Benjamin Gale is a freelance Sound Editor, Field Recordist and Sound Designer from Bristol, UK currently living in the south of France. He has been developing a series of immersive audio books for children using binaural recordings and SFX to accompany voice acting and illustrations.
Sound artists have experimented with everyday noises for centuries. Now this music is making a comeback.
THE BOUNCY BEEPS of Pac-Man. The percussive build-up in Legend of Zelda. The effusive gibberish of The Sims. The sounds in videogames tell us to speed up, start over, and of course, to keep playing. But how does one set of beeps so effectively tell you you’ve gained power, while another indicates your character has died? And how, exactly, does someone create the sound of the Dark Knight punching the Joker in the face? The answer: Genius sound design.
John Oswald’s piece de resistance. Twenty minutes of some of the most insane editing, cross-fading, beat matching, cultural name dropping and sampling. No other work even comes close to the intensity of Plexure. John Oswald proves he is a virtuoso of Pro Tools, over a thousand different artists edited, spliced and mixed together.
Long before sampling, hip hop, needle drops and mashups John Cage had created his incredibly dense magnetic tape cut-up masterwork Williams Mix (1952).
An engaging sound collage presenting an unique historical documentation of Sound Art from the early 20th century to present day. The composition weaves through different sound works throughout the century with narratives and ideas from some of the prominent artists in the field.
Here’s an example of a more cut and paste style of editing by the experimental outfit P16.D4
The idea of “sculpting” sound is a critical aspect Henry’s “approach” to composition. In 1981, Henry himself said, “The origin of this music is also found in the interest in ‘plastifying’ music, of rendering it plastic like sculpture.”