Sound is a way to add emotion to art - The CreativeMindClass Blog
Phil Brookes is a music creator and sound designer hailing of Wales. He worked with TedEd, Greenpeace, Tate, Medium, Passion, Strangebeast as well as other. His sound and music are also showcased at festivals like Cannes, BFI London, GLAS, and Giffoni and has won multiple awards for his films.
In this interview it will be clear how Phil began his journey to becoming an artist and read the valuable tips on how to start in the world of sounds. Also, dive into the musical details of a fun Socks project that he co-created together with Eva Munnich.
Phil Brookes' background
I'm a music composer and sound designer from Wales located in UK.
As far back as I can remember, I've always been awed by music, sounds, as well as voices. I remember falling asleep before the washing machine as young children, and being captivated by the droning sounds (appropriate for the kind of project I'll be talking about!) is my first sound memory.
I began mimicking humorous accents and voice.
My dad was an obsessive hi-fi enthusiast and would use devices to record sounds in his voice, and apply effects like delay and reverb to his voice to make it more enjoyable. I used to imitate him and other people such as Jim Carrey and Robin Williams by using a small dictaphone, and copy all of the funny accents and voices they'd come up with.
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. After my brother left and left his guitar behind, and as an adult, I used it to instruct myself how to begin writing and recording music. Challenging myself to create music that I'd seen on records or TV and then creating my own music in the material already available.
The desire to use any resources I could find to create or recreate sound continues to inspire me to push myself today. I enjoy the process of learning while I write and my favorite method of writing is to write on the spot. Improvising, experimenting, jamming.
I taught myself piano and synth to make the music for 'But Milk is important'.
My fascination led my to The University of South Wales in Cardiff which is where I first met the amazing animator Eirik Gronmo Bjornsen. He returned to Norway and made a film featuring Anna Mantzaris called 'But Milk is Important'.
I learned piano for myself and synth to create the music that was used in the film as well, and in the time since I started making the film I've been able to take on roles in sound design as well, and I continue to create.
The X-Files Project, aka the "Socks Project"
Recently, I was collaborating alongside the incredible visual artist, Eva Munnich for the very initial of three Lemonade Insurance projects I've created the music and the sound design for.
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The Lemonade videos are funny 15-30 second animations which can be played repeatedly. Eva's project had a strong sci-fi/extraterrestrial theme to it, and so she had some great ideas about music and sound.
9 times out 10 I will make the music first, as my atmosphere will most likely inspire me musically.
We've also had a conversation with Eva about the process of designing animation and visuals to be used in this X-Files project. Read the interview with Eva Munnich.
The voice, Eva liked the voices I had performed in a previous TedEd animation I worked on with Lisa Vertudaches.
In that animation, I had pitched up my vocals significantly. The animator thought that this could be suitable for the specific sock and wanted me to shout "yay" using this vocal. When I recorded this "yay" I kept the record in motion, and added "seeya" shortly before that sock entered into the UFO.
Eva loved it and she stayed with it. The rest of the voices were created improvised according to what I could see.
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If the machine was to speak and a voice, the machine would sound low.
To contrast the high tone of the sock's voice, I lowered my voice for the washing machine. Since it's a huge object, I felt as if if it had a voice, it would have some depth to it. I blended these in with the foley , and then mixed to create the perfect sound for music to be added on.
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I enjoyed the X-Files songs as a child.
Musically, Eva thought it would be interesting to create something inspired by the theme from The X-Files, which I loved as I loved that music as a kid!
As with the majority of work I've done, I work with an animatic (almost similar to a storyboard that moves) which the animator provides me so that I can have a rough idea of the timing, etc.
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I enjoy sci-fi films and soundtracks for games.
I am a fan of kinds of music. it includes sci-fi as well as game soundtracks. So along with reference to in the X Files theme, I had an idea of what instruments would work best in this genre.
I used mainly synth-based instruments, drones, and basses for the base of the sound. The drones were layered to capture the right atmosphere and representing the light beam out of the ufo, which is then absorbed by our tiny sock.
I then created an impressive drum by layering two kick drum samples and adding reverb and delay. I also added a delaying synth that pans from left to right to make the music seem more immersive. The final synth that I played in was the six-note pattern which repeats through.
Whistling is an excellent personal element that can be added to a piece of music.
I decided to draw an inspiration from X-Files and incorporate a delay piano pattern and a whistle. I love to whistle and think that it's a wonderful personal element that can be added to a piece of music. I had originally recorded basses guitar parts However, I found that they did not fit with the synthesized sound I was going for.
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 method is very thrilling and enjoyable to design within. Although it's quick, it is still quite a bit of work, and poses its own set of challenges.
Establishing and maintaining an atmosphere in just 15 seconds by using sound can be difficult, and composing a melody that doesn't sound like it was recorded in a hurry can be quite a feat too.
These are challenges I relish, though, and since Eva's animated, I've completed two other really enjoyable Lemonade projects! The process videos for them on my website as well as on on Instagram.
How to begin making sound effects for visuals
If you're looking to begin making sound an image, there are now more innovative ways to do it than at any time before. there's no better time to do it now than today.
- If you have some creative spark, you should go with it the point where it will lead you. The best way to start making something is to create things you like and then show the people what you have created.
- Send messages to budding filmmakers who share the same passion with you.they constantly seek help with sound, and you might forge a working partnership.
- You need to start with a place. I was making ambient music prior to the time I considered the possibility to pursue a career in film and thankfully there was an animation department in my college, but prior to this, I'd made and made enough recordings of music and sound to make it logical for me to follow the path that presented itself.
- Meet others who are creative; that's what working together is all about. If you are lucky enough to be within a region that hosts festival nights, film nights or other events, go to them and meet individuals.
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