Issue link: https://digital.copcomm.com/i/1383665
18 I M PS E . O R G Through our page on the website Patreon, we've been hosting live weekly webinars with people in many aspects of creating audio for entertainment. I've had the pleasure of speaking to Sound Effects Recordist Eric Potter, Sound Designer Charles Maynes, Supervision Sound Editor David Stone, Foley Artist Ronni Brown, ADR Mixer Charleen Steeves, Producer Don Hahn, Sound Designer & re-recording Mixer Randy Thom... and many many more. Supervising Sound Editor Richard Anderson, who I worked with for many years (and who I profi led in the second issue of Wavelength) has joined us more than once on our webinar series. We shared a story no one has heard before of how we watched and spotted the sound effects on a fi lm he directed... in a cemetery. Foley Artist Alyson Dee Moore revealed several Foley tricks, performing sound effects live during our chat. Sound Designer & re-recording mixer Gary Rydstrom told stories of when he fi rst started working at Skywalker Sound, and how he had a chance to work many different sound jobs there—including performing Foley on the fi lm "Willow." Oscar-winning sound designer Mark Mangini, another former boss of mine, had a great discussion with me that included the importance of building and maintaining a custom library of sounds. Later, Director Joe Dante joined us during Mark's return visit to discuss their work on many fi lms together. Joe shared a fascinating story about how an unexpected mishap during work on a stop-motion shot for "Gremlins" almost shut down fi lming. A light went out while animating dozens of 3D gremlin fi gures—right in the middle of a complex sequence that still had many hours to go. Rather than trying to replace the lightbulb— which would almost certainly make a noticeable difference in the shot's lighting, or instead of starting over from the beginning... Joe said "just put a sound effect there!" Sure enough, the sound effects crew cut in a lightbulb burst at that moment, making the change in lighting completely believable—and even enhancing the story of the destructive creatures continuing their wrath. During one of our most recent conversations, Oscar-winning composer Michael Giacchino and I had a true soundie geek-out moment when we spoke reverently about the distinctive reverberance of the old music stage at Disney— Stage A. It had a brightness to it that's diffi cult to describe—but Michael knew exactly what I was talking about, and even had a story of how he tried to recreate the same sound at the music stage at Capitol Records. To hear these stories and more, please become a "Museum Subscriber." You can watch our chats LIVE and participate by submitting questions… and you'll have access to the library we're building of all these conversations… not to mention other great content to share the craft of SOUND. BY STEVE LEE MPSE, THSM FOUNDER AS WE SLOWLY CONTINUE OUR RECOVERY FROM THE COVID-19 PANDEMIC, THE HOLLYWOOD SOUND MUSEUM IS STILL SLOWLY MOVING FORWARD WITH ITS PLANS TO CREATE A PLACE WHERE FILM FANS AND PROFESSIONALS CAN VISIT TO LEARN MORE ABOUT CREATING ENTERTAINMENT AUDIO. THIS HAS BEEN A CHALLENGE UNDER THE CURRENT CIRCUMSTANCES... BUT IT HASN'T STOPPED US COMPLETELY FROM OUR MISSION TO SHARE THE CRAFT OF SOUND. F ROM TH E VAU LT O F TH E H O L LY WOO D SOU N D M U S E U M