Author Archives: Tim Prebble

EDU11 FILM SOUND STUDY – BOY by Taika Waititi

Back in 2009 I had the great pleasure of being the Sound Designer and putting together the sound post team for Taikas film BOY, and as it is one of the favourite films I have worked on I thought I would use it as a case study. If you would like to take part in this film sound study, you will need to get a copy of the film yourself. First so that you can watch it with no prior knowledge, but also so you can refer back to scenes as we discuss them.

Boy New Official Trailer

BOY by Taika Waititi at IMDB

I did a quick search to see where it is available for streaming or purchase.
My results will be skewed to my location but I found all of these options.

BOY at Amazon Prime

BOY at Apple TV

BOY at Netflix

BOY at Youtube

BOY BluRay or DVD at Amazon

If you want to take part I’ll need you to do two things:
First access a copy of the film and watch it with a good sound system.
Second reply with a comment to this post.

I will take the number of comments as encouragement to start the film sound study.

Phone off. Lights off. Enjoy the movie!



Jim Jarmusch’s 5 Golden Rules of Filmmaking

Rule #1:
There are no rules. There are as many ways to make a film as there are potential filmmakers. It’s an open form. Anyway, I would personally never presume to tell anyone else what to do or how to do anything. To me that’s like telling someone else what their religious beliefs should be. F*ck that. That’s against my personal philosophy—more of a code than a set of “rules.” Therefore, disregard the “rules” you are presently reading, and instead consider them to be merely notes to myself. One should make one’s own “notes” because there is no one way to do anything. If anyone tells you there is only one way, their way, get as far away from them as possible, both physically and philosophically.

Rule #2:
Don’t let the fu*kers get ya. They can either help you, or not help you, but they can’t stop you. People who finance films, distribute films, promote films and exhibit films are not filmmakers. They are not interested in letting filmmakers define and dictate the way they do their business, so filmmakers should have no interest in allowing them to dictate the way a film is made. Carry a gun if necessary.

Also, avoid sycophants at all costs. There are always people around who only want to be involved in filmmaking to get rich, get famous, or get laid. Generally, they know as much about filmmaking as George W. Bush knows about hand-to-hand combat.

Rule #3:
The production is there to serve the film. The film is not there to serve the production. Unfortunately, in the world of filmmaking this is almost universally backwards. The film is not being made to serve the budget, the schedule, or the resumes of those involved. Filmmakers who don’t understand this should be hung from their ankles and asked why the sky appears to be upside down.

Rule #4:
Filmmaking is a collaborative process. You get the chance to work with others whose minds and ideas may be stronger than your own. Make sure they remain focused on their own function and not someone else’s job, or you’ll have a big mess. But treat all collaborators as equals and with respect. A production assistant who is holding back traffic so the crew can get a shot is no less important than the actors in the scene, the director of photography, the production designer or the director. Hierarchy is for those whose egos are inflated or out of control, or for people in the military. Those with whom you choose to collaborate, if you make good choices, can elevate the quality and content of your film to a much higher plane than any one mind could imagine on its own. If you don’t want to work with other people, go paint a painting or write a book. (And if you want to be a fucking dictator, I guess these days you just have to go into politics…).

Rule #5:
Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery—celebrate it if you feel like it. In any case, always remember what Jean- Luc Godard said: “It’s not where you take things from—it’s where you take them to.”

Jim Jarmusch – IMDB

Essential viewing:

Stranger Than Paradise

Stranger Than Paradise - Trailer - Jim Jarmusch

Stranger Than Paradise – Trailer – Jim Jarmusch

Down by Law

DOWN BY LAW (1986) | Official UK Trailer - in cinemas 12th September

DOWN BY LAW (1986) | Official UK Trailer – in cinemas 12th September

Dead Man

Dead Man (1995) Official Trailer - Johnny Depp Movie HD

Dead Man (1995) Official Trailer – Johnny Depp Movie HD

Ghost Dog

Official Trailer: Ghost Dog - The Way of the Samurai (1999)

Official Trailer: Ghost Dog – The Way of the Samurai (1999)



Avid Link

So I’m busy working & have my usual bunch of apps open – ProTools, RX, Scrivener, Email… And suddenly my Mac UI starts going slow like its about to crash…. WTF I have 64GB of RAM, it can’t be the apps… So I boot up Activity Monitor and WTF?

AvidLink, which I have zero use for, is using 96.6% of my Macs CPU!
I Force Quit it and my Mac becomes responsive again…
My next thought: can I delete AvidLink? What use is it?

“Avid Link is a free app for anyone looking to find, connect, and collaborate with other creatives,
promote your work, stream video, purchase and manage products—all in one interface”

No thanks.
But rather than delete it, for now I’ll follow this advice of how to stop it auto-launching
Stop Avid Link from starting at boot

This default of forcing us to have a cloud connection is so tedious, inefficient & tone deaf.
Maybe, just maybe we don’t fckng want banal notifications popping up while we concentrate on actual work!

Similarly the Adobe Creative Cloud app on my Mac keeps displaying a red warning.
Why? Because I deliberately have “Libraries Syncing” to their cloud disabled.
Because I have no use for it.

Stop Adobe Creative Cloud from starting at boot





The next subject I’d like to discuss with regards to sound editing is the idea of changing scale. This can be simply split into two categories ie making a sonic event seem larger, or making it seem smaller. When someone has no experience with actual sound editing they might easily mistake both of these needs as being solved by plugins. But that is often not the case. Keep in mind we are discussing sound editing, rather than mixing. It is also about more than simply playing a sound LOUDER or quieter.

What not to do:
I saw a reddit thread ages ago where someone was complaining about how their sounds seemed noisy, like they had a high noise floor despite being clean recordings. After a few questions it became apparent that by default they were using a limiter to crush the peaks in an attempt to make the sound seem bigger. If this person was slamming a sound with say 20dB of limiting, then what they are effectively doing is turning up the gain of every part of the sound by 20dB, while squashing the peaks that would otherwise go over 0dB. So what they have actually done is turned up the noise floor by 20dB, and that is a lot! All microphones have some self noise, and even the quietest, most expensive recording studio has some residual noise. So a noise floor that was not noticeable beforehand is now apparent, due to amplifying it 20dB!! But by crushing the dynamic they have also made it more difficult to layer sounds.

In my early days of using ProTools, I would sometimes wonder why some of my work sounded great in my studio but when I took it to the dub stage for predubs, it would seem less ‘present’. What I came to realise is that in my studio I was layering elements without paying attention to maximum levels. So in my session I had sets of tracks going to buses, which were then summed to a mix bus and out to my monitors. Layering lots of loud sounds (at say the climax of a busy scene) meant that while all my individual tracks with my sound editing on them were not clipping, the bus was. (Keep in mind this is long before it was possible to run plugins on every track or bus) But this meant the bus was acting as a brick-wall limiter.
Now a dub stage is usually set up with a very expensive high-quality desk with a LOT of headroom. So when I arrived to the predub, I would delete all my busing, and switch to direct outs so that the rerecording mixer could mix my individual tracks. And now I would hear my sounds as a composite, but with no clipping or limiting at all. So I was fooling myself that everything is louder due to limiting, but when in the final context of a film mix that may not be applicable at all as my sounds had to work with dialogue DX and music MX. Preserving the dynamic range of your sounds, so they can be expressed clearly in a mix environment with lots of headroom (and where appropriate lots of volume) is very important.

Why I share this experience is that it is very important to consider what is the final destination of your work. Sound editing is not mixing. Yes you are monitoring your sound edits, but a rerecording mixer has a very different set up to what a sound editor has. Your sound editing studio should be set to a calibrated loudness which is correct for your small studio/room. A dub stage is cinema size and has an entirely different calibration.

Even the difference between mixing for TV/streaming versus cinema is important. In the book by Walter Murch Behind the Seen he mentions how he has ‘little people’ stuck to his monitor, to remind himself how big a cinema screen is.

This same idea applies to audio, for example imagine you pan a sound to follow onscreen action from the right side of the screen to the left. In a small edit studio that sound travels across your screen which might only be 2 foot across, whereas the pan across a cinema screen might be 40 foot. That added resolution is only apparent when you are in that environment.

So we want to scale a sound moment. We want to make it seem bigger or make it seem smaller.
Lets start with the seemingly easier scenario…

Why do I keep calling it a sound event, and not just a sound?

One of the basic truths of sound editing is that it is very rare for a sound event to be a single sound. Again this is something I realised very early on. When I first started working as a sound effects editor, I would edit and prepare my tracks and then hand them off to my boss who was the mixer. As an example, if there was a moment where someone gets hit over the head with a bottle, I want to achieve two things with my sound editing.
First I want to create something that ‘feels’ real. It’s not a documentary about a bottle hitting someone’s head, its a drama and it needs to feel real and convince the audience it is real so that they don’t notice it’s a prop bottle made of plastic. I want to create sound such that the audience flinch & almost feel the pain. But I also have a second motive. I want to impress my boss, and I want him to have fun mixing my tracks.

So again, lets look at what not to do. I could do a search of my sound FX library for ‘bottle head smash’ and maybe some sound appears in the list that at first seems perfect. If I grab that sound, sync it up & hand it off to my boss, what can he do with it? He can turn it up or down, he can EQ it or control its dynamics & he can pan it and/or verb. But that’s all pretty basic & not very creative…. We want to enable more creative work than using pre-designed sound effects!

Here is what I did. I thought about what is actually happening with that bottle smash. First of all, someone is being very physical to move their arm fast enough to raise & swing that bottle, and bring it down on someone’s head. So I am thinking about what that person is wearing, and how fast they are moving. Let’s say they are wearing a leather jacket and they move fast. I’m going to use a couple of tracks to layer some sudden leather jacket moves, and I’m likely going to use a swish of some kind. So that’s our first two tracks or layers.
Next, what happens at the point of impact? For a brief moment, a very solid object (the bottle) hits a fairly solid object (the head) So before the bottle actually shatters, there is a nasty dead thump impact. Depending where on their head it impacts, there will be some cartilage, jaw, skull movement and/or breakage. So tracks 3,4,5 have the first impact & the physical head reaction.
A brief moment later the glass breaks. I might have to hunt through dozens of glass breaks to find one that ‘feels’ right. I might end up needing a bottle smash and a wine glass break or something else to really make that bottle onscreen shatter. So that’s tracks 6 and 7.
Now what happens? The glass shatters & glass debris flies. So I want some elements of glass fragments hitting things. And again I’ll likely need to layer 2 or 3 source tracks to build up enough glass fragments to feel right, especially to make elements to scatter left & right. Tracks 8,9,10. Is the person now bleeding? Do we need some blood splatters as well?

So as a sound editor, I source all of these elements and sounds and I layer them & carefully sync them to picture. And I keep working on them. I cut that swish & leather jacket movement off at the point of impact. And I use ProTools volume automation to shape the sounds and get a balance between the elements, such that if I play the tracks down it ‘feels’ like a single event. But it has shape and it has character. And guess what? My boss is going to have a ball mixing that moment!

Now that might all seem like the layering is to make the sound moment bigger. And in that specific case, perhaps it is. But layering is still used for quiet smaller moments, for the same reason. We want to add character and we want enough elements to be able to shape them into something interesting.

But what techniques are available to us to make a sound appear smaller?
Somewhere I read a general rule about pitch shifting, in that we more easily accept a sound as real if it has been pitched down or slowed down. But a sound pitched up often does not seem real, like our brain does not let it go past without thinking what’s up with that sound?? So while slowing sounds and/or pitching them down to make them larger is a valuable technique, the opposite is often not worth pursuing. So what are our options?

As always the right source material goes a long way. On a feature film, many of the smaller, quieter sounds are provided by the foley team. Along with footsteps they also perform ‘spot effects’ & clothing rustles & movement. And as a supervising sound editor, I would always talk with the foley team and especially discuss the moments where sound editing and foley overlap.

But when I am wanting to edit sounds for a smaller moment, it does help to have such sounds in your library. It’s why a good sound effects library does not only cover the big hero sounds but also provides smaller quieter variations. Always remember: if you are recording a prop or performed sound, capture gentle quieter variations too!

So the first port of call is to find sounds of appropriate scale, and then we can still layer them as required.

Another useful technique is to edit the loudest part out of a sound. Let’s say someone drops a metal box on a wood floor. I do a search but I don’t have a recording of that action, but I do have a recording of someone dropping a 5 ton metal block which seems too heavy but it’s the right action. So I sync it up roughly and I zoom in until I can identify each part of the impact, and I then select the loud parts & delete them! So track 1 is the original file, track 2 I’ve selected some parts: first the loud part that I want to delete and second, a piece of the end action which feels smaller in scale. Track 3 I’ve deleted the loud part and used fades to smooth the cuts. And that later piece I’ve edited & added fades so it becomes a self-contained smaller version, which might be a solution too.

Also note: every edit has fades. EVERY EDIT. Fade in and fade out. In your small studio you may not notice a glitch on a cut, but on a dub stage if a rerecording mixer solos a track and it has a glitch on a cut then you should be ashamed! Using the fade in, we can shape the attack of a sound, and a fade out we can shape the decay. But any cut has the potential to glitch if does not have a fade. Accordingly it is essential to know all the keyboard shortcuts for fades.

A handy ProTools technique is using nudge within a region. Let’s say you import a long sound file and edit it down to one section. With that region selected, if you use CONTROL + or – (numeric keypad) the audio within the region moves, by the nudge amount. This means if you have cut a sound in sync and added fades, you can still move through the source audio file and listen to alternative sections of it:

ProTools Editing Shortcuts

To learn such techniques you will need to read & memorise the keyboard shortcuts, and when I say memorise you need to use them enough that it becomes muscle memory. The Pro Tools Shortcuts PDF is an essential document! This is the relevant page/s for editing shortcuts:


Using only those keyboard shortcuts you can sync and edit a sound, without touching your mouse. You can nudge sync, you can trim the front or end of the region. You can move audio within your region. You can add fades to the start & end. You can scrub and varispeed play the audio. And even while varispeed playing you can select parts. Using a mouse is generally the slowest way to do anything. You need to learn keyboard shortcuts and in a future tutorial I’ll explain potential use for macro apps like Keyboard Maestro.


Another method for scaling a sound down is a slightly specialised one, and that is to use convolution with an Impulse Response. As an example, on the film BOOGEYMAN (2008) there is a scene with a plasma ball toy in a kid’s bedroom. There’s a shot where it’s close up onscreen, so I knew I needed enough elements to make it interesting when in foreground focus like that. But it then also needed to sit in the room as a single spot element.
I loaded up lots of arc welder sounds and synced the arcs to the onscreen plasma arcs and it sounded great & powerful and all, but it did not feel like a plasma ball, which contains the arcing. So I processed my plasma arcs through a glass IR which made them feel smaller & as though we were hearing them through glass. And suddenly it felt real! I split my tracks so when the plasma ball was close up onscreen we can pan the arcs across the screen, but then when it was in the back of shot all of the arcing was contained and could be panned to the onscreen location onscreen.



As with previous techniques, having the right source material makes a big difference. So if a monster stomps his foot & the earth shakes, then we can search our library for big heavy sounds. Again we are not looking for a single solution, we want elements that we can layer. So that footstomp we know we want a big heavy thud, but this monster is so big the earth shakes and the earth is made of dirt & rocks & gravel. So we search our library for some dirt & heavy rock movement. It still might not feel big enough, so we try adding an explosion underneath it, but balanced so you don’t hear it as an explosion. And maybe we grab some bassy thunder and we layer a short piece of that.

Now when we layer, we need to be aware of levels & dynamics but we also need to think about frequencies. If we layer a lot of bassy sounds all in the same frequency range then its going to get muddy and lose definition. So as we search for source material we want to look for elements with different harmonic content. That rock movement will be crunchy and cut through so it’s a good element to layer with bassy sounds. But one of the creative joys of sound editing is to use elements that have nothing to do with the onscreen action. So maybe I remember a recording I made of a tree being cut down, or a wardrobe falling over or something. Sneaking interesting characterful sounds into our layers can make all the difference.

Sync is obviously an important aspect to consider, with larger composite action. If there is a clear single impact then once we have layered some impact elements we need to zoom in and check the actual sync of the impact point is tightly aligned. Masking can be an issue, so instead of turning up an element to hear it more, we may in fact need to turn some other element down at that point. Using markers are per the previous tutorial, we can see where there may be multiple impacts or sync points. And when it comes to eg the decay of an explosion or complex action, it might be more important to randomise or not sycnronize elements to make it feel more chaotic. Context matters.

As we build up layers, we will balance their levels with volume automation and I will never forget the day I really appreciated what is possible with nothing more than great sounds & volume automation.
Anecdote time: One of the first big breaks I got as a young sound editor was working on Peter Jackson’s first US studio film THE FRIGHTENERS (1997). My dear friend & mentor Mike Hopkins (RIP) was the supervising sound editor on the project, but he was held up on another project and needed someone to start work to cover him for six weeks. He first asked my boss who wasn’t keen as he had a young family & lived in Auckland. So my boss asked if I would be keen? OMG Hell yes!!! So I moved down to Wellington for two months & got to work on previz and early cuts of scenes of the film.
But the really amazing part was that the US Studio that funded the film insisted Peter Jackson use a US sound designer, since while NZ had a great indie film industry no one had ever made a “Hollywood” film here before then. As luck would have it my six week stint overlapped by a week with the US sound designer, who turned out to be none other than Randy Thom and his brilliant assistant Phil Benson!! As a young sound editor I was very shy, so when Randy arrived I stayed in my room working… But pretty soon I started hearing the most incredible sounds coming through the wall, as my little studio room was next door to his. Literally the wall would start shaking… After a while, there’s a knock on my door & Randy comes to say hi, and we have a chat & then I go with him to see what scene he’s working on. Of course it sounded even more amazing in his room, but I was at a loss as to how he was making these sounds work. I expected to see a big ProTools session with a million edits in it. Back then we were using ProTools 3 which maxed out at 16 tracks. On his tracks were long chunks of sounds with no apparent edits, so I was stumped as to what I was hearing & then a light bulb went off in my brain! He switched to volume automation mode and there it was! He was using intricate hand drawn volume graphs as envelopes for the sounds. As an example, in the film there is character called Wallpaper man who travels within walls & in one scene comes down a wall in a bathroom and plunges his hand into a man’s chest & causes a heart attack. Randy’s sounds for this scene were phenomenal, but when he switched to volume graphs here was all his brilliant source material sculpted to picture using volume graphs! It was truly an AHAR moment… Of course his choice of sounds, his aesthetic & depth of knowledge of storytelling are all vital parts of his profound skills. But seeing a track of eg stampeding horses, which is only actually automated up & back down in volume, shaped to a moment of action osncreen, was genius!

So this is another technique for scale ie using volume graphs to shape elements to fit the dynamic of the action onscreen. I don’t mean this so much as mixing because we don’t yet know how it will be used in the final mix. But more as a way of building up layers and shaping them.

Now two other anecdotes, which led to techniques for making sounds seem bigger.
Also early on, I worked on a short film THINKING ABOUT SLEEP in which one of the characters jumps off a bridge. We see him jump & we see him land & fall over, all in slow motion. I started loading & syncing sounds but nothing felt right against the slow-motion pictures, so I started slowing down my sounds. Now a skill that you slowly acquire is to see the potential in a sound, and when it comes to slowing sounds down it is often useful to have a resonant source sound but one where the resonance is not already bassy. So I started searching for elements that had the potential to be bassy once they were slowed down by an octave or two.

Now it’s important to appreciate the difference between pitch shift & slowing sounds down. It’s possible with plugins to pitch shift a sound while keeping it the same duration, but to my ears that often sounds worse than slowing it down, as half of the information is being discarded or at least perceptually compressed. Slowing a sound down means that both the pitch is lowered and the duration becomes longer. So at half speed, a sound is one octave lower in pitch AND twice as long.

For the scene in the short film, I took body falls on dirt and grass and I slowed them down to half speed. And I found some movement sounds which I also slowed down… Then I tried slowing down some pieces of wind and adding them as layers, and with some shaping of my volume graphs I slowly got the scene to feel ‘right’ even though it was slow motion. So that was my first practical experience of slowing sounds down, and I noticed how it made sounds feel larger and heavier, like gravity was slowed down and momentum increased.

Slowing sounds down is no new technique. Since the very beginning of film sound, sound editors have been using similar techniques by recording on a Nagra at 15ips and then replaying it at 7.5ips (half speed) or 3.75 ips (quarter speed). I have some recordings in my library that I was given, of dynamite explosions recorded to Nagra, and then transferred at real speed and half speed. And wow those sounds really kick!!


Another technique to make sounds bigger is the use of subharmonic synth processing. I discovered this technique via a funny means, as though it is an industry secret. After working on The Frighteners, I got my first feature to do as the HOD sound designer. I was hired as a freelancer to design sound for the film SAVING GRACE (1998) and the studio I worked in was owned by a guy who was more of a music engineer & composer. So his studio had lots of nice analog gear and my room had a PT3 rig. One day he came wandering in to show me a big of gear he had just bought. It was an odd looking unit labelled DBX 110 and it had something about a synth in the title. I was intrigued, as I am of course also a synth nerd. But when he plugged it in & showed me what it did, I instantly realised I was hearing a sound or tonality that I had heard many times before. It was a subharmonic synth and it reminded me of the subby doof doof from every night club I had ever been in! We played around with it & I put some sound effects through it & thought wow!!
When we came to start predubs for the film I mentioned it to the rerecording engineer, Mike Hedges, and he laughed spun his chair around & pointed at their rack, and there was a newer model of the same bit of outboard gear! Right I thought to myself, as soon as this job is over I am buying one! So I ordered a DBX 120XP Subharmonic Synth and OMG I loved it and have used it ever since.

Bear with me but I’ll first explain what it is doing. As an analogue process, it takes whatever sound it is fed and it pitches it down an octave, and it generates a new synthesised bass sound that is directly related to the input via an envelope follower. So it doesn’t slow down the sound, it stays in sync and you get an octave lower bass sound. But there is also a knob to control subharmonics. If you dial it up, you start to hear more harmonic layers of sub, and they all relate to the fundamental an octave below. As a double bass player I noticed that if you used too much subharmonics, it started to sound like someone playing chords on the double bass, or layering a fifth above a bass note. Sometimes this made it worse – too muddy, or too complex. But on a dub stage with big subwoofers, it could make your body shake!!

So I used my subharmonic synth on projects and it became an invaluable technique for making sounds seem much, much larger. But I had a very funny experience when again my friend Mike Hopkins was preparing to start Lord of the Rings. A US sound designer Dave Farmer was coming over to work on the Rings trilogy and Dave had sent a request list of gear. Hoppy had Daves ProTools rig and plugins etc all sorted, but there was one item he had no idea what it was. Can you guess what the request was? It was of course a DBX Subharmonic Synth! I laughed & pointed at my rack…

Now a subharmonic synth is not only for making huge sound effects. When I was working on the film BLACK SHEEP part of my work was to design sounds for an 8 foot tall monster were-sheep. The guys working on King Kong had developed a technique for creature vocals called the Kongilizer, which basically used a Sennheiser MKH80X0 mic recording at 192kHz with a real-time pitch shift plugin, which was fed to the performers headphones. So the performer hears themself pitched down an octave and it affects how they perform – when they roar, they hear a big deep roar in their headphones. And as they alter their performance, they hear the pitch-shifted result. So we took the same approach and we had a voice actor perform roars and breathing, and then I took those recordings to my studio and I processed them through my DBX subharmonic synth. Here are some examples:

First is the pitch-shifted monster breathing, and then enhanced with a DBX120XP subharmonic synth:

When processing elements like this it is very important to print sounds and then use them as layers, rather than try & balance a sound & create a final mixed version. The reason why this is important is due to the fact we do not know (a) how it will play on the dub stage and (b) how it will play in context. So my session would have the original recording on one track, the pitched-down version on another track, and the subharmonic synth version on another track. I would then mute the original and balance the two main element using volume graphs. This way the rerecording mixer can put his faders ‘flat’ and hear my rough balance, but they can also access the elements, rebalance them, and treat them.

The first plugin that was released which emulated the DBX Subharmonic Synth was the LowEnder plugin and it is one of the few plugins I would say is an essential purchase. It’s also important to differentiate it from some plugins which try to make heavy bass work on small speakers. That is not what the DBX or LowEnder does. They both generate new sub-bass, as an element in sync with whatever is fed to it (although do check sync, as there is a small processing lag which may or may not matter)

Another anecdote about context. Again during the final mix of BLACK SHEEP there is a moment in the film where the monster were-sheep is attacking someone in their kitchen, and while trying to defend themselves, one of the humans throws a haggis at the were-sheep. Now a haggis is a Scottish dish and it looked a bit like a large ball. So when it was thrown, it hits the were-sheep and then falls to the floor of the kitchen. The director wanted it to sound heavy, so I had layered elements & playing in my predub it sounded great. But in the final mix it seemed like it wasn’t even there. We solo’d it & it was playing but it was not rating… The problem? The entire NZ Symphony Orchestra performed the score for the film and at that moment the score was driving the drama with the full orchestra playing aggressively. My bassy thumps of the haggis did not stand a chance. But the director wanted to hear it, so I started cutting some fixes. (During a mix we always have some empty fix tracks being fed to the mix, for exactly this reason) The end result? To get the haggis to rate in that scene I ended up layering two or three explosions!! It seemed bonkers when solo’d but it was the only way I could get it to cut through that orchestra.

So this is a reminder that you can have the perfect material cut for a moment, the director is happy, it sounds great in the predubs and then the score comes along and the final context changes everything! From that experience I learned that it pays to have some fixes already cut, when you forsee a potential issue. Cutting some ‘sweeteners’ and having them muted ‘unless we need them’ means less stress on the day.

Are there other techniques you use?

As you get experience and build up your sound library, you tend to also build up a memory of techniques & the sounds used. So it’s handy to build up a collection of good bassy boom sweeteners. And when recording, its a reminder of why capturing multiple takes is so valuable. That big metal smash sound is useful, but if you have 10 variations of it from recording then if you decide to use that metal smash as say an element in a monster foot stomp, then you can use a different take for each step rather than working to vary the same repeating sound element.

Auditioning sounds slowed down is another invaluable function of a sound library app. So with SoundMiner I can audition a sound and slow it down as I audition it. And if I find the right detuned setting I can have SoundMiner process it that way as it transfers to my ProTools edit session. This function is not unique to SoundMiner, so I expect whatever sound library app you use is capable of it. In the screenshot I am auditioning some wood impacts slowed down by 75%

It can be a fun learning experience to set that pitch slider really low eg 95% and then audition random sounds. The important factor with this is that it is shifting the dominant frequencies & resonance. So eg a high frequency sound that is shrill & nasty to your ears, might seem harmonically beautiful 2 octaves lower.

One last anecdote about showing sounds down. I have worked with kiwi film director Gaylene Preston many times, and the last time was in on a documentary called HOME BY CHRISTMAS which is a documentary about her fathers generation, who went to WWII and then returned to NZ somewhat traumatised by their experiences. There were archival WWII shots cut into sequences and I began looking for sounds that were haunting and one day I was playing with some hi rez fireworks recordings and when I slowed them down I had one of those AHAR moments! Have a listen:


Notice how those shrill whizzes become almost vocal in tone once they are slowed down. And how the explosions & the echos/reflections also gain so much weight & power.
When searching for sounds for a moment or sequence, it can be helpful to think laterally and search for related physical ideas. Another example: when working on WORLDS FASTEST INDIAN we had recorded fast passbys with the Indian V Twin motorbike, but when it sets a land speed record on the Salt Lakes in Utah, there is a final passby that is so fast it really needed to feel dangerous. After playing with lots of elements I suddenly had a realisation: from the audience perspective that bike passby is like being close to a gun shot. So I searched for gun shots which had a strong natural echo or slap delay i.e. they were recorded in a canyon or near cliffs. As soon as I added that sound to the passby, it felt really dangerous. As an audience we do not perceive that someone has fired a gun, but we do perceive that composite sound is moving very, very fast such that it creates the slap echo retort of a bullet.

EDU009 SYNC TWO – Markers

Thanks for feedback on EDU008 SYNC part 1. While it is fairly dry & technical subject, it is incredibly important on every project to verify the sync workflow. Most experienced sound editors will be able to share a sync horror story from their work. Unfortunately it is often in non-pro work that such issues can be a challenge eg people shooting multiple formats & frame rates, in the same project without regard for audio ramifications. At the end of this post I’ll add two more sync issues that you should be aware of (audio sync offsets with MP4 delivery, and verifying playback sync with your computer monitor or TV)

Moving on to actual useful techniques for sound editing, one function that has been invaluable for me since day 1 using ProTools is markers, aka memory locations. To give an idea of how useful markers are, the need for improvements in markers in ProTools has been in the top five most requested updates for literally decades! (Avid used to use a website called Idea Scale for users to submit feedback & suggestions. In 2018 they ended their use of Idea Scale & requested feedback etc via the DUC forum.)

At their most simple, a marker is simply a timed text comment. If your DAW of choice is not ProTools then you will have to check the manual & verify that your DAW has the equivalent because I would consider these essential (so eg I don’t use ableton LIVE for sound editing as it does not even have a timecode timeline, let alone timed markers. I love LIVE for music but a sound-post DAW it is not.)

In ProTools if you ‘drop’ a marker during playback can choose whether you name it, or use auto naming so you don’t interrupt your focus. Go to ProTools Preferences > Editing to view the Memory Locations (aka Marker) prefs.

An example of use where having ‘auto-naming during playback’ is important would be this: say you’ve finished sound design for a short film and you want to do a playback for yourself, in a continuous run. You hit play and each time you realise there is an issue to be dealt with, you hit the enter key (numeric keypad) and a timed marker is dropped. After you finish your screening you can then skip to the dropped markers, to do the fixes.

But that’s getting ahead of ourselves. One of the first uses for markers on the first day when I start a new project, is to skip through the video and drop a marker on every scene cut. With the video & guide track correctly sync’d in my session, I would skip through the video to the first frame of action (FFOA) drop a marker & name it as per the films script.
Marker 01: EXT Street Busy Morning
Then I’d play down to the next scene cut and drop the next marker
Maker 02: INT Car
Marker 03: EXT Shopping Mall
Marker 04: INT Car

Now these markers need to be frame accurate, i.e. you need to verify that the marker is on the first frame of the new scene. I’ll explain why this is so important soon, but first let’s work through methods to achieve this quickly.

ProTools of course provides many different ways to move around the timeline, but two that I use a lot are:

1. nudge using plus + and minus – keys
Your timeline display should be in timecode, and check that your nudge setting is in frames. If you put your cursor in the timeline on the first frame of a new scene (with no audio selected) and click ‘minus’ the cursor moves backwards 1 frame, which should reveal the last frame of the previous scene. There are keyboard shortcuts for changing the nudge value and I suggest you learn them, as jumping between 1 frame and 1 second easily is very useful.

2. scrub/vari-speed playback via numeric keypad.
This method is less useful for small increments but can be handy for scrolling through a scene (or a sound) at different speeds. Go to Preferences > Operation and check the setting for Numeric Keypad:

With the pref set to Transport, I can click CONTROL 5 on the numeric keypad and ProTools playback starts at real speed. If I now click ‘CONTROL minus’ on the numeric keypad playback goes backwards at real speed and ‘CONTROL plus’ makes it play forwards at real speed. Why I love this function is because if you click CONTROL and a number less than 5, it makes playback slower eg CONTROL 2 is half speed playback. And if you click a number higher than 5 it makes playback faster than real speed.

This is useful as a way of skipping through a scene eg at double speed, you see a scene change go past so you click reverse and then slow down playback to land close to the scene cut. Then quickly click plus and minus to nudge forwards & backwards frames to verify the first frame of the new scene & then drop a marker. I’ll provide a video for you to practice this on.

But the other use for this Transport playback technique is much more creative, as it effectively enables you to ‘play the timeline.’ For example say you are creating some sounds for a strange transition between scenes. You place a few sounds on a track and then invoke playback via the numeric keypad. You can now play the sounds on the track at half speed, quarter speed, backwards & forwards with consistent speed (ie not varispeed scrubbing but consistent half-speed playback) which can reveal to you possible uses for the sounds. I love using sounds backwards or reversed, as the sound retains its organic nature but seems ‘unworldly’ especially if there are no big transients that reveal it is backwards. I’ll get into backwards sound a lot more in a future design tutorial. Please let me know via a comment or email if you’d like to see an example of ‘playing the timeline’ incase what I have described is not clear.

The number of tracks that can be played while in this mode is I think only mono or stereo. So eg if you had sounds on 20 tracks, it is the track or region that is selected which will be played.

Another option, which enables ALL tracks to be played at half speed is the classic shift-spacebar, which plays the entire session at half speed. But you cannot do backwards playback or vary the playback speed. But it is a useful technique for eg checking sync on design spread across a lot tracks, as the slower speed playback means you sometimes notice whether a sound ‘feels’ early or late.

OK so we have finished pass 1, and our session now has a new marker on every scene cut.

These markers are now useful in many ways. Some examples:

– when you edit ambiences for a particular scene (which will be the subject of a future tutorial) being consistent can be important, especially with recurring locations. So maybe the protagonist of the short film works in a junkyard. By looking at the list of Markers/memory locations we can check & see how many scenes are set there. And once we have some great elements edited in for the first occurrence of that scene, we can copy them and jump to the next occurrence of that location and paste the elements as a starting point. Maybe the time of day or weather is different between the scenes but this gives us a quick starting point for editing the elements for the same location.

– when editing an ambience it is common to start the audio from within a file, rather than from the start of the file each time. Having frame accurate markers means that when we are being creative working with layering sounds we don’t have to verify where the scene cut is each time. We know where the scene cut is as we have a marker right on it. So we can just drop a long ambience file and cut off the front or end at the scene cut by recalling that marker/mem location (which moves the cursor to the exact scene cut) and then select to the start of the region (or end) and hit delete. We now have ambiences that start at exactly the first frame of the new scene. (I’ll get into fades & overlaps etc in Ambience editing tutorial)

– another use for markers like this is to export them when making a record list. So say the short film was shot near your studio and you want to go record some ambiences specifically for it. In ProTools you can go to File menu > Export > Session Info as Text. For this use, I am only interested in exporting my markers so disable all the other options & check that TimeFormat is set to timecode:

Export it & then when you open the exported text file in a text editor or spreadsheet, you have a list of each location and can also see how long each scene is. This gives you a useful text list of the locations from the film.

Exporting markers is useful for all sorts of things, for example when I am editing a new sound library I drop & name a marker for each group of takes of a new sound (eg 01 Celery fresh twist breaks 02 Celery fresh snaps etc) and after exporting the edited sounds I export the markers. Then in a spreadsheet I use the marker names and cue number to calculate new names for them after re-ordering them…

Now markers had some updates in a new ProTools version late last year, so it is worth having a quick read of this article: Pro Tools 2023.6 – new features

As a sound editor you will use markers/memory locations a lot and in ways that you won’t appreciate yet.

Other uses for markers/memory locations:

– instead of making a marker store a timeline location, you can tell it to not remember any timeline at all but instead to remember your zoom levels. As an example, say you were fixing a glitch that occurred randomly in a file. You might start working through the file, playing at real speed and zoomed out, but when you hear a glitch you need to zoom right in to fix it. You can save a memory location zoomed out, and a second memory location stored when zoomed right in. Now you can consistently jump between zoom levels by recalling memory locations, regardless of where the cursor is.

Notice the difference between my choices when creating a new marker:
The marker on the left is storing a selection (ie cursor position in the timeline)
The marker on the right is not storing a selection at all and solely is storing the zoom level.

You can also see other options for markers eg storing the current hidden/displayed tracks, and the window layout, which can be very useful for complex setups.

On a big project my edit session might have 200 tracks in it, and say 50 of the tracks are for ambiences, 20 are for vehicles, 20 for weapons, 20 for creature vocals, 20 for practical FX etc… I could store a setup for each set, and rather than be overwhelmed scrolling across hundreds of tracks to get to the element I want to work on, I can instead recall the AMB memory location (which would display only the AMB tracks) or the VEH mem location for vehicle tracks etc…

So these are all invaluable techniques for navigating a big edit session, and you will want to become very familiar with them, as well as the keyboard shortcuts to access them. A command key shortcut is always faster than ‘seek & click’ with a mouse, and the same applies to recalling memory locations.

So let’s use that example of Zoom level memory locations. As I am going to use these memory locations a lot I might make them the first two memory locations ie Zoom level 1 = memory loc 01 and Zoom level 2 = memory loc 02. Instead of having the list of memory locations open onscreen and clicking loc1 or loc2 with a mouse, I can instead use a keyboard shortcut: On the numeric keypad type “. 01 .” and loc 1 will be recalled. Now type “. 02 .” and loc 2 will be recalled.

Sometimes it is worth making memory location markers with specific numbers that you will remember. And say you decide you always want those Zoom level markers in every session, you can export & import markers. So you could import them to a new session from the last one, or maybe you have a template session for storing such things.

Now let’s look at how markers are useful for cutting sound effects within a scene.
Let’s take a fight scene as an example. You watch the scene down in real-time & maybe guess there are twenty punches thrown. The next thing I would do is crawl through the scene using the nudge keys and drop a marker on every event. So I’d reach the first punch just as it impacts & drop a marker and name it punch1 or P1 or something. Then nudge forward to the next event, maybe it’s a body punch so I drop a marker P2 body. The third punch is right to the jaw, so marker 3 notes this. I carry on through the scene putting a marker on every event, with maybe the last marker is a body fall for the loser.

I’ve now gained a sync overview of the scene and have an idea of what resources I’ll need. If there are 20 punches I know I will need lots of material so I can vary each punch to be unique. And I know I need a body fall, and whatever else I have identified in the scene. But I have also achieved something else that will prove very useful: I have created a non-linear grid.

Now I don’t use Grid mode much when sound editing, as it mostly restricts you to seconds/frames etc… When making & editing music, the tempo grid is invaluable but for sound editing a consistent grid is less relevant. But there is a sneaky hidden feature to the grid: have a look at the popup menu for grid setting

With a timecode timeline, the grid defaults to seconds or frames etc but that is not the only option. If you scroll down you can choose ‘Clips/Markers’ and if this is enabled, when you drag a region on the timeline, it will ‘snap’ to the sync of other clips or markers!

So let’s say we want to layer punch 1.
We import a few sounds eg a slap, a cabbage being hit with a bat, a thumpy body punch, an orange squelch & a celery bone crunch and a bamboo swish. If I am in grid mode with the ‘Clips/Markers’ grid enabled I can drag the slap on to a track & when I get close to the marker for Punch 1, the region will snap to it. Now I grab the humpy body punch and drag it to another track & it snaps to the same marker. Now I grab the swish and drag it on to a track and it also snaps to the punch 1 sync point, but I know that isn’t where I want it to be as a swish is the movement leading into the punch. Again the sync marker is useful since if we zoom in a bit, we can see the vertical line from the marker which indicates when the fist meets the face. So I can use that as a reference and drag the swish earlier & then cut it off at the punch impact.

Do you see how this can be very useful when editing complex scenes?

By the time I am nearing predubs on a feature film, my edit session might well have many, many hundreds of markers in it. At times I also use markers as a way of tracking work still to be done, or fixes to be done during a mix.

For such a simple tool, there are a huge number of uses and each person will no doubt have their own favourite uses. Please feel free to share any in the comments, as I am a firm believer that we never stop learning and these are only techniques that suit me. You might well come up with clever uses that I have never even considered. Of course, rerecording mixers will have their own unique setups based on how their desk and dubbers etc are set up.

One of the requests for development of markers in ProTools I think really represents the future and that is for markers to become a database. Imagine being able to have multiple marker tracks with as many data fields as you like. You could then eg cue ADR or display only AMB markers or display only TO DO markers etc. And as a database it could be exported, imported and merged easily. Perhaps one day….

One last keyboard command that is important with regards to sync. When you drag a region from say track 1 to track 2, it “should” stay in sync but if you’ve had too much coffee & got the jitters or something, sometimes the mouse will move & placement on track 2 will not be identical to where it was on track 1. In that case holding down CONTROL as you select & move the region will constrain the movement vertically to hold the exact same sync.

One last tip that can speed up the scene cuts. When you start work on a film, it is usual to get an OMF or AAF of the sync material ex the picture editor. Once converted & imported to a DAW session, the regions from the picture editor will of course be on scene cuts. So skipping through those regions & dropping markers can be much faster than manually going through an empty session looking for scene cuts.

OK thats it for Markers for now.

Two other subjects require comment with regards to SYNC ONE.



First, you should be aware that your computer & screens may not be in perfect sync. A local sound editor bought one of these Sync Check devices which are quite clever. Basically, it has a light sensor and a mic built into it and you play a provided QuickTime with the SyncCheck device nearby, so it can see the QuickTime & hear it. It then measures any offset between your computer displaying a flash in the QuickTime and your computer playing the audio in sync to that flash frame.
If this sounds esoteric, trust me it isn’t. The makers of the Sync Check device published a list of common offsets
For example, results from testing this setup:

Apple Cinema Display, Quicktime floating window, PT 6.7 and 6.6r2
Two systems checked: G5/dual2.5G with 22” cinema display, and G4/dual1G with 20” cinema display. ½ frame “drift”. No change with movie window in different screen locations, but there is a top-to-bottom scanning delay within the movie window. Movie sync offset=3

So someone editing sound to picture with that setup would be out of sync unless they compensated for it, after measuring the offset! Imagine that: delivering your work to a predub & everything slightly out of sync!

Unfortunately they stopped making the Sync Check device, but this looks very similar:

I cannot vouch for the accuracy but there are apps for your phone which claim to provide similar test results:

– a local NZ company QuietArt made an app CatchinSync
– another app by Benjamin Hoerbe is available: SynQR 4+

Once tested and the offset is known for your system ie computer + screens, then it should not need testing again until a major change.

Also as far as hardware goes it is always important to be aware of TV standards – PAL and NTSC. PAL resolves to 50Hz and NTSC to 60Hz. I won’t get into this now, but always be aware that if you are using a TV as a second monitor then make sure it is set to the correct system for your country & for the project.


After SYNC ONE was published sound designer & rerecording mixer Andrew Mottl kindly got in touch to make me aware of a potential issue with MP4 delivery.

“When using MP4 as exchange format, depending on who imports when into which DAW or NLE, the guide track might be off slightly (due to the buffer frame padding in codecs like MP3, AAC etc. used in these videos). This will result in floppy or loose sync or phasing with the provided mix or whatever, and can be annoying when checking new cuts against old references using audio…. eg a 1/4 frame out of sync, which waveform should be leading, which following etc… ”


As always in sound post-production: never assume, always verify!