Issue link: https://digital.copcomm.com/i/1448505
M OT I O N P I CTU R E S O U N D E D I TO R S I 55 is really unique for a porcupine. You give them a little bit of something like sweet potato or a little carrot and he would talk and make sounds like a little elf. We recorded hours of this little guy using a special microphone where we could capture really high frequencies at high resolution. PL: What was the name of the microphone? EA: Sanken CO-100K. And yeah, it pitches really nice. So you can make this little guy really deep and big. He had so much variety in his talking that we could actually find sounds that sounded like actual words. And then piece together what felt like little phrases with him. But you know most of that we wound up not using. That's part of the experimental approach when you're putting together a track. You try anything that might be really cool. And some of it you keep, some of it you don't. PL: So this goes right into my next question. What is the most out of the box sound you created from scratch for animated projects? I don't know if it's one of these characters, or if there's something else that comes to your mind?• EA: Kung Fu Panda, you know, Po, he's very roly-poly and bouncy. And there's moments in the film where he's bouncing things off of his belly, or bouncing around himself. We wanted to create a really fun sound for that bouncy part of his character. My partner Ethan Van der Ryn had this idea to build what's called a gut-bucket. And it's basically like a musical instrument, an inverted "It's sound design, they're not speaking English, the main character is a Yeti. So that's part of our job to bring the soul to that character, the vocal preformance." Erik Aadahl and partner Ethan Van der Ryn.