Sound can add emotion to art - The CreativeMindClass Blog
Phil Brookes is a music musician and sound designer from Wales. He has worked in collaboration with TedEd, Greenpeace, Tate, Medium, Passion, Strangebeast and many more. His music and sound design are also showcased at events like Cannes, BFI London, GLAS, and Giffoni and has won multiple awards for his films.
In the interview below the interviewer will discuss how Phil began his journey to becoming an artist and read his tips for how to get started in the realm of sound. In addition, take a look at the details of an acoustic version of a great Socks project that he co-created along with Eva Munnich.
Phil Brookes' background
I'm a music composer and sound designer from Wales within the UK.
From the time I remember, I've always been attracted to the sounds of music, sound, and even voices. I remember falling asleep before the washing machine as a kid, hypnotized by the droning sounds (appropriate, considering the project I'm about to discuss!) is my first sound memory.
I began to mimic funny accents and voices.
My father was an obsessive music lover and would make use of recording equipment to create noises in his voice, and apply effects like delay and reverb on his voice for the sake of having fun. I would imitate him as well as people like Jim Carrey and Robin Williams by using a small dictaphone, and imitate all the hilarious voice and accents they could create.
Prince
My older brother played guitar, and it was his love for music and specifically the multi-instrumentalist Prince that really rubbed off on me. When my brother moved out the guitar he had left at home, and when I was an adolescent I used it to instruct myself enough to start writing as well as recording my music. I was attempting to make music that I'd heard on albums or on television and adding my own sounds to the existing material.
This passion to utilize whatever resources I had in order to produce or recreate sounds is what still inspires me to keep pushing myself. I enjoy the process of learning as I create and my favorite method of writing is in the moment. Improvising, experimenting, jamming.
I taught myself piano and synth to create the music for the song 'But Milk is Important'.
My passion for animation led me to The University of South Wales in Cardiff which is where I first met the amazing animator Eirik Gronmo Bjornsen. He came back to Norway and produced a movie together with Anna Mantzaris called 'But Milk Is Important'.
I taught myself piano and synth to make the music that was used in the film, and since making the film I've been able to take on roles in sound design as well, and I am still creating.
The X-Files Project, aka the "Socks Project"
Recently, I collaborated alongside the incredible visual artist Eva Munnich in the creation of the third of the three Lemonade Insurance projects I've created the music and sound for.
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The Lemonade videos are humorous 15-30 second animations which can be looped. Eva's project had a strong sci-fi/extraterrestrial theme to it, and so she had some great ideas about music and sound.
In nine times of 10, I'll start by creating the sound, since the ambience I create will most likely inspire me to create music.
We've also talked to Eva about the process of making animations and visuals for the X-Files project. Listen to the interview with Eva Munnich.
Voice-wise, Eva liked the voices I'd done in a previous TedEd animation that I created along with Lisa Vertudaches.
In the animation I had pitched my vocals significantly. The animator thought that this could work for the sock specifically and requested that I shout "yay" using this vocal. Whilst recording this "yay" I kept the recording in motion and then added "seeya" shortly before the sock had entered the UFO.
Eva liked it, so it stayed in. The other voice-overs were made up as I saw them.
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If the washing machine were to have a voice, it would be low.
In contrast to the heavy tone of the sock's voice, I toned down my voice to the washing machine. Since the machine is large which is quite large, I thought as if if it had an ear, it should be able to convey some depth. I blended these in together with the foley before mixing with the sound ready for music to be added on.
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I was a fan of the X-Files music as a kid.
Musically, Eva thought it would be fun to make an idea that was inspired by the theme from The X-Files, which I was very happy with since I loved the music when I was a child!
Much like the vast majority of projects I've worked on I'm working with an animatic (almost similar to a storyboard that moves) that the animator gives me so that I can have a rough idea of timings, etc.
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I enjoy sci-fi films and soundtracks for games.
I am a fan diverse styles of music and this includes sci-fi films as well as game soundtracks. So as well as being influenced by in the X Files theme, I thought about what instruments could be suitable for this particular genre.
I used mostly synth-based instruments drones, bass, and drones for the base of the music. Layering drones was about capturing the right atmosphere and representing the beam that emits from the UFO to abduct our tiny sock.
I then created an impressive drum by using two kick drums along with delay and reverb. Then I added a delay synth that pans from left to right in order to make it seem more engaging. The final synth I played in was the six-note pattern that repeats itself through.
Whistling can be a wonderful personal element that can be added to an arrangement of music.
The time was right to draw cues from the X-Files and incorporate a delay piano pattern as well as a whistle. I am a fan of whistling, and that it's a wonderful personal element that can be added to the music. I had originally recorded bass guitar parts too However, I found that they did not fit with the synthesized sounds I wanted to create.
Piano pattern
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An alarm
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Making an environment in just 15 seconds can be challenging.
It was a pleasure working with Eva, and this shorter-form style is extremely enjoyable and exciting to work within. While it's fast, it is still a lot of work and poses its own set of difficulties.
Making and creating an ambience in just 15 seconds by using music can be a challenge, and musically fitting in a melody that doesn't sound like it was recorded in a hurry can be quite a feat too.
This is a challenge I enjoy, though, and since Eva's animation, I have been working on two additional fun Lemonade projects! The process videos on my site as well as on Instagram.
Tips on how to start adding sound to visuals
If you're looking to begin making sound a visual medium, there're now more innovative options to accomplish this than before. And there's no better time to do this than right now.
- If you're a person with a creative drive, take it whatever direction it takes you. One of the best ways to begin with your creations is to design something that you enjoy and then display the people what you have created.
- Send messages to budding filmmakers who share the same passion with you.they have always been looking for advice on sound. they might be able to establish a connection.
- You need to start at some point. I was making ambient music before I even considered the possibility working in film and I was fortunate to find an animation department at my college, but prior to this, I'd made and recorded enough music and sound that it was logical for me to follow that path when it presented it.
- Get to know others in the field; that's how collaboration is all about. If you are lucky enough to be in an area that has festival nights, film nights and events, then go to them and meet other people.
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