Issue link: https://digital.copcomm.com/i/1448505
48 I M PS E . O R G Lana had emphasized this in our first creative conversation. That was an important principle in these stories—humans in the real world only had the spare parts left over from the war with the machines. When they connect Neo to his body, all those old phones and stuff… that's the best technology they could find, and the sound had to reflect that. Now I use Kontact, which is magnificent sampler software. And luckily Pro Tools has a very good midi instrument system now, so I used that. Mike Schapiro, who was my intern many years ago, is a great audio technology and sound designer. He built a dual joystick controller called a Skillet with two high res faders that I love to use for pitch. Now I can do all my stereo panning with these military spec joysticks, and I can also turn the joysticks and the faders into midi controllers, and they're super precise. I could assign the tuning parameter of the Kontact samplers to use for acceleration, deceleration and dopplers, and all those physics parameters of the sound. Mike also did some amazing sound design on Resurrections, including for the Synthient creatures. The old tools are ancient history, including Metasynth. But amazingly, somebody acquired the rights to Metasynth and reconstructed it completely, and they came out with a first version just as I was starting on this movie! It's a different engine, but they were very careful to make the interface familiar. So it was back in my arsenal! In The Matrix Resurrections, there are new kinds of code and things that are code-like. I used the resurrected Metasynth to create these "cousins" of code. Pitch 'n Time, that's still my number one sound design tool, which I use for most pitch ramping—and it can save the dots! There's a new program called Photosounder. Like parts of Metasynth, you put a picture into it and it constructs audio from the Dane Davis editing the sounds of code for The Matrix in 1999