Remixing Riga

Tags

cities & memories, remix, sound art, sound design

Earlier this year I made – and contributed – my first remix for the Cities and Memories project. Having successfully completed one remix I was keen to try to some more. But it’s been a busy old year for me professionally, so even once I’d gathered a new collection of field recordings in Riga and Helsinki in June, it was a while before I had the time to sit down and experiment with them. That is something I’ve found that I need a lot of when I’m remixing a sound, I need a lot of time. Once the idea hits me then the actual execution of the idea doesn’t necessarily take a long time – a couple of hours over a couple of days – but I definitely need time to sit with the recordings, to listen back to them in different ways until they’ve become familiar and slide back out the other side into strange again. Also I feel that this particular remix benefitted from being left to rest for a while – I built the core of the remix in mid-September, then left it to sit for a good fortnight, before coming back to it fresh and being able to see what needed done to make it better. At this stage in my ‘learning to remix’ process, I definitely cannot work to a deadline, perhaps that will come in time, but for the moment nothing shuts down the creative processes more conclusively. However, I have enough deadlines at my day job so I’ll try not to worry about applying them the art I make for fun and the challenge.

As I noted in the blurb I wrote for the website, the original recording was made either standing in front on the National Theatre or on the traffic island in front of it. (I took recordings of the trams from both places, but by the time I came to edit the recordings I’d forgotten which were which.) The original recording felt quite prosaic and ordinary, but I was playing around with reverbs and another of my recordings from Riga to create different effects and thought I’d try it on the Tram recording too and ended up with something that sounded like a ghost tram. There’s a lot of history in Riga, the obvious older history on the surface, and the more recent history lurking just below the surface. It felt like the tram had just rumbled out of the past and if I dared to get on it, it might take me off to another time entirely.

I tried to be a bit more adventurous with this remix, then I was with my first remix, so this one went through a couple of iterations before I settled on the one that I submitted. As I learn how to make these remixes, I’m trying to push myself a bit further each time. First time out I just experimented with layering sounds to create a realistic, although entirely imagined soundscape. This time round I built a more illusory soundscape, experimenting with both reverbs and loops to create something where the strangeness hopefully sneaks up on you. It’s also somewhat longer, both than the previous remix and than it’s original recording, which was a little bit daunting at first, but has also left me feeling like I have a better idea of how to push the envelope even further next time.

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The Sound of A Quiet Place

Tags

films, horror, john krasinski, sound design

Regular readers of this blog will be aware that I’m a bit of a fan of horror movies that make good use of sound. So when I heard that A Quiet Place (Krasinski, 2018) made both good and plot significant use of sound I absolutely had to see it on the big screen with – most importantly – a stonking great sound system.

I would definitely recommend seeing A Quiet Place in the cinema if you can, and failing that with a bunch of other people. This is a film that definitely benefits from the collective experience, of being alone in the dark with lots of other people. I saw it in a packed screening on a Friday night, and more than the sound system or the big screen, it was the building claustrophobic tension both on screen and in the room that made the film such an enjoyable experience. The soft susurration of sixty or seventy people inhaling sharply or softly gasping, as they valiantly try not to scream has it’s own strange power.

The idea of the genre-savvy horror film has become so over-used that it’s become a cliché – practically a sub-genre in its own right – in and of itself, but A Quiet Place is a very different kind of genre savvy. It is a horror movie that knows all the audio tricks that are much beloved by horror films and their fans, and uses them to its advantage. The film is effective without that extra knowledge, but for those in the know, there is an extra layer of subtext and enjoyment as the film-makers play with our expectations.

A surprising number of modern horror films still revolve around the screaming point, that cathartic female scream of horror. (Amusingly, for all Chion’s talk of masochistic pleasure in identification, the most ‘iconic’ and arguably overused scream sound-effect of recent years – the Wilhelm Scream – is in fact a man’s scream.) But for this film it is instead the absence of the scream that provides the tension. In this film to scream is to bring certain death, so that even the archetypal scream of life, that which accompanies birth, is denied to us, being masked by an – intentional – explosion.

The screaming point of A Quiet Place is a man’s scream rather than a woman’s scream, but no less powerful or raw for it. The moment is only lightly foreshadowed so while we see it coming, the realisation comes when the action is already inevitable, events are already in motion, an act of desperation yet one entered into deliberately. Yet the moment that breaks the tension is the conversation that precedes it, a moment of profound emotional catharsis, conducted entirely in sign language. An intimate and tender moment, between two characters, underwritten by the tension as both the audience and the other half of the conversation come to understand what he’s about to do. The scream we’ve been longing for has its thunder stolen, serving instead as cover for an escape and as stand-in for the grieving that must necessarily be conducted quietly.

(As an aside, this is the second film I’ve seen this year with significant portions of the dialogue being delivered in ASL with subtitles and seriously, why is this still an issue? The young actress playing Regan (Millicent Simmonds) is brilliant, a really compelling young actress. I want to see Wonderstruck (Haynes, 2017) purely on the strength of her being in it. Her performance neatly turns audience expectations of mute characters in horror movies on their head. She is no blank sheet or cypher for meaning to be inscribed upon or onto. Instead she drives plot and conflict, expressing herself clearly, not only in ASL but her wonderfully expressive face, indicates her ‘loudness’ and ‘silences’ that have nothing to do with the amount of sound she’s actually making at a given moment. And while she might indeed hold the secret to their survival, as soon as she realises it she has no problems communicating it. The film itself ending on a – deeply satisfying – moment of shared understanding between mother and daughter that requires no words.)

Otherwise the film uses sound, both in plot and practical terms, in both clever and consistent ways. The big plot significant revelation that we get, feels both earned and believable, with the clues that were left for us along the way combining to leave us feeling as though the answer has been lurking just out of…hearing range.

March of the Podcasts

Tags

podcasts, sound design

A couple of years ago I started doing a regular feature here, where I wrote about the sound-based content (whether sound art and installations, podcasts, radio plays or radio documentaries) I consumed that month or that I made that month. As well as being an enjoyable project, it was a great motivator to both listen to and create more sound-based content. There are far too many deadlines at my main freelance gig for me to enjoy them outside of it, but accountability is always helpful and motivating.

I’m breaking myself in gently this month with a review of my recent non-fiction podcast discoveries.

First up I’ve taken up yet another language based podcast. The Allusionist is a podcast that looks at the oddities and idiosyncrasies of the English language. Unlike the linguistics podcasts that I also follow, this podcast is less about the mechanics of language – the syntax and grammar – and more about the cultural and historical influences and impacts of the language. It’s a podcast that appreciates the essential weirdness of English and likes to pull those strange bits out and examine them.

I’ve been bingeing the entirety of 2017’s episodes over the last few weeks, and have been left with the desire to go back to the start of the podcast in 2015 and listen to every single episode, which I always feels bodes well for the staying power of a podcast. If it holds up to binge listening, it’s likely to stay the distance in my affections.

Next up there’s Twenty Thousand Hertz. I actually came across this podcast thanks to The Allusionist as they did a guest episode on accents. Though as I’ve been working through their archive I discovered they’d also done a guest episode of 99% Invisible on the NBC chimes. It’s one of those podcasts that I come across and have to wonder how I didn’t know about it before. I feel sure that someone I know who’s also into podcasts must have recommended it to me before, as it’s the most relevant to my interests podcast I can imagine existing. (Basically, if I were going to make a podcast, it would be this podcast.) However it wouldn’t be the first time I’ve left an interesting link open in a tab and forgotten about it. I used to use twitter as a bookmarking device for that sort of thing but there’s far too much content on there these days for that to be effective.

Anyway, the podcast itself is a delight to listen to, it’s beautifully produced and mixed – you’d hope so from a sound design podcast – and, while it took them a wee while to get into the swing of things, they manage to strike a good balance of being general enough to engage a non-specialised listener, but detailed enough to keep a more dedicated sound design geek like myself coming back for more.

Finally, we have the Hammer House of Podcast, which is a much newer series – it only started at the turn of the year. In which two writers – and sci-fi geeks – watch and review their way through Hammer Films backlog of horror films. As longer term readers of this blog will know, I have strong feelings about Hammer Horror films. (For newer readers, when I first graduated from university I spend some time writing academic film reviews for a now defunct film review website Montage films. As my specialism at university was sound in horror films, I ended up with all the horror films to review, and there were a lot of Hammer Horror films released on DVD in that period. As such, I know more about late 60s – early 70s Hammer Horror films than I ever wanted to.) I’m enjoying the reviews so far – very funny, and honestly I hadn’t realised how much I wanted more podcasts where someone has a Scottish accent – but I strongly suspect that as we get on to the ones I know best I will spend a certain amount of time shouting ‘you’re wrong’ at my computer. Which, in fairness was a considerable part of my enjoyment of the Wittertainment podcast – 80% nodding in agreement, 10% cackling gleefully, 10% shouting ‘you’re wrong, Mark!’ at my radio.

Sounds of the City Part 2 – The Cities & Memories Remix

Tags

cities & memories, sound art, sound design

For a couple of years now, I’ve been watching with interest as the Cities and Memories project has expanded in scope and public awareness. I also joined their mailing list a while back and have been enjoying poking through the sounds that they’ve been looking for people to remix. But until now I haven’t actually taken part in any of their projects. There are some brilliant and clever remixes and re-imaginings up on the site and I decided that I ought to have a practice with my own sounds before I experimented with the sounds of anyone else. As much as they insist that there’s really no wrong way to tackle the re-imaging of the sounds, I’ve never done any remixing in the conventional sense before, so throwing myself head first into a collaborative project seemed a bit too much like running before I could walk.

I decided, for this first re-imagining, to start with what I know best. As a sound designer, the bread and butter of my work is taking sounds recorded on location, in the foley studio and out of the archive and putting them together to create a sonic landscape that is entirely constructed but that feels believable as the soundscape of the location. I would start with a single field recording (in this case the sound of the fountain outside St Mattius church in Budapest) from a place, and combine it with other sounds recorded nearby to create a soundscape that was entirely imagined and yet was true to the spirit of my memory of the place.

Back in July I posted about the location recordings I made in Budapest when I was there in the summer. I have a whole collection of recordings that I made while I was there, that were collected not for any particular project but instead just for the fun of recording sounds in an unfamiliar place. Each recording paints a picture in my mind with an aural photograph, reminding me of how I felt and what I experienced when I was making the recording.

The soundscape of this reimagined sound is entirely imagined. For one thing, two of the recordings that make it up were made in Pest and the other two were made in Buda, but that seemed an entirely fitting combination to reflect the way the twin cities combine to create a greater whole.

Having made this first foray into re-imagining sounds, I’m itching to do more, to try something more adventurous and experimental. I’ve got the seeds of an idea germinating at the back of my mind, and I’m looking forward to see what sprouts in the coming weeks.

It’s Got Knitsonik On It

Tags

knitsonik, knitting, podcasts, sound art, sound design

I accidentally gave myself a bit of writers block last week, as I had two more posts I wanted to make about the Inverness Film Festival but wasn’t feeling at all inspired to write them. Therefore I couldn’t write anything else until I’d written them. Completely logical.

Yesterday, I finished catching up with a really interesting sound-related podcast, Knitsonik, so I decided to write about that instead – and hopefully kick the writer’s block to the curb while I’m at it.

Approximately a year ago, at a friend’s birthday party, I got into a discussion with someone about my twin passions of sound design and knitting. Now the relationship between these two things is completely clear to me, but is not something that is always obvious to other people. In fact, until that point the only person I knew who really shared these as twin, interweaved passions, was my former tutor from my masters course Gary Hayton and he’s now a Textile Artist who applies Fibonacci number sequences to knitted fabric. So to casually meet some in everyday life who not only didn’t think it was an odd combination of passions but did in fact tell me they knew someone who had done their PHD in that sort of thing and that they had a podcast about the subject. The idea that there were enough people into both of those things to sustain a podcast was both surprising and delightful.

(The exception is generally if you’re really into maths. Maths geeks – and occasionally engineers – who knit will nod understandingly and talk to me about Fibonacci sequences and the golden ratio and then be horrified that I’m not only not a maths geek but that I don’t actually like maths. Most sound designers seem to come from either a maths/engineering background or a music composition background, I’m neither, I’m first and foremost a craftsperson. Oddly enough, it wasn’t until I was altering a knitting pattern the other week – I didn’t have any graph paper to hand so I used an excel spreadsheet – that I realised that I visualise knitting designs the same way that I design soundscapes. Interchangeable blocks that layer and interweave to create something new and unique.)

Having spent the early months of this year clearing out my backlog of podcasts, I was able to justify subscribing to a few new ones and Knitsonik was naturally among the first to be chosen back in March. Why did it take until now for me to work my way through the backlog? Certainly not because the podcast isn’t interesting. It’s not even that the episodes are long, though that does mean I need to carve out time specifically to listen rather than sticking them on in short periods between other things. The problem with the podcast is that it’s…well…too interesting and inspiring. I couldn’t binge listen to it, because I came out of each episode really wanting to go and do some field recordings or make some sound art. Around 50% of my sound recording field trips this year, were as a direct result of listening to this podcast. I’d sit down with a pot of tea and some knitting on a Sunday afternoon intending to have a binge listen and a couple of hours later I’d be standing somewhere unexpected wearing my giant headphones, recording an interesting bird noise or weird echo and wondering vaguely how I’d got there.

I keep forgetting how much listening to other people be passionate about sound design and sound art stirs up my own passion for the work. (You would think that the exponential increase in my sound production work when the hospital radio station I used to volunteer with had an artist in residence would have clued me in but apparently not.) Sound is, in many ways, quite a solitary pursuit. Anti-social even. You spend a lot of time listening really hard to your environment; it’s quite hard to do in company unless you’re working on something that specifically needs another person to achieve. (The idea of embedding sound in a place, or in objects of the place the sound originates from, is increasingly important to me, especially since I relocated to the Highlands.) It is, therefore, quite easy to feel isolated in your work. Especially, if you don’t live in a large metropolis with an established community of sound artists. Even having an outlet like this blog, it can feel a bit like no-one’s listening.

Therefore, it’s been great to have this window into someone else’s sound projects, their passions and quirks, especially that rare confluence of viewing sound design/art as a craft with all that that implies. And oddly comforting to know that someone else finds sheep noises just as compelling and comical as I do.

Perhaps, if this year’s project was to write more about sound, then next year’s project should be to send more sound out into the world. Not just the stuff that I get paid to make, but the little projects that I make just for the joy of making soundscapes too.

Universal Goat, Frankenstein’s Castle and Other Overused Sound Effects

Tags

bbc radiophonics, knitsonik, podcasts, radio 4, sound design, sound effects

I’ve been catching up on my podcast backlog this week and I came across something that struck a chord, but that has also come up in the general zeitgeist a few times over the last wee while. Over on the Knitsonik podcast – a podcast about knitting and sound art/design, it’s a niche interest group, but not as niche as I would have expected: I blame the golden ratio – there’s been an on-going discussion about ‘wrong’ sound effects in films, that was started off by a listener who keeps goats bemoaning the use of stock goat sounds that to her were really blatantly not belonging to the goats in question. What she termed ‘universal goat’. This in turn has led to lots of interesting stories and sound recordings of sounds in the wrong places and what the correct sounds should be. (Artic wolves in hill country that would actually be full of coyotes, tree frogs native to the Hollywood hills that turn up all over the place, and explain helpfully why I’ve never heard a frog go ‘ribbet’ in real life.) Additionally, last winter, there was a thread of conversation on Radio 4’s Film Programme about sound effects in the wrong place (Great Northern Divers are something of a short hand for frozen wastelands – shame they’re only found in the Artic and not in the Alps). Ammunition, if ever I heard it, for sound designers everywhere, when faced with a director insisting on their using a generic stock sound rather than hunting down an accurate one, to refute the ‘who’s going to notice’ argument. Clearly, not just us sound geeks.

My own personal version of the universal goat comes courtesy of the BBC Sound Effects Library. That glorious collection of CDs that lurked in the media departments of practically every university or college in the UK, courtesy of those fine folks at the Radiophonics workshop. The point towards the end of my Masters when I could actually pick out sound effects that I recognised in not only student films, but also actual commercial television and film, has probably shaped my attitude towards location recording, Foley and using library sound effects. Once you tune into a ‘wrong’ sound effect that is in common circulation, it becomes practically impossible not to hear it. Nearly a decade on, I’ll be watching an old Hammer Horror film or a Jon Pertwee Dr Who serial, there’ll be a storm and there it’ll be: ‘Frankenstein’s Castle (Rain, Thunder etc.)’. It’s a really good thunderstorm, nicely atmospheric, but by goodness does it get used a lot. It even turns up occasionally in modern low budget British horror films. I really hope that’s because sound designers are using it ironically – a knowing nod and a wink to genre savvy geeks in the audience – but I doubt it.

Part of the problem is, that sound is very powerful, it often completely bypasses our conscious brain, to press buttons in our brain we don’t necessarily even know we have. Particularly fear, it’s really, really good at fear. (Trust me on this. That was my dissertation topic; I could talk about it all day.) So we often come to associate particular sounds with particular emotional states when it comes to movie watching. Which is fine, but when it comes to making movies, both audiences and filmmakers come with a whole plethora of pre-conceptions – both conscious and unconscious – about how things ‘should’ sound. As a sound designer its very easy to get drawn into that trap, it would be very easy for me to forget, if I were recreating the sound of a forest at night that the sounds I associate with the woods of my childhood – deciduous woodland in the Lowlands of Scotland – aren’t necessarily going to be accurate to a pine forest in the Highlands. Because those sounds are familiar to me, they won’t sound obviously ‘wrong’ – the way a 1960s ambulance siren would sound out of place in a modern drama – because I expect them to be there. So it is with sounds that we associate with particular locales because we’ve only seen them in movies and they always have a certain soundscape. Audiences will sometimes find the ‘correct’ sound unconvincing because they’re so used to stock effects that are ‘wrong’ or over emphasised. Some directors will vehemently resist the use of a sound that is factually correct, because it doesn’t conform to their expectation, with their mental soundscape for how that location should sound. And still other occasions the actual sound just doesn’t sound dramatic or evocative enough – flesh tearing is actually a really quiet un-dramatic noise, you need to layer it with various other elements to actually get a sound with the right impact. Flesh is really good at deadening sound, meaning that punches mostly have more of a solid dull sound with very little echo, rather than the crisp neat bam of a lot of movie punches.

But, as with so much in sound design; the sign of really good sound work is when you don’t notice its there. If this discussion proves anything, it’s that audiences only really notice us, when we get it wrong. Which arguably, is how it should be.

Sound Inspirations

Tags

inspiration, sound art, sound design

I wanted to write something about sound that was making me feel inspired at the moment, because, well I’ve not been feeling particularly inspired recently and I need to remind myself of what inspires me and reconnect with it.

People Doing Excellent Work Within the System

I’ve not been to the cinema very often this year, and mostly only to see big blockbuster efforts which is pretty much the opposite of the ideal circumstances to hear good film sound. Everything’s painted in broad brushstrokes, soundscape just as much a characterisation and plot, and in most cinemas the soundtrack will be played Far. Too. Loud. (Turning it up to 11 doesn’t always make it better) Which is why of course I ended up seeing Gravity in 2D at an arts cinema where you can actually find an human being to adjust the sound if its gone wonky.

As any sound geek will tell you (and as the film tells the viewer in its opening moments) due to space being a vacuum its not possible for sound to be heard in space, so following that school of thought almost all the sound we hear in the film is strictly subjective; lots of breathing and radio transmissions. The sound traps us into the suits with the astronauts too, giving us the full claustrophobic experience. The sheer weight of the silence outside their little bubbles is like a physical weight pressing down on them, as relentless as gravity, and the astronauts’ communications, narrating their actions (especially after they lose contact with Earth) and telling each other – and the ether – stories to fight off the silence is a vital part of the film’s atmosphere as well as its soundscape. The way the radio broadcasts act as lifelines just as much as the tethers do, from Matt’s country music and stories told to keep Ryan from passing out as she runs low on Oxygen, to the banter and warnings from mission control (especially the astronauts reporting back to ‘Houston in the blind’ just in case they can be heard back on Earth, to Ryan’s two-way incomprehensible conversation with a Chinese farmer/radio operator, it says a fair bit about the human urge to communicate and reach out to each other even when they don’t/can’t understand and manages to be rather emotive as well. The sound is subtle and rarely foregrounded, the score is barely noticeable – and when it is briefly noticeable it feels grating and wrong – and all the more powerful for that. Less is more after all, but when it needs to be my goodness it packs a punch.

(I knew Glen Freemantle’s name was familiar from somewhere, he’s been sound designer on almost all of Danny Boyle’s films, include Sunshine which has frankly excellent sound – I can’t believe I haven’t written about it before, must remedy that and soon.)

People Being Experimental and Adventurous

Soundry. In their own words, ‘an online creative listening laboratory and magazine…[that]…publish existing work and help artists create new work with the aim of sharing sounds that enrich and transform ways of listening to the noise and silence of everyday life’. Essentially they’re collating all the weird and wonderful sound projects and experiments going on out there that you might otherwise miss. They’re mostly on tumblr, which is a nice change, as it means their posts just show up in the flow of my dashboard when I’ve had a long hard day at work and can’t cope with anything more complex than a flow of pretty pictures but could really use something strange and imaginative to kick me back into gear. (There’s just so much on twitter these days that it’s easy to miss the good stuff)

I first stumbled across them via a posting on, I think, Central Station, calling for submissions to their postcards project. Essentially, you submit a photograph with a minute of sound that captures the atmosphere of the place you took the photo. It’s a really simple idea, but there’s something really evocative about the way the sound postcards capture little moments in time and place. Proper slice of life stuff.

Edinburgh Water of Life. Stumbled across on the Scotland Introducing podcast of all places, its Tommy Perman of FOUND (and weird and wonderful composing efforts for the Riverside museum fame) and singer songwriter Rob St John, recording and sampling the sounds of Edinburgh waterways with underwater microphones combining natural and unnatural sounds and making music with them. If you pop over to their website you can hear some of the source recordings (which are rather fascinating in their own right), some samples of the finished tracks and read all about the research and adventures they had on this arts/science project of theirs. I’ve a deep abiding love of contact microphones but having listened to this I really want to experiment with hydrophone microphones now. I had a pretty good summer this year, but I kind of wish it’d been more like theirs…

Mark’s Sri Lankan adventures. Actually this one needs a bit more explanation. So, I run the Production Team at the radio station based at Forth Valley Royal Hospital, Radio Royal. Last year we were lucky enough to have an artist in residence Mark Vernon – well, actually he belonged to the hospital itself but we got to work closely with him. Which led to the Channel 604 project, which in turn really fired up my production team about the potential to do interesting things with sound. It’s easy to get caught up in the day-to-day work of the production team, making jingles, promos and adverts, teaching new starts the basics of audio editing, and forget that actually the point of the team is to do ‘different’ stuff. Having Mark around and hearing the positive responses from people to the project (whether as participants or audience members) were a timely reminder that there is in fact an audience for something that wee bit different out there. It made us get out there with our giant headphones and tiny recording devices, interview people and record the world. We made things and tried things and generally got very excited and geeky about sound. But of course things tailed off, the residency finished, deadlines reared their ugly heads and generally we got distracted. But lo, a few weeks ago an email appeared, turns out that Mark’s out in Sri Lanka on residency working on a project for the Colombo Art Biennale next year. He’s sent back a sound diary of his adventures and once again weird, mundane and wonderful sounds are filling the room, snapshots of adventures half the world away. I can feel my inspiration waking up, looking around blearily and fixating on that one patch of blue sky amongst all the heavy grey.

It’s time to stop talking, grab the giant headphones, put fresh batteries in the Roland or the Marantz, get out there and listen.

Ada Lovelace Day: Celebrating Ann Kroeber

Tags

ada lovelace day, films, sound design, women in STEM

Today is Ada Lovelace Day, a day for celebrating (and blogging about) women in science and technology. I missed this last year, but ended up reading a lot of interesting articles on the inimitable Delia Derbyshire – previously I’d only known her as one of the legends of the BBC Radiophonics Workshop in the 60s, but last year’s reading providing me with a crash course on just how ground breaking her work really had been.

So I wanted to write about someone influential in my field. As a young sound designer, I am sometimes painfully aware of how male dominated my field is, how rare it is to look at the awards categories for sound editing at the Baftas or the Oscars and see any female names. One name that comes up a lot if you know where to look, is Ann Kroeber: sound designer, sound editor, sound effects editor, sound mixer are just a few of the roles she’s played in a career that’s lasted over thirty years. Her name may not be familiar but you’ve almost certainly heard her work. Arguably best known for her work with her late husband Alan Splet on David Lynch films, since then, alongside maintaining the Splet-Kroeber archive of sound effects collected by them over the years, she has worked on a variety of films from blockbusters such as the first Star Wars prequel and Return of the King, to continuing to collaborate with David Lynch on Lost Highway.

The first time I heard of Ann Kroeber was in 2007 when she was talking about her work as part of the School of Sound (I hope that if they ever get round to producing another School of Sound book they include her in it, as my notes from her talk are a tad sparse and cryptic) in London. It was a good day for women in sound actually as she was on after Marina Warner – more notes, even more cryptic ones which I’m sure made sense at the time. A lot of speakers waxed lyrical on issues of creativity and art, but Kroeber’s talk was full of odd technical details and anecdotes about the unusual history of a particular sound effect.

Before that talk, if you’d suggested I might build my own microphone I would either have looked at you as though you’d grown an extra head or asked if you taught beginners electronics – when it comes to wiring up the sound desk, I’m more likely to be the one tacking/taping down the wires and making sure all the connectors are in securely than the one with the soldering iron repairing where a connection has come free. Yet a couple of months later I would be sitting in my mate’s kitchen with a bunch of instructions we’d found on the internet building our own contact microphones.

The world of sound effects never sounds quite the same after you’ve heard it through a contact microphone. A world where mundane sounds are transformed into things that might be unnerving or beautiful – its an almost Lynchian world and a lesson in how much of that film world is in fact an aural experience – every time you press the microphone to a new surface is a practical lesson in how sound waves travel and distort through different surfaces and substances. It’s a fascinating world that can steal hours and days of your life away without you noticing but one that I will always be grateful to Anne Kroeber for introducing me to.