Sound: adding emotions to artwork - CreativeMindClass Blog
Phil Brookes is a music composer and sound designer who hails from Wales. He was a collaborator alongside TedEd, Greenpeace, Tate, Medium, Passion, Strangebeast, and more. His sound and music have also played at festivals like Cannes, BFI London, GLAS as well as Giffoni and has won multiple awards for his films.
In the video below it will be clear the story of how Phil began his journey to becoming music and also some of the most useful tips to begin your journey into the world of sounds. Additionally, you can read about the acoustic details of an enjoyable Socks project he worked on together with Eva Munnich.
Phil Brookes' background
I'm a music composer and sound designer originally from Wales located in UK.
From the time I remember, I have always been awed by the sounds of music, sound, as well as voices. Falling asleep in front of the washing machine when I was a kid, hypnotized by the droning sounds (appropriate, considering the project I'll be discussing!) is the first time I've heard a sound.
I began mimicking humorous accents and voices.
My father was an obsessive music lover and would make use of recording equipment to create noises vocally, applying effects like delay and reverb on his voice for the sake of having fun. I used to imitate him and people like Jim Carrey and Robin Williams by using a small dictaphone, and copy all of the funny voice and accents they could make up.
Prince
My older brother played guitar, and it was his love for music and specifically the multi-instrumentalist Prince that really rubbed off on me. My brother was moving out and left his guitar at home, and when I was an adult, I took it as a tool to educate myself how to begin writing and recording music. I was attempting to make music that I'd heard on albums or on television, and then creating my own music in the material already available.
That passion for using the resources available to create or recreate sound is what still inspires me to keep pushing myself. I enjoy the process of learning as I create and my favourite way of writing is on the fly. Improvising, experimenting, jamming.
I learned piano for myself and synthesizer to compose the tune to 'But Milk is important'.
My passion for animation led my across The University of South Wales in Cardiff which is where I first met the amazing animator Eirik Gronmo Bjornsen. The animator returned to Norway and made a film together with Anna Mantzaris called 'But Milk Is Important'.
I learned piano for myself and synth to create the music that was used in the film, and since making the film I've taken on sound design roles as well, and I haven't stopped creating.
The X-Files Project, aka the "Socks Project"
Recently I worked with the stunning visual artist Eva Munnich, on the first of three Lemonade Insurance projects I've created the music and the sound design for.
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The Lemonade videos are hilarious 15-30 second animations which are designed to be looped. Eva's project had a strong sci-fi/extraterrestrial theme to it, and so she had some great ideas about music and sound.
Nine times out of ten, I'll start by creating the sound, since the atmosphere I create will most likely inspire me to create music.
We've also spoken to Eva about the process of making animations and visuals for this X-Files project. Read an interview with Eva.
Vocally, Eva liked the voices I'd done in a prior TedEd animation I worked on together with Lisa Vertudaches.
In the animation, I had pitched up my vocals significantly. The animator thought that this could work for the sock specifically and requested that I shout "yay" with this tone. When I recorded this "yay" I let the record in motion, and added "seeya" just before the sock had entered the UFO.
Eva liked it, so it was kept in. The other voices were improvised and created according to what I could see.
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If the washer were to have a voice the volume would be lower.
In order to contrast the loud tone of the sock's voice, I toned down my voice to the washing machine; as the machine is large, I felt if it were to have an ear, it should be able to convey some depth. I blended these in with the foley and mixed to create the perfect sound for music to be put on.
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I enjoyed the X-Files songs as a child.
Musically, Eva thought it would be cool to have music that was inspired by The X-Files theme of The X-Files, which I was very happy with because I was a huge fan of that soundtrack as a kid!
As with the majority of projects I've worked on, I work with an animatic (almost similar to a storyboard that moves) that the animator gives me, so I can get a general idea of the timeframe, etc.
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I like sci-fi film soundtracks as well as game soundtracks.
I listen to a lot diverse styles of music and it includes sci-fi and soundtracks for games, so in addition to being influenced by this particular X Files theme, I was thinking about which instruments might work well within the genre.
I mostly used synthesizers drones, bass, and drones for the base of the music. Drones that were layering was about getting the perfect atmosphere, and also representing the light that emanates from the ufo to abduct our sock.
I made an impressive drum by using two kick drums with a delay and reverb. I also added a delaying synth that pans left to right, making the music appear more immersive. The last synth I used using was the 6-note pattern which repeats through.
Whistling can be a wonderful human aspect to include in a piece of music.
I decided to draw an inspiration from X-Files and include a delayed piano pattern and a whistle. I love whistling and find that it's a wonderful personal element that can be added to an arrangement. I originally recorded some basses guitar parts, but I felt it was not the right sounds I wanted to create.
Piano pattern
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An alarm
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Creating an atmosphere in 15 seconds can be challenging.
I truly enjoyed working with Eva, and this shorter-form style is extremely thrilling and enjoyable to design within. Even though it's short, it is still a lot of work and presents its own difficulties.
Making and creating an ambience within 15 seconds using the sound can be difficult, as well as composing an arrangement that isn't rushed within the timeframe can be quite a feat as well.
They are the kinds of challenges that I love, though, and since Eva's video, I've completed two other really enjoyable Lemonade projects! You can find the process videos for them on my site as well as on my Instagram.
Tips on how to start adding sound to visuals
If you want to start making sound a visual medium, there're currently more creative ways to do it than before. And there's really the best time to start doing this than right now.
- If you have an urge to be creative, then go with it the point where it will lead to. The best way to start with your creations is to design something you love and show the people what you have created.
- Send messages to budding filmmakers who share the same passion as you,they are always looking for advice on sound. they might be able to establish a relationship.
- It is necessary to begin at some point. I was making ambient music before I even thought it was a possibility working in film and, luckily, there was an animation program at my university, but before that, I had made and recorded enough music and sound that it was logical for me to pursue this path once it offered it.
- Meet others who are creative; that's what collaboration is all about. If you are fortunate enough to be located within a region that hosts festival nights, film nights or other events, attend them and get to know individuals.
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