Simple and beautiful animation and music by Renaud Hallée.

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Gravité (Gravity) - Falling objects synchronized to produce rhythm. 2009

by Renaud Hallée

Wonderful high speed recordings capturing the physical power of sound by Trevor Cox of University of Salford.

via [silentsounds]

Video by Patrick Jean. Music by Naive New Beaters.

via [Gizmodo]

I know – a little bit too late, but still interesting.

Musican/composer Mark Mothersbaugh (Cloudy with a Chance of Meatballs, New York I Love You, Nick & Nora’s Infinite Playlist) discusses the musical scores of each of this years nominated films.

Those crazy cats at OK Go are tugging at our heartstrings yet again, with the release of a brand new video for the song This Too Shall Pass. It takes the Rube Goldberg machine concept to another level completely.

via [Gizmodo]

Wired has some nice videos about the making of avatar: Sound Design, Score, Pre-Production, Post-Production, Motion Capture and so on…

check out the videos here: Wired

Everybody talks about 3D movies – but what about the sound for this films?
Music of sound has a great review about this topic.

Along with the hyperbolic (& in my opinion somewhat dubious) promotion of 3D films as “game changing” an aspect that seems to be late to the conversation is the use of sound in such films. In some ways I guess this is partly due to the fact that with the implementation of surround sound many decades ago, bringing sound “off the screen” has been a part of the vocabulary of every film mixer since the 1970s; the concept of 3D sound is not new in that respect.

But the re-launch of 3D films in the form of huge budget blockbusters such as Avatar raises the issue again, since for such a film to cost many hundreds of millions of dollars to make means there must also be vast funds available to develop & present an appropriately “game changing” soundtrack. Accordingly there can be no doubt that a need has been created, but is it being fulfilled?

For those of you who have seen Avatar, did you think the soundtrack presented any new innovations in terms of physical depth and/or use of surround sound? But of course, accompanying that question is the philosophical issue of whether it actually should do and if so, how?

Diego Stocco, a great sound designer & solist, worked with Hans Zimmer on Guy Ritchie’s new movie “Sherlock Holmes”. In this video they are talking about his unique instrument – the experibass:

From Diegos Youtube Chanel:

I had the fantastic opportunity to play my Experibass on Hans Zimmer’s score for “Sherlock Holmes”, the new Guy Ritchie’s film. I’m one of the featured soloists.

Hans really loved the pounding tonal grooves and aggressive depth of the basses I was playing on the Experibass and asked me to go full scale with all those techniques I was showing in the original video. I didn’t stop there though, I also experimented with new techniques that were coming up to my mind while playing on his tracks.

A big thanks goes to my friends Daniel Holter and Russell Emanuel for passing my video and make the connection happens.

Working with Hans Zimmer and his team has been great and I’d like to thank them for this amazing experience. I’ve been a fan of his music for a long time and I felt honored when he called  me to play on the score of Sherlock Holmes.