hear horses clomping around.

00:18:07.720 --> 00:18:10.280
And also, we need--

00:18:10.280 --> 00:18:11.920
Carriages and walked in and--

00:18:11.920 --> 00:18:13.120
They got out of their carriage?

00:18:13.120 --> 00:18:15.440
We need a carriage door.

00:18:15.440 --> 00:18:18.200
So I'm going to write down.

00:18:18.200 --> 00:18:21.440
Just going to start keeping a running tab of these things.

00:18:21.440 --> 00:18:23.280
Gunshots.

00:18:23.280 --> 00:18:25.040
Do we need just any old gunshots?

00:18:25.040 --> 00:18:30.760
When was James Garfield assassinated?

00:18:30.760 --> 00:18:32.960
That's probably a very important detail.

00:18:32.960 --> 00:18:35.400
I mean, we know it's sometime in the 19th century.

00:18:35.400 --> 00:18:40.040
But here, that's probably something

00:18:40.040 --> 00:18:43.480
that we'll need to-- I'm just going to do a quick James

00:18:43.480 --> 00:18:47.640
Garfield assassination.

00:18:47.640 --> 00:18:50.600
Very important research for--

00:18:50.600 --> 00:18:51.440
1891.

00:18:51.440 --> 00:18:52.360
OK, great.

00:18:52.360 --> 00:18:55.800
So that's going to inform everything that I look at.

00:18:55.800 --> 00:18:57.480
We don't need any old gunshot.

00:18:57.480 --> 00:18:58.080
What do we need?

00:18:58.080 --> 00:18:59.680
We need a--

00:18:59.680 --> 00:19:02.200
We need a gun from that era.

00:19:02.200 --> 00:19:03.720
We need a revolver, probably.

00:19:03.720 --> 00:19:07.000
1881 revolver.

00:19:07.000 --> 00:19:10.280
Shots, so I'm going to write that down as well.

00:19:10.280 --> 00:19:15.840
Revolver, 1881.

00:19:15.840 --> 00:19:18.760
We need period correct steam engines.

00:19:18.760 --> 00:19:21.040
We need horse clumps.

00:19:21.040 --> 00:19:23.040
We need a carriage door.

00:19:23.040 --> 00:19:27.200
What else?

00:19:27.200 --> 00:19:27.640
What else?

00:19:27.640 --> 00:19:28.040
What else?

00:19:28.040 --> 00:19:29.200
What else did people notice?

00:19:29.200 --> 00:19:31.200
[SIGHS]

00:19:31.200 --> 00:19:43.280
Yeah, yeah.

00:19:43.280 --> 00:19:45.400
A body falling and hitting the floor.

00:19:45.400 --> 00:19:48.360
Yeah, that's-- you're thinking--

00:19:48.360 --> 00:19:53.080
I can tell you're thinking along the right lines, Mindy.

00:19:53.080 --> 00:19:57.480
Each little action does need an associated sound effect.

00:19:57.480 --> 00:20:00.080
It's not enough to say--

00:20:00.080 --> 00:20:02.000
in my sound effects library, I can't just search.

00:20:02.000 --> 00:20:03.040
Assassination, no.

00:20:03.040 --> 00:20:06.440
It has to be gunshot, hitting--

00:20:06.440 --> 00:20:09.800
like bullet hitting person, fall to the floor, clothing

00:20:09.800 --> 00:20:13.680
swishes, and screams.

00:20:13.680 --> 00:20:15.600
Yes, yes, shriek.

00:20:15.600 --> 00:20:17.080
Yes, screams and shrieks.

00:20:17.080 --> 00:20:18.960
What would happen if somebody gets assassinated

00:20:18.960 --> 00:20:21.440
in the train station?

00:20:21.440 --> 00:20:25.080
Everybody would freak out.

00:20:25.080 --> 00:20:26.600
So yeah, we need--

00:20:26.600 --> 00:20:31.920
pan-- we need general many screams.

00:20:31.920 --> 00:20:37.040
We need disturbed crowd.

00:20:37.040 --> 00:20:41.000
Just animated speaking and everything.

00:20:41.000 --> 00:20:45.760
Yeah, definitely hubbub for before the--

00:20:45.760 --> 00:20:46.960
yeah, exactly, Peter.

00:20:46.960 --> 00:20:52.080
We need hubbub for when they enter the train station

00:20:52.080 --> 00:20:58.320
before Gito actually shoots Garfield for the shot.

00:20:58.320 --> 00:21:09.240
And we need anything else than anybody

00:21:09.240 --> 00:21:13.240
noticed before I just keep revealing things here.

00:21:13.240 --> 00:21:16.720
[CAMERA CLICKING]

00:21:16.720 --> 00:21:26.920
Did they have sirens in those days?

00:21:26.920 --> 00:21:30.240
That is-- let's-- hey, let's find it out.

00:21:30.240 --> 00:21:35.360
I'm-- this kind of research is very much stuff

00:21:35.360 --> 00:21:37.680
that I do in real time whenever I need to--

00:21:37.680 --> 00:21:39.480
1891 sirens.

00:21:39.480 --> 00:21:40.720
Did they even have them?

00:21:43.160 --> 00:21:47.040
Just to hone my search a little bit more.

00:21:47.040 --> 00:21:57.080
Unclear, unclear.

00:21:57.080 --> 00:22:01.840
OK, so I'm probably not nearly as good of researching

00:22:01.840 --> 00:22:07.400
as many of you probably are being steeped in it these days.

00:22:07.400 --> 00:22:10.560
But just to say that I do all of this kind of research.

00:22:10.560 --> 00:22:12.800
I want everything to be period correct.

00:22:12.800 --> 00:22:16.240
Like when I look for ambi, crowd noise is hubbub,

00:22:16.240 --> 00:22:18.160
I can't have people saying--

00:22:18.160 --> 00:22:21.280
in that crowd noise, I can't have people saying

00:22:21.280 --> 00:22:25.280
modern style phrases like, oh yeah,

00:22:25.280 --> 00:22:27.520
I'll hit you up tomorrow or something like that.

00:22:27.520 --> 00:22:29.840
It all has to be period correct.

00:22:29.840 --> 00:22:33.640
I can't use Walla that has electronic train

00:22:33.640 --> 00:22:37.480
announcements in the background.

00:22:37.480 --> 00:22:40.120
All the doors that I need to use--

00:22:40.120 --> 00:22:42.640
the front door opening for the train station

00:22:42.640 --> 00:22:46.040
needs to be wood probably because they used wood and iron

00:22:46.040 --> 00:22:48.760
back in that day.

00:22:48.760 --> 00:22:50.320
Any other observations that people have

00:22:50.320 --> 00:22:55.400
before we start kind of like trying our hand at laying

00:22:55.400 --> 00:22:58.320
in some sound effects?

00:22:58.320 --> 00:22:59.120
Any others?

00:22:59.120 --> 00:23:05.360
Going once, galloping horses?

00:23:05.360 --> 00:23:06.440
Yeah, definitely.

00:23:10.360 --> 00:23:12.120
Is there archival audio of the--

00:23:12.120 --> 00:23:16.720
this is-- oh yeah, that's a great question.

00:23:16.720 --> 00:23:23.880
So 1881 is, I think, after the phonograph.

00:23:23.880 --> 00:23:27.760
But the chances-- there are two stumbling blocks here.

00:23:27.760 --> 00:23:30.480
The first is that the chances of us getting a high fidelity

00:23:30.480 --> 00:23:33.000
recording of that event are extremely low.

00:23:33.000 --> 00:23:37.280
So I would say that there's probably a--

00:23:37.280 --> 00:23:39.520
oh, OK, Peter, thank you.

00:23:39.520 --> 00:23:41.520
So this was even before.

00:23:41.520 --> 00:23:43.480
So we don't even have--

00:23:43.480 --> 00:23:47.120
this predates modern recording.

00:23:47.120 --> 00:23:51.200
If there happened to be archival of this audio,

00:23:51.200 --> 00:23:53.120
the two stumbling blocks that we'd run into our first,

00:23:53.120 --> 00:23:55.720
the fidelity would probably be really bad,

00:23:55.720 --> 00:23:57.440
like, distractingly bad.

00:23:57.440 --> 00:24:03.360
And we want this to be like, you're actually immersed in there.

00:24:03.360 --> 00:24:06.480
It sounds as though you, if you close your eyes,

00:24:06.480 --> 00:24:09.360
are in the train station observing from--

00:24:09.360 --> 00:24:14.120
as a third party, rather than you listening to a noise-laden

00:24:14.120 --> 00:24:17.360
wax cylinder from back then.

00:24:17.360 --> 00:24:21.120
And then also, fair use around archival audio

00:24:21.120 --> 00:24:24.120
is a big stumbling block.

00:24:24.120 --> 00:24:31.000
Especially for a private institution like Gimlet

00:24:31.000 --> 00:24:38.200
and Spotify, fair use does not allow institutions like ours

00:24:38.200 --> 00:24:42.840
to just use archival audio or anything unlicensed

00:24:42.840 --> 00:24:46.320
just in that way.

00:24:46.320 --> 00:24:48.720
So we probably wouldn't be able to use any--

00:24:48.720 --> 00:24:50.480
this is all stuff that we have to--

00:24:50.480 --> 00:24:52.320
in order to realize this event, we truly

00:24:52.320 --> 00:24:59.200
do have to use licensed sound effects from a library.

00:24:59.200 --> 00:25:03.400
But I really love where your head is at.

00:25:03.400 --> 00:25:05.040
It's a great question.

00:25:05.040 --> 00:25:08.160
OK, so let's start trying to lay some stuff

00:25:08.160 --> 00:25:10.200
in.

00:25:10.200 --> 00:25:13.640
I know that the first thing--

00:25:13.640 --> 00:25:18.040
sorry, I should have signed, signed, a little time.

00:25:18.040 --> 00:25:19.640
If I'm starting my scene around here,

00:25:19.640 --> 00:25:25.320
I know that for this stretch of about seven seconds,

00:25:25.320 --> 00:25:27.600
what's being narrated is we're rolling up

00:25:27.600 --> 00:25:29.240
to the train station.

00:25:29.240 --> 00:25:32.840
He heads to the train station to start his holiday.

00:25:32.840 --> 00:25:33.520
Like, they--

00:25:33.520 --> 00:25:36.600
So for this, I'm going to need some--

00:25:36.600 --> 00:25:38.680
I'm going to pull up my sound library.

00:25:38.680 --> 00:25:41.520
So just to illustrate this fact that I can't just

00:25:41.520 --> 00:25:46.880
search for something like 1,800 train station to get it,

00:25:46.880 --> 00:25:50.360
there actually are a couple--

00:25:50.360 --> 00:25:51.800
there are a couple--

00:26:00.560 --> 00:26:08.920
we do have a couple instances of full train station ambies.

00:26:08.920 --> 00:26:12.760
But a lot of these are unusable because--

00:26:12.760 --> 00:26:17.000
well, let's listen to just this one right here.

00:26:17.000 --> 00:26:24.280
That's clearly a modern train.

00:26:24.280 --> 00:26:26.400
We can't use that.

00:26:26.400 --> 00:26:28.440
How about just this train ambience?

00:26:29.440 --> 00:26:33.240
Can't use this because there are electronic announcements.

00:26:33.240 --> 00:26:37.480
So we truly have to be like, let's say, 1,880--

00:26:37.480 --> 00:26:39.520
or actually, just do 1,800 just to keep it--

00:26:39.520 --> 00:26:41.840
Peter, I don't think we're able to hear the samples

00:26:41.840 --> 00:26:44.720
that you're playing from this particular sound library.

00:26:44.720 --> 00:26:48.160
Oh, thank you for alerting me to that.

00:26:48.160 --> 00:26:49.520
Let's see if I can change that.

00:26:49.520 --> 00:26:50.720
Yes, I can.

00:26:50.720 --> 00:26:51.520
Zoom audio device.

00:26:51.520 --> 00:26:55.520
OK, how about now?

00:26:56.280 --> 00:26:57.360
That's great.

00:26:57.360 --> 00:26:58.120
Great.

00:26:58.120 --> 00:26:59.240
Just an illustration.

00:26:59.240 --> 00:27:09.160
And also, those announcements are in a different language.

00:27:09.160 --> 00:27:15.000
So this is why realizing train station ambie usually

00:27:15.000 --> 00:27:21.480
is an exercise in finding many, many different specific sound

00:27:21.480 --> 00:27:25.040
effects that we can layer and layer and layer together

00:27:25.040 --> 00:27:26.800
to actually make the train station.

00:27:26.800 --> 00:27:31.280
So let's first do horses cobblestone.

00:27:31.280 --> 00:27:42.440
Horses on cobblestone.

00:27:42.440 --> 00:27:44.240
Let's see if this is going to work.

00:27:44.240 --> 00:27:44.720
Come ahead.

00:27:44.720 --> 00:27:49.240
All right, that's--

00:27:49.240 --> 00:27:50.240
not cool.

00:27:50.240 --> 00:27:56.240
Let's just do just horses.

00:27:56.240 --> 00:28:00.240
Lemon day six.

00:28:00.240 --> 00:28:06.240
Let's scroll down to some of these.

00:28:06.240 --> 00:28:08.240
Ah, here we go.

00:28:08.240 --> 00:28:09.240
Walking on pavement perfectly.

00:28:09.240 --> 00:28:10.240
Perfect.

00:28:10.240 --> 00:28:16.240
All right.

00:28:16.240 --> 00:28:19.240
Now we're starting to cook with gas.

00:28:19.240 --> 00:28:20.240
Sure.

00:28:20.240 --> 00:28:25.240
Just going to drag this in right here is our first layering

00:28:25.240 --> 00:28:26.240
opportunity.

00:28:26.240 --> 00:28:33.240
I'm going to just fade that in a little bit.

00:28:33.240 --> 00:28:37.240
Let's find one more instance of horse galloping just so we can

00:28:37.240 --> 00:28:39.240
fill this out.

00:28:39.240 --> 00:28:47.240
Horses-- hone the search a little bit more.

00:28:47.240 --> 00:28:48.240
Horses walking.

00:28:48.240 --> 00:28:51.240
Let's go down to the Soundly Pro library.

00:28:51.240 --> 00:28:55.240
So walk, gravel.

00:28:55.240 --> 00:28:56.240
We don't want gravel.

00:28:56.240 --> 00:28:58.240
We want it on pavement.

00:28:58.240 --> 00:29:00.240
We want it on pavement.

00:29:00.240 --> 00:29:04.240
So we're going to go down to the soundly pro library.

00:29:04.240 --> 00:29:09.240
We don't want gravel.

00:29:09.240 --> 00:29:12.240
We want it on pavement.

00:29:12.240 --> 00:29:13.240
Ten.

00:29:13.240 --> 00:29:17.240
So wet gravels.

00:29:17.240 --> 00:29:20.240
Now we want the wood interior.

00:29:20.240 --> 00:29:21.240
Concrete.

00:29:21.240 --> 00:29:26.240
That's probably a little bit--

00:29:26.240 --> 00:29:29.240
Sometimes this is an exercise in working with what you have.

00:29:29.240 --> 00:29:33.240
If I can't find clumps on actual cobblestone,

00:29:33.240 --> 00:29:36.240
then I'll kind of just need to bake it.

00:29:36.240 --> 00:29:41.240
How about wood?

00:29:41.240 --> 00:29:45.240
Do you think that there would be wood surfaces outside of a

00:29:45.240 --> 00:29:48.240
train station, like on the street outside?

00:29:48.240 --> 00:29:52.240
No, but I think the sound might be the same.

00:29:52.240 --> 00:29:53.240
Sure.

00:29:53.240 --> 00:29:54.240
All right.

00:29:54.240 --> 00:30:03.240
That's a possibility.

00:30:03.240 --> 00:30:05.240
Let's just look at this horse library.

00:30:05.240 --> 00:30:22.240
This is probably very--

00:30:22.240 --> 00:30:29.240
Let's just go back to horse library.

00:30:29.240 --> 00:30:51.240
Soundly pro.

00:30:51.240 --> 00:30:52.240
Excellent.

00:30:52.240 --> 00:30:56.240
This is sounding a lot more like it.

00:30:56.240 --> 00:30:59.240
And this is useful too, because there's carriage audio in here,

00:30:59.240 --> 00:31:06.240
which we know that Garfield was in a carriage.

00:31:06.240 --> 00:31:10.240
So this all of that is good.

00:31:10.240 --> 00:31:11.240
Okay.

00:31:11.240 --> 00:31:17.240
Let's get some--

00:31:17.240 --> 00:31:24.240
Let's get some city.

00:31:24.240 --> 00:31:25.240
All right.

00:31:25.240 --> 00:31:31.240
We got to back the search out a little bit.

00:31:31.240 --> 00:31:37.240
So the trouble with finding actual city ambi here is that it has

00:31:37.240 --> 00:31:40.240
to be-- like it can't have traffic in it.

00:31:40.240 --> 00:31:43.240
And often the exercise is putting in the right search terms,

00:31:43.240 --> 00:31:46.240
such that you get meaningful results.

00:31:46.240 --> 00:31:52.240
But doesn't have some of the things that you want to avoid from the time,

00:31:52.240 --> 00:31:57.240
like traffic or other things.

00:31:57.240 --> 00:32:01.240
So I'm very open to your help, by the way,

00:32:01.240 --> 00:32:08.240
if you have suggestions for my search terms sometimes,

00:32:08.240 --> 00:32:12.240
as I appear to be coming up empty in certain things here.

00:32:12.240 --> 00:32:16.240
Let's say 1800 Walla.

00:32:16.240 --> 00:32:19.240
Let's see if that's going to-- all right.

00:32:19.240 --> 00:32:39.240
Let's just go with X crowd.

00:32:39.240 --> 00:32:40.240
All right.

00:32:40.240 --> 00:32:46.240
Now we're talking.

00:32:46.240 --> 00:32:47.240
All right.

00:32:47.240 --> 00:32:48.240
Great.

00:32:48.240 --> 00:32:50.240
And the reason that I put X right here is for exterior,

00:32:50.240 --> 00:32:53.240
because we want this to sound like it's coming in from the outside

00:32:53.240 --> 00:32:56.240
and not like it's in a space.

00:32:56.240 --> 00:33:02.240
So let's just use this.

00:33:02.240 --> 00:33:04.240
Let's see where we're at so far.

00:33:04.240 --> 00:33:10.240
I'm going to quickly back this down.

00:33:10.240 --> 00:33:14.240
And he heads to the train station to start his holiday.

00:33:14.240 --> 00:33:17.240
Like they got out of their carriages and walked in,

00:33:17.240 --> 00:33:20.240
and they had just gotten inside that they weren't--

00:33:20.240 --> 00:33:22.240
because Gato was waiting for that.

00:33:22.240 --> 00:33:24.240
He knew that they were going to the train station that day,

00:33:24.240 --> 00:33:26.240
so he was a-- all right.

00:33:26.240 --> 00:33:27.240
So--

00:33:27.240 --> 00:33:29.240
--just gotten inside that they weren't-- because Gato was--

00:33:29.240 --> 00:33:38.240
he didn't want this until our guest here says that they had just gotten inside.

00:33:38.240 --> 00:33:40.240
They had just gotten inside that they--

00:33:40.240 --> 00:33:47.240
So basically from here on out, I do not need these.

00:33:47.240 --> 00:33:51.240
I especially don't need the carriage.

00:33:51.240 --> 00:33:54.240
And we can fade out these horses here.

00:33:54.240 --> 00:34:01.240
So basically from here on in, we're actually in the train station.

00:34:01.240 --> 00:34:08.240
So we'll fade all these out at the moment that they kind of like open the train station door.

00:34:08.240 --> 00:34:15.240
One thing I do need is a carriage door for Garfield getting in and out of the--

00:34:15.240 --> 00:34:23.240
So let's see if I can find that carriage door.

00:34:23.240 --> 00:34:25.240
Okay, all right.

00:34:25.240 --> 00:34:27.240
So let's see.

00:34:27.240 --> 00:34:33.240
That's a good option.

00:34:33.240 --> 00:34:38.240
This is literally 12.

00:34:38.240 --> 00:34:41.240
See, it's like this would be perfect. Horses on cobblestones,

00:34:41.240 --> 00:34:44.240
except that it was recorded probably about 50 years ago,

00:34:44.240 --> 00:34:48.240
and the fidelity is just not there, unfortunately.

00:34:48.240 --> 00:34:49.240
But that's fine.

00:34:49.240 --> 00:34:56.240
I think, you know what, that sounds like a perfectly acceptable carriage door to me.

00:34:56.240 --> 00:35:01.240
So let's make sure this is appropriately leveled.

00:35:01.240 --> 00:35:03.240
Other carriages and locked in and--

00:35:03.240 --> 00:35:06.240
So they got out of their carriages--

00:35:06.240 --> 00:35:08.240
They got out of their carriages, then you hear the carriage--

00:35:08.240 --> 00:35:11.240
Other carriages and locked in and they would just--

00:35:11.240 --> 00:35:15.240
And just to kind of like make this feel a little bit more immersive,

00:35:15.240 --> 00:35:17.240
I'm going to pan this to the left a little.

00:35:17.240 --> 00:35:19.240
Other carriages and locked in and--

00:35:19.240 --> 00:35:21.240
Ooh, that's a little too much.

00:35:21.240 --> 00:35:24.240
Let's just do just a bit off-center.

00:35:24.240 --> 00:35:32.240
In addition, I'm going to pan this to the left a little bit,

00:35:32.240 --> 00:35:42.240
and then I'm going to pan the other horses to the right.

00:35:42.240 --> 00:35:46.240
He heads to the train station to start his holiday.

00:35:46.240 --> 00:35:49.240
They got out of their carriages and locked in,

00:35:49.240 --> 00:35:51.240
and they would just gotten inside that they weren't--

00:35:51.240 --> 00:35:53.240
Because Gato was waiting--

00:35:53.240 --> 00:35:54.240
And they just got--

00:35:54.240 --> 00:35:56.240
Okay, so this is where we are.

00:35:56.240 --> 00:36:01.240
I can hear I need to do a little bit of leveling.

00:36:01.240 --> 00:36:04.240
They got out of their carriages and locked in,

00:36:04.240 --> 00:36:07.240
and they would just gotten inside that they--

00:36:07.240 --> 00:36:16.240
Okay, so let's do some footsteps cobblestone.

00:36:16.240 --> 00:36:18.240
All right, if we can't find cobblestone,

00:36:18.240 --> 00:36:25.240
then we'll just do boots, footsteps, hardwoods.

00:36:25.240 --> 00:36:27.240
That's not what I'm--

00:36:27.240 --> 00:36:35.240
Just do street.

00:36:35.240 --> 00:36:37.240
Where we have all running streets.

00:36:37.240 --> 00:36:41.240
That's not exactly what I want.

00:36:41.240 --> 00:36:53.240
Not snow paved.

00:36:53.240 --> 00:37:09.240
Nope.

00:37:09.240 --> 00:37:11.240
That's good footsteps.

00:37:11.240 --> 00:37:13.240
Human library.

00:37:13.240 --> 00:37:14.240
This is good.

00:37:14.240 --> 00:37:19.240
Okay, so we want--

00:37:19.240 --> 00:37:20.240
Perfect.

00:37:20.240 --> 00:37:21.240
There we go.

00:37:21.240 --> 00:37:22.240
There we go.

00:37:22.240 --> 00:37:27.240
You can definitely see how sometimes this just feels like an exercise in futility

00:37:27.240 --> 00:37:29.240
because you're like, "How am I gonna--"

00:37:29.240 --> 00:37:31.240
If I'm getting such weird results,

00:37:31.240 --> 00:37:35.240
how am I gonna arrive at something that's all right?

00:37:35.240 --> 00:37:38.240
Just kind of have to trust.

00:37:38.240 --> 00:37:40.240
All right, so if this--

00:37:40.240 --> 00:37:43.240
If the carriage door was panned to the left a little bit,

00:37:43.240 --> 00:37:47.240
then I want to make sure that my footsteps in addition are panned to the left

00:37:47.240 --> 00:37:50.240
because Garfield is getting out of his carriage

00:37:50.240 --> 00:37:53.240
kind of on the left side of our--

00:37:53.240 --> 00:37:56.240
It's been locked in and they had just gotten inside that they weren't

00:37:56.240 --> 00:37:58.240
because Gato was waiting.

00:37:58.240 --> 00:38:00.240
Okay, then we can keep these footsteps.

00:38:00.240 --> 00:38:02.240
In fact, we can move this a little bit.

00:38:02.240 --> 00:38:05.240
Let's have them pause right here, open the door.

00:38:05.240 --> 00:38:12.240
So we need a wood, probably the front door of the train station is a big wood door,

00:38:12.240 --> 00:38:14.240
so wood door.

00:38:14.240 --> 00:38:16.240
Ooh, antique.

00:38:16.240 --> 00:38:23.240
[car horn honking]

00:38:23.240 --> 00:38:25.240
Okay, let's go with that.

00:38:25.240 --> 00:38:29.240
If I were being really persnickety,

00:38:29.240 --> 00:38:34.240
I would kind of want to have a door that sounds like it's a little bigger,

00:38:34.240 --> 00:38:38.240
but I think that this is totally fine.

00:38:38.240 --> 00:38:40.240
Let's get this point right here.

00:38:40.240 --> 00:38:44.240
So let's see, pauses, open door, opens the door, and then keeps going.

00:38:44.240 --> 00:38:45.240
So we got--

00:38:45.240 --> 00:38:48.240
Got inside that they weren't because Gato was waiting for that.

00:38:48.240 --> 00:38:49.240
He knew--

00:38:49.240 --> 00:38:53.240
All right, so you can see that right here all of our--

00:38:53.240 --> 00:38:57.240
all of our kind of like crowd noise and ambideyes away really quickly.

00:38:57.240 --> 00:39:04.240
We need to replace all of that with the sounds of people talking in a train station,

00:39:04.240 --> 00:39:08.240
which is different from crowd noise from the outside.

00:39:08.240 --> 00:39:13.240
This crowd noise is going to be much more reverberant, probably like--

00:39:13.240 --> 00:39:18.240
It's going to probably sound washy.

00:39:18.240 --> 00:39:20.240
Oh, Emily, I'm sorry, I missed your question.

00:39:20.240 --> 00:39:27.240
I'm using soundly, and so the soundly pro library is what I'm using,

00:39:27.240 --> 00:39:28.240
but we also--

00:39:28.240 --> 00:39:34.240
Again, we also use a sound snap and the boom library as well,

00:39:34.240 --> 00:39:36.240
just so it kind of points you in the right direction.

00:39:36.240 --> 00:39:38.240
So let's hear--

00:39:38.240 --> 00:39:42.240
Let's see if we can do interior crowd.

00:39:42.240 --> 00:39:44.240
Let's just see with that--

00:39:44.240 --> 00:39:50.240
Okay.

00:39:50.240 --> 00:40:04.240
Okay, let's have out--

00:40:04.240 --> 00:40:06.240
Ooh, here we-- this is--

00:40:09.240 --> 00:40:14.240
I'm just going to listen to make sure that I don't hear anything that is--

00:40:14.240 --> 00:40:17.240
that is anachromistic.

00:40:17.240 --> 00:40:21.240
I don't think so, it's all just a wash.

00:40:21.240 --> 00:40:25.240
So this will be perfect for our interior train station, Ambie.

00:40:25.240 --> 00:40:28.240
I'm going to just--

00:40:28.240 --> 00:40:32.240
And so now, let's do--

00:40:32.240 --> 00:40:37.240
What I want to do is I want to line the door up with--

00:40:37.240 --> 00:40:41.240
I want to line the door--

00:40:41.240 --> 00:40:45.240
the opening of the door with the introduction of this new Ambie.

00:40:45.240 --> 00:40:48.240
It's like you would open the door, and then as you're opening the door,

00:40:48.240 --> 00:40:50.240
you can hear all of that crowd noise come in.

00:40:50.240 --> 00:40:55.240
So-- and that's where, you know, the outside crowd Ambie starts to fade out,

00:40:55.240 --> 00:40:57.240
interior crowd Ambie starts to fade in.

00:40:57.240 --> 00:41:01.240
So let's line that up with the incidence of the door.

00:41:01.240 --> 00:41:05.240
They would just gotten inside like they weren't, because Gato was waiting for--

00:41:05.240 --> 00:41:10.240
They would just gotten inside like they weren't, because Gato was waiting for them.

00:41:10.240 --> 00:41:12.240
He knew that they were going to--

00:41:12.240 --> 00:41:16.240
They would just gotten inside like they weren't, because Gato was waiting for them.

00:41:16.240 --> 00:41:17.240
He knew--

00:41:17.240 --> 00:41:20.240
All right, I'm actually just going to-- since this is--

00:41:20.240 --> 00:41:28.240
I'm going to just give us some room to extend out this horse guy right here.

00:41:28.240 --> 00:41:29.240
Okay.

00:41:29.240 --> 00:41:33.240
They would just gotten inside like they weren't, because Gato was waiting for them.

00:41:33.240 --> 00:41:36.240
He knew that they were going to the--

00:41:36.240 --> 00:41:42.240
And let's make the transition between these two Ambies just a little bit more smooth here.

00:41:42.240 --> 00:41:46.240
So I'm just going to--

00:41:46.240 --> 00:41:49.240
She would have to fade in for the door.

00:41:49.240 --> 00:41:52.240
--gotten inside like they weren't, because Gato was waiting for them.

00:41:52.240 --> 00:41:54.240
Here we go, there we go.

00:41:54.240 --> 00:41:56.240
They weren't, because Gato was waiting for them.

00:41:56.240 --> 00:42:01.240
He knew that they were going to the train station that day, so he was essentially laying in wait.

00:42:01.240 --> 00:42:09.240
He had just this look on his face of like calm and collected and raised his gun.

00:42:09.240 --> 00:42:12.240
All right, so we're pretty much good here.

00:42:12.240 --> 00:42:21.240
It doesn't really sound like there is a lot of important narration here that says we need to actually hear the actions that are being narrated.

00:42:21.240 --> 00:42:26.240
He knew that they were going to the train station that day, so he was essentially laying in wait.

00:42:26.240 --> 00:42:34.240
He had just this look on his face of like calm and collected and raised his gun.

00:42:34.240 --> 00:42:40.240
All right, so the next thing, this is like the most exciting part of this, is that this scene definitely is--

00:42:40.240 --> 00:42:48.240
We need the gun. We need the gunshot, and then we need basically like ensuing gunshot screams pandemonium.

00:42:48.240 --> 00:42:52.240
So that's what we're going to start doing now.

00:42:52.240 --> 00:43:01.240
All right, let's get a revolver.

00:43:01.240 --> 00:43:07.240
All right, that's the cock of the revolver, which we don't really-- we're not getting nearly that close.

00:43:07.240 --> 00:43:11.240
We just need a revolver shot.

00:43:11.240 --> 00:43:20.240
[gunshots]

00:43:20.240 --> 00:43:24.240
Hmm, maybe.

00:43:24.240 --> 00:43:27.240
Let's see if there is another--

00:43:27.240 --> 00:43:32.240
[gunshots]

00:43:32.240 --> 00:43:34.240
Hmm.

00:43:34.240 --> 00:43:44.240
[gunshots]

00:43:44.240 --> 00:43:50.240
Just looking around for something that's a little bit more acceptable to--

00:43:50.240 --> 00:43:51.240
[gunshots]

00:43:51.240 --> 00:43:53.240
It sounds too old.

00:43:53.240 --> 00:43:57.240
Too old, I'm talking about the quality of the recording.

00:43:57.240 --> 00:44:03.240
[gunshots]

00:44:03.240 --> 00:44:06.240
Okay.

00:44:06.240 --> 00:44:09.240
Let's just-- in the interest of--

00:44:09.240 --> 00:44:15.240
[gunshots]

00:44:15.240 --> 00:44:18.240
Hmm, but I don't like those gunshots.

00:44:18.240 --> 00:44:20.240
There's just this weird--

00:44:20.240 --> 00:44:21.240
[gunshots]

00:44:21.240 --> 00:44:25.240
There's this weird high-end action going on that I do not really like.

00:44:25.240 --> 00:44:32.240
[gunshots]

00:44:32.240 --> 00:44:35.240
Um, and these are peaked.

00:44:35.240 --> 00:44:40.240
Ugh, I'm like trying to get out of my, like, too detail-oriented self,

00:44:40.240 --> 00:44:42.240
and I'm having a hard time.

00:44:42.240 --> 00:44:46.240
I'm like, I can't-- I'm like, "Peter, you gotta move on," but I can't.

00:44:46.240 --> 00:44:49.240
I'm just like, "Ugh, I need the perfect gunshot."

00:44:49.240 --> 00:44:55.240
So if you are somebody who, like, really, really sweats the details,

00:44:55.240 --> 00:45:00.240
um, you know, I can-- let's just say--

00:45:00.240 --> 00:45:06.240
1800 as a modifier is just not really something that's, um,

00:45:06.240 --> 00:45:08.240
[gunshots]

00:45:08.240 --> 00:45:10.240
maybe a lot of success.

00:45:10.240 --> 00:45:14.240
If you're somebody who really sweats the details, sound designer,

00:45:14.240 --> 00:45:19.240
that's a pretty, uh, it's a good role for you.

00:45:19.240 --> 00:45:21.240
Okay, so...

00:45:21.240 --> 00:45:25.240
[gunshots]

00:45:25.240 --> 00:45:29.240
I can look at all of these.

00:45:29.240 --> 00:45:38.240
[gunshots]

00:45:38.240 --> 00:45:41.240
Let's just go with that.

00:45:41.240 --> 00:45:44.240
Um, I understand this is not period correct.

00:45:44.240 --> 00:45:47.240
I made, like, such a big deal out of everything being period correct,

00:45:47.240 --> 00:45:52.240
and now I'm like, "Ugh, just pulling this random gunshot," but, you know,

00:45:52.240 --> 00:45:58.240
um, it's just because I wasn't really able to find something that was satisfactorily period correct

00:45:58.240 --> 00:46:02.240
and also sounded as good as I wanted it to, so...

00:46:02.240 --> 00:46:04.240
Um...

00:46:04.240 --> 00:46:10.240
And at that point, I'm kind of like, "Well, who's gonna really, like,

00:46:10.240 --> 00:46:16.240
is it useful to pour into the details of who would be able to discern

00:46:16.240 --> 00:46:20.240
that the gunshot that I'm using is not from a revolver from the time period?"

00:46:20.240 --> 00:46:26.240
I'm like, calm and collected and raised his gun and...

00:46:26.240 --> 00:46:27.240
[gunshots]

00:46:27.240 --> 00:46:30.240
raised his gun and fired the first shot.

00:46:30.240 --> 00:46:37.240
Alright, so first, even before I get to laying in this sound effect,

00:46:37.240 --> 00:46:44.240
I can tell that with this dialogue, in order for me to create the feeling that I want to,

00:46:44.240 --> 00:46:47.240
I need to create some space here.

00:46:47.240 --> 00:46:52.240
I need to create some space for the gunshot to happen,

00:46:52.240 --> 00:46:59.240
and then for the ensuing pandemonium to start before the narration continues.

00:46:59.240 --> 00:47:04.240
So, I'm gonna choose right here, actually, to take...

00:47:04.240 --> 00:47:09.240
this and just move it a little forward.

00:47:09.240 --> 00:47:14.240
Give myself about, hmm, let's say, three seconds to work with.

00:47:14.240 --> 00:47:18.240
Three seconds for a gunshot, and then some screams.

00:47:18.240 --> 00:47:20.240
Raised his gun and...

00:47:20.240 --> 00:47:22.240
[gunshot]

00:47:22.240 --> 00:47:34.240
And so, we want the ambi, and we want the music, in addition, to continue right up until the moment...

00:47:34.240 --> 00:47:40.240
these footsteps don't nearly go as long enough, so I'm just going to loop them a little bit.

00:47:40.240 --> 00:47:45.240
Go up right until the moment of the shot.

00:47:45.240 --> 00:47:47.240
Raised his gun and...

00:47:47.240 --> 00:47:49.240
There we go.

00:47:49.240 --> 00:47:51.240
Alright, now we're starting to...

00:47:51.240 --> 00:47:59.240
So, something that I know that I need with this gunshot...

00:47:59.240 --> 00:48:06.240
we're indoors, and so the crowd sounds like it's indoors.

00:48:06.240 --> 00:48:14.240
This gunshot, I'm not sure where it was recorded, possibly somewhere out of doors in some other space.

00:48:14.240 --> 00:48:21.240
I want this gunshot, though, and I want the ensuing screams to all sound like they're in the same space.

00:48:21.240 --> 00:48:32.240
So, the answer is, we're gonna send all of the sound effects from, you know, gunshot, screams, and also the footsteps even.

00:48:32.240 --> 00:48:37.240
Realized I forgot to do that. We're gonna send them to the same artificial reverb.

00:48:37.240 --> 00:48:41.240
That artificial reverb...

00:48:41.240 --> 00:48:44.240
is gonna make it sound...

00:48:44.240 --> 00:48:51.240
is going to kind of, like, enhance the realism of those things actually happening in the space that they are happening in.

00:48:51.240 --> 00:48:57.240
So, I'm just gonna make sure to send all these to...

00:48:57.240 --> 00:49:01.240
Let's do it with the crowd noise as well.

00:49:01.240 --> 00:49:07.240
Send the crowd noise too.

00:49:07.240 --> 00:49:15.240
I didn't kind of have to move. If I did have time, I would put in...

00:49:15.240 --> 00:49:23.240
I would put in some steam engines right here, probably somebody saying, "Oh, the board!" or something like that.

00:49:23.240 --> 00:49:28.240
But, you know, we have bigger fish to fry, so here, let's try that out.

00:49:28.240 --> 00:49:30.240
Just this look on his face of, like...

00:49:30.240 --> 00:49:35.240
Whoa, that's a little too much for those footsteps.

00:49:35.240 --> 00:49:44.240
Just this look on his face of, like, calm and collected and raised his gun and...

00:49:44.240 --> 00:49:48.240
Okay, and again, that is way too much.

00:49:48.240 --> 00:49:51.240
Raised his gun and...

00:49:51.240 --> 00:49:53.240
Alright, that's a little bit more convincing.

00:49:53.240 --> 00:49:55.240
Gunning.

00:49:55.240 --> 00:50:00.240
And I can even check, what is my scene verb?

00:50:00.240 --> 00:50:03.240
What is...

00:50:03.240 --> 00:50:05.240
What kind of reverb is my scene verb?

00:50:05.240 --> 00:50:07.240
Is it actually a...

00:50:07.240 --> 00:50:09.240
Let's find it.

00:50:09.240 --> 00:50:17.240
Here we go, scene verb.

00:50:17.240 --> 00:50:20.240
Yeah, what is it set to?

00:50:20.240 --> 00:50:23.240
Set to...

00:50:23.240 --> 00:50:26.240
Oh, just like the default setting, so not something that we want it to be set to.

00:50:26.240 --> 00:50:38.240
I want to set it to some space that's actually probably more analogous to a train station.

00:50:38.240 --> 00:50:43.240
So that means we're looking for something with a lot of hard surfaces.

00:50:43.240 --> 00:50:49.240
We're looking for something that...

00:50:49.240 --> 00:50:51.240
Let's see...

00:50:51.240 --> 00:50:55.240
I don't have a lot of good options in this particular plugin,

00:50:55.240 --> 00:51:05.240
but I know that we can probably get somewhere along the way if we just do it concert hall.

00:51:05.240 --> 00:51:08.240
Raised his gun and...

00:51:08.240 --> 00:51:10.240
It sounds a little bit more realistic.

00:51:10.240 --> 00:51:15.240
Alright, now let's move on to our screams and resulting pandemonium.

00:51:15.240 --> 00:51:21.240
So first, let's just do...

00:51:21.240 --> 00:51:24.240
Let's just do single screams.

00:51:24.240 --> 00:51:29.240
[Screams]

00:51:29.240 --> 00:51:33.240
Okay, that's a little overblown.

00:51:33.240 --> 00:51:37.240
Sure, that's one that we can use.

00:51:37.240 --> 00:51:39.240
And these are going to be...

00:51:39.240 --> 00:51:42.240
I do not want to have these be really all that loud.

00:51:42.240 --> 00:51:45.240
They want to sound like they're really in the background.

00:51:45.240 --> 00:51:51.240
So that means that I'm going to make sure to kind of pan them to different places in the stereo spectrum.

00:51:51.240 --> 00:52:00.240
I'm going to try to make sure to have them be going to that scene reverb.

00:52:00.240 --> 00:52:01.240
[Screams]

00:52:01.240 --> 00:52:02.240
Fire the first shot.

00:52:02.240 --> 00:52:04.240
Alright.

00:52:04.240 --> 00:52:06.240
This is all going to start to sound like...

00:52:06.240 --> 00:52:10.240
Since we don't have crowd noise yet, this is all going to sound a little eerie

00:52:10.240 --> 00:52:13.240
because these things are happening in isolation.

00:52:13.240 --> 00:52:15.240
[Screams]

00:52:15.240 --> 00:52:16.240
Fire.

00:52:16.240 --> 00:52:20.240
Alright, we need a lot more screams to actually start making this sound realistic.

00:52:20.240 --> 00:52:22.240
Nope.

00:52:22.240 --> 00:52:24.240
[Screams]

00:52:24.240 --> 00:52:26.240
Let's go to this wall, baby.

00:52:26.240 --> 00:52:35.240
[Screams]

00:52:35.240 --> 00:52:38.240
Let's get a male.

00:52:38.240 --> 00:52:40.240
This doesn't sound realistic.

00:52:40.240 --> 00:52:42.240
[Scoffs]

00:52:42.240 --> 00:52:44.240
I need a short scream.

00:52:44.240 --> 00:52:46.240
Let's do short scream short.

00:52:46.240 --> 00:53:00.240
[Screams]

00:53:00.240 --> 00:53:06.240
Sometimes looking for sound effects is hilarious because you get stuff like this where it's like...

00:53:06.240 --> 00:53:07.240
[Screams]

00:53:07.240 --> 00:53:09.240
Who would scream like that?

00:53:09.240 --> 00:53:10.240
[Scoffs]

00:53:10.240 --> 00:53:13.240
But you know, you just got to work with it.

00:53:13.240 --> 00:53:14.240
[Screams]

00:53:14.240 --> 00:53:17.240
Alright, sure. Let's use that as well.

00:53:17.240 --> 00:53:21.240
[Scoffs]

00:53:21.240 --> 00:53:27.240
And it looks like I'm just starting to run out of time here.

00:53:27.240 --> 00:53:33.240
I'm just going to work up basically right up into the...

00:53:33.240 --> 00:53:38.240
up to the wire.

00:53:38.240 --> 00:53:41.240
Just pan, make sure it's paned in the...

00:53:41.240 --> 00:53:43.240
[Screams]

00:53:43.240 --> 00:53:46.240
Oops, I paned those to the same side and I actually want...

00:53:46.240 --> 00:53:49.240
like to pan them to different sides.

00:53:49.240 --> 00:53:51.240
So let's go...

00:53:51.240 --> 00:53:54.240
Let's have this guy happen on the other side.

00:53:54.240 --> 00:53:57.240
Not nearly that loud.

00:53:57.240 --> 00:54:00.240
Not nearly that loud.

00:54:00.240 --> 00:54:03.240
Okay, so we got a couple screams.

00:54:03.240 --> 00:54:11.240
Let's work on some disturbed crowd and running.

00:54:11.240 --> 00:54:14.240
Or...

00:54:14.240 --> 00:54:19.240
"Walla" is often the word that people use for...

00:54:19.240 --> 00:54:23.240
[Scoffs]

00:54:23.240 --> 00:54:28.240
"Walla angry". Now that sounds...

00:54:28.240 --> 00:54:31.240
Ooh, crowds. Angry crowds. Perfect.

00:54:31.240 --> 00:54:34.240
[Screams]

00:54:34.240 --> 00:54:38.240
Okay, but I can't use that because it's just the...

00:54:38.240 --> 00:54:42.240
the actual words are a little bit too...

00:54:42.240 --> 00:54:47.240
are a little too...

00:54:47.240 --> 00:54:49.240
discernible. Angry...

00:54:49.240 --> 00:54:52.240
Let's just look at this angry crowds.

00:54:52.240 --> 00:54:54.240
"Riot".

00:54:54.240 --> 00:54:58.240
[Screams]

00:54:58.240 --> 00:55:00.240
Oh yeah, now we're getting somewhere.

00:55:00.240 --> 00:55:04.240
Yeah, this sounds like how a crowd would react if there was...

00:55:04.240 --> 00:55:07.240
uh, gunshots in their midst.

00:55:07.240 --> 00:55:09.240
So...

00:55:09.240 --> 00:55:13.240
Alright, so let's make sure first that this is...

00:55:13.240 --> 00:55:15.240
not anywhere near as loud as...

00:55:15.240 --> 00:55:18.240
I don't know, let's send it to our scene verb and...

00:55:18.240 --> 00:55:20.240
yeah, let's just...

00:55:20.240 --> 00:55:22.240
[Screams]

00:55:22.240 --> 00:55:26.240
These things would probably take a little bit of time to actually happen,

00:55:26.240 --> 00:55:29.240
so let's give it a bunch of time here...

00:55:29.240 --> 00:55:32.240
for people to digest that there was actually a gunshot there.

00:55:32.240 --> 00:55:37.240
I'm gonna start with this crowd and then we'll move into screens.

00:55:37.240 --> 00:55:39.240
[Gunshot]

00:55:39.240 --> 00:55:41.240
[Screams]

00:55:41.240 --> 00:55:44.240
Fire the first shot that grazed Garfield's arm.

00:55:44.240 --> 00:55:47.240
And that's when Garfield was like, "Oh my God, what is this?"

00:55:47.240 --> 00:55:49.240
Guitar shoots again.

00:55:49.240 --> 00:55:54.240
Okay, so it looks like that's all I'm gonna really have time to actually design.

00:55:54.240 --> 00:56:02.240
Let's just listen to what we were able to come up with, this very rough scene so far.

00:56:02.240 --> 00:56:08.240
And he heads to the train station to start his holiday.

00:56:08.240 --> 00:56:13.240
Like, they got out of their carriages and walked in and they had just gotten inside.

00:56:13.240 --> 00:56:16.240
Like, they weren't... 'Cause Gato was waiting for them.

00:56:16.240 --> 00:56:21.240
He knew that they were going to the train station that day, so he was essentially laying in wait.

00:56:21.240 --> 00:56:29.240
He had just this look on his face of like, calm and collected and raised his gun and...

00:56:29.240 --> 00:56:31.240
[Gunshot]

00:56:31.240 --> 00:56:33.240
[Screams]

00:56:33.240 --> 00:56:36.240
Fire the first shot that grazed Garfield's arm.

00:56:36.240 --> 00:56:40.240
And that's when Garfield was like, "Oh my God, what is this?"

00:56:40.240 --> 00:56:42.240
Guitar shoots again.

00:56:42.240 --> 00:56:45.240
And of course, there we would have yet another gunshot.

00:56:45.240 --> 00:56:54.240
Then we would probably have Garfield falling to the floor, more pandemonium, and continued screams.

00:56:54.240 --> 00:56:56.240
And then after Katie says...

00:56:56.240 --> 00:56:58.240
But he doesn't die straight away.

00:56:58.240 --> 00:57:02.240
Well, then that's when we would take our scene out.

00:57:02.240 --> 00:57:05.240
And right there you can see that story starts.

00:57:05.240 --> 00:57:10.240
And in the fight to save him, the best and the brightest throw everything at him.

00:57:10.240 --> 00:57:14.240
They invent new technology and they basically treat the president like a human guinea pig.

00:57:14.240 --> 00:57:17.240
Ooh, yeah. Things get grotesque.

00:57:17.240 --> 00:57:25.240
So, kind of after the scene ends, we have some upbeat scoring and more of the story as like kind of like a palette cleanser.

00:57:25.240 --> 00:57:28.240
Like you just finished listening to that really intense scene.

00:57:28.240 --> 00:57:34.240
Now you can start paying attention to what happened in the aftermath, because that's really where the story starts.

00:57:34.240 --> 00:57:39.240
So yeah, that's it. We went through some really, really rough sound design.

00:57:39.240 --> 00:57:49.240
Mostly this kind of was an exercise and seeing that many sound effects from soundly at first glance are not usable.

00:57:49.240 --> 00:57:58.240
But if you just kind of dig deeper and believe you'll find stuff that you can kind of like finagle into making the scene work.

00:57:58.240 --> 00:58:09.240
But yeah, as you can kind of see, sound design is very much an exercise in layering many, many individual things to create one big picture.

00:58:09.240 --> 00:58:18.240
And each of those individual little details has to be, has to adhere to the strict guidelines of what we've set out for the scene.

00:58:18.240 --> 00:58:25.240
So it has to be period correct, has to adhere to the descriptions that the hosts and guests give to what is going on.

00:58:25.240 --> 00:58:40.240
And most of all, all of these sound effects need to happen when the hosts and guests describe when they're happening.

00:58:40.240 --> 00:58:44.240
You know, I have the carriage door open up when...

00:58:44.240 --> 00:58:48.240
It's been locked in and they would just gotten inside like they weren't, because Gato would...

00:58:48.240 --> 00:58:52.240
They'd just gotten inside, then the train door opens and you hear them going inside.

00:58:52.240 --> 00:58:57.240
So yeah, that's about it.

00:58:57.240 --> 00:59:06.240
You can listen to the full episode on Spotify.

00:59:06.240 --> 00:59:13.240
It is, I think it's, "How Bad Science Killed a President."

00:59:13.240 --> 00:59:19.240
It's a really cool rest of the story about how Germ Theory was confirmed through this.

00:59:19.240 --> 00:59:22.400
Yeah, thanks you all for having me really appreciate it