my sister and i are starting a little passion project and while we can't afford to hire any actors for it, we would love to have different voices appear. the idea was to record everything ourselves and edit it, harlan guthrie style. but i'm new to sound design and struggling to find resources, given that the whole internet is now overrun by "try our ai voice changer!" websites. i'm unsure how to feel about those, since it's not like they're completely replacing human voice acting, but it still gives me an icky feeling and just out of principle i'd prefer to learn how to do it myself. grateful for any tips and tutorials!!
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
✓ Live Streaming✓ Interactive Chat✓ Private Shows✓ HD Quality✓ Free Actions
Free to watch • No registration required • HD streaming
as much as I love mixing (and occasionally mastering) my own work FUCK i hate how autism makes you hyper-focus on random 'problems' that you only hear after the 500th listen when you no longer feel anything listening to the release!! but ADHD makes you make pointless mistakes so there are more random 'problems' to fix. like I spent over 1 hour removing a zero-crossing click from a track only to remember "hey bitch you are a literal noise musician, it doesn't make everything is making clicks anyway" and then re-remastering the thing for the zillionth time (a whole day). plus adding 40 layers of soothe because every frequency hurts now. aaaaaa now i can't listen to it anymore
Production Sound Mixer, Simon Hayes, details the collaboration required to record live vocals for ‘WICKED’
“The Wizard's design featured a chest area adorned with layered scarves forming a diamond-shaped infinity motif. It was critical to preserve the visual integrity of this intricate feature while ensuring pristine audio capture… After numerous tests, we opted for DPA 6061 lav mics, embedded directly into the chest plate without mounts or windshields.The soft fabric of the scarves naturally mitigated pops and rustle, allowing the mics to remain invisible while providing excellent sound quality.”
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
✓ Live Streaming✓ Interactive Chat✓ Private Shows✓ HD Quality✓ Free Actions
Free to watch • No registration required • HD streaming
One motif use I noticed, underlying this scene (and starting exactly at this moment):
They use the same sound motif (not the same same orchestration, I think, but the melodic core) of the "melancholy abandonment" theme that underlines Fina working in the warehouse late at night as Marta walks in after not going to London.
The moment where Fina is stuttering because she still cannot wrap her mind around Marta standing in front of her and not being London? That's this soundbyte.
Instead of an uncertain, hurt Fina who doesn't know how much of her wife is still hers, with the baby plans that make her a third wheel (and then Marta gets to lay that concern to rest a minute later, epically, and also there's her swagger, but I digress), here it is an abandoned woman telling someone whil will listen that she will leave and try to build a better life for herself and her child (a child who is attacked by prejudiced people, and who deserves a better life elsewhere where nobody knows them); that she will move them somepleace where nobody knows them and nobody will attack them.
Now I realize SdL has a generic soundbank for broader affects in certain types of scenes, not a soundbank for each episode, or even just for each main couple (since I learned most of their sound library through Mafin, I get jarred at times when watching full eps, thinking "No wait, this soundtrack belongs to someone else!"), although the main couples generally do get at least one individual theme (fadingkitty mentioned the YT/Spotify playlist again yesterday).
Do I think this is an intentional Mafin reference? No.
But it builds a nice parallel anyway, in how the sound department groups scenes as pertaining to specific affects, and what might be factors that decide such a grouping. Here: a quiet conversation between women, lingering loss, leaving things behind, abandonment?
(In other terms of SdL sound: ...give me back the good flutes, SdL. The flutes of enchantment. Give them back to me!)
