In his natural sound design "Metropolis",
George Whale intends to send his listeners into the industrial world of
business and transportation. No longer looking for the ordinary, the listeners
can still relate to the design through its incorporation of natural sounds in
an unnatural world in what George Whale hopes will be a therapeutic experience.
This projects initially endeavours to connect our acoustic
relationship with a city and an almost dystopian future over run by
machines and technology. The uses of natural sounds being manipulated for an
unnatural setting is similar to the work done by Ben Burtt for his
sound design of the Star Wars saga, he believed this would technique would
create a subliminal bond between the spectator and
setting through the uses of familiar sounds. His methods of practice along
with David Sonnenschein’s theories on sound design inspired Whale into sourcing
ground sounds and subtle sound to create the foundations of his low-fi soundscape.
By using a minimal amount of sound elements, the piece becomes more emphatic.
According to Sonnenschein’s theory of sound design, stating “sometimes you can
get the most impact with the least number of elements, allowing the audience to
be more participatory by letting them fill in the gaps with their minds, as
opposed to handing them a full plate” (Sonnenschein 2001)
Blog Address
http://creativeproductionsoundterm1.blogspot.co.uk/
Bibliography
David Sonnenschein (2001) Sound Design: The
Expressive Power of Music, Voice and Sound Effects in Cinema, : Michael
Wiese Productions
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