Sound: adding the emotion of art - CreativeMindClass Blog
Phil Brookes is a music composer and sound designer from Wales. He was a collaborator with TedEd, Greenpeace, Tate, Medium, Passion, Strangebeast, and more. The music and sound design were also featured at major festivals like Cannes, BFI London, GLAS as well as Giffoni with award-winning multi-award films.
In this interview it will be clear the story of how Phil began his journey to becoming music and also some of the most useful tips to get started in the realm of sounds. In addition, take a look at the details of an acoustic version of an enjoyable Socks project that he created with Eva Munnich.
Phil Brookes' background
I'm a composer of music and sound designer who hails from Wales in the UK.
From the time I can recall, I've always been attracted to songs, sounds as well as voices. Falling asleep in front of the washer as an infant, being seduced by its drones (appropriate given the topic I'm about to discuss!) is the first time I've heard a sound.
I started mimicking funny accents and voice.
My father was an obsessive audiophile and used devices to record sounds vocally, applying effects like delay and reverb on his voice just for fun. I would imitate him as well as others like Jim Carrey and Robin Williams by using a small dictaphone, and duplicate all of the humorous accents and voices they'd make up.
Prince
My older brother played guitar, and it was his love for music and specifically the multi-instrumentalist Prince that really rubbed off on me. When my brother moved out, he left his guitar in the car, and, as an adolescent I used it to teach myself enough to start writing or recording songs. I was attempting to make sounds I had seen on records or television, and then creating my own music to the existing material.
The desire to use whatever resources I had to make or create sound is what still inspires me to keep pushing myself. I love the challenge of learning as I create and my favourite way to write is in the moment. Improvising, experimenting, jamming.
I taught myself piano and synthesizer to compose the tune for the song 'But Milk is Important'.
My passion for animation led me into The University of South Wales in Cardiff, where I met an awesome animator named Eirik Gronmo Bjornsen. He came back to Norway and produced a movie featuring Anna Mantzaris called 'But Milk Is Important'.
I learned piano for myself and synth to make the soundtrack as well, and in the time since I started making the film I've taken on sound design roles as well, and I continue to create.
The X-Files Project, aka the "Socks Project"
Recently, I was collaborating with the amazing visual artist Eva Munnich, on the third of the three Lemonade Insurance projects I've created the music and sound for.
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The Lemonade videos are funny 15-30 second animations which are designed to be looped. Eva's project had a strong sci-fi/extraterrestrial theme to it, and so she had some great ideas about music and sound.
In nine times of 10, I'll make the music first, as the atmosphere I create is likely to inspire me to create music.
We've also had a conversation with Eva about the process of designing animation and visuals for this X-Files project. Check out the interview with Eva Munnich.
The voice, Eva liked the voices I had performed in the previous TedEd animation I worked on along with Lisa Vertudaches.
In the animation I had pitched my vocals significantly. The animator thought that this could be suitable for the specific sock and requested that I shout "yay" using this vocal. When I recorded this "yay" I left the record in motion, and added "seeya" prior to when the sock had entered the UFO.
Eva enjoyed it, and it stayed in. The remaining voice-overs were made up according to what I could see.
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If the washing machine were to have a voice the volume would be lower.
In order to contrast the loud voice of the sock, I lowered my voice for the washing machine. Since it is a large object which is quite large, I thought should it have a voice, it would have some depth to it. I mixed these with the foley and mixed to create the perfect sound for music to be layered onto.
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I loved the X-Files songs as a child.
Musically, Eva thought it would be cool to have an idea that was inspired by the theme of The X-Files, which I was very happy with since I loved the music when I was a child!
Much like the vast majority of work I've done I'm working with an animatic (almost like a moving storyboard) which the animator provides me to gain a sense of timings, etc.
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I enjoy sci-fi films as well as game soundtracks.
I listen to a lot diverse genres of music, and this includes sci-fi films and game soundtracks, so in addition to being influenced by this particular X Files theme, I thought about what instruments might work well within the genre.
I used mainly synth-based instruments drones, basses, and drones to build the basis of my music. The drones were layered to capture the right atmosphere and representing the light that emanates out of the ufo, which is then absorbed by our little sock.
Then I created an impactful drum, mixing two kick drum samples and adding reverb and delay. I also added a delaying synth which pans from left to right in order to make the music appear more immersive. The last synth I used with was the pattern of six notes which repeats all through.
Whistling is a great human element to add to a piece of music.
It was time to take cues from the X-Files and include a delayed piano melody and whistle. I love to whistle and think that it's a wonderful personal element that can be added to an arrangement. I initially recorded some bass guitar parts too However, I found that they took away from the synthetic sound I was going for.
Piano pattern
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An alarm
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Making an environment in just 15 seconds may be a challenge.
I truly enjoyed working with Eva, and this short-form approach is really enjoyable and exciting to work within. Although it's quick however, it's quite a bit of work, and has its own challenges.
Making and creating an ambience in just 15 seconds by using sounds can be quite difficult and composing an arrangement that isn't like it was recorded in a hurry is quite an accomplishment as well.
This is a challenge I enjoy however, and, since Eva's animated, I've completed two other really enjoyable Lemonade projects! You can find the process videos of them on my website as well as on my Instagram.
How to begin adding sound to visuals
If you're looking to begin using sound in the visual world, there's currently more creative options to accomplish this than before. And there is really an ideal time to begin it now than today.
- If you've got an urge to be creative, then take it whatever direction it takes you. One of the best ways to begin creating is to make stuff that you enjoy and then display your creation to others.
- Send messages to budding filmmakers who share the same passion with you.they constantly seek help with sound, and it is possible to build a partnership.
- You need to start somewhere. I was making ambient music before I even thought it was a possibility working in film and, luckily, there was an animation program at my university, but before this, I'd made and recorded enough music and sound to make it logical for me to follow the path that presented it.
- Get to know others who are creative; that's what working together is all about. If you are lucky enough to be living in a place that is home to festival nights, film nights and other activities, you should visit them to meet other people.
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