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ng When on-location for shows like Necessary Roughness, White Dog brings Genelec 1029 monitors. See page 36. Outpost's Dave Nelson has a go-to tool in Kontakt 5, which he used on the film Valley of the Sun. sound design on the film, Valley of the Sun. "Valley of the Sun had a lot of wind in it, and I ended up making several wind instruments in Kontakt that I was able to perform along with the feature film. With things like wind, you just wouldn't think of using those sounds in a sampler for a feature film, but it worked out really well. I was able to pitch the wind and switch the octave and tone of the wind just slightly on cuts in the film. I just wouldn't have thought of doing that if I were doing sound design in the traditional manner with hard effects. When you have a keyboard up with 10 differ- ent winds on it, then it just becomes clearer that you might want to try a different one on the cut." Foley effects are another opportunity for Nelson to use MIDI sound design to his advantage. Working with Foley artist, Jennifer Myers, on Valley of the Sun, Nelson put the Foley effects they recorded at Outpost into Kontakt 5. This allowed him to adapt those sounds to the picture quickly. "There were a lot of hand shakes and back pats, a lot of hand stuff, so I made several different hand instruments and pat instruments in Kontakt. If we had missed placing any sounds or if there was anything we just didn't notice the first time around, I had all the original recordings of the Foley and I was able to make my own hand sounds with them. Sometimes if the slap sounded too small, I could just lower the pitch of the sound and it would work really well. All that flexibility comes out of Kontakt 5." Within Kontakt 5, Nelson has been doing more effects processing and pre-mixing. "All their reverbs are becoming really sophisticated, so mixing has become another sort of hybrid function. My mixing used to all be done in Pro Tools. Now, within the instrument, I can pan, pitch shift, add reverb and add chorus. I can also EQ within the instrument. So I'm finding that flexibility, as a mixer, is also a very efficient use of my time. I can do a lot of pre-mixing in Kontakt and then bring it all together in Pro Tools. I run every- thing through Pro Tools." Kontakt 5 is becoming more a part of Nelson's workflow, both for composing and sound design. "I love the way Kontakt 5 keeps updating all the time. www.postmagazine.com Post • February 2012 35