“Think about sound effects as though they are music—find the right ‘note’ for every sound event, then build a ‘chord’ around it, choosing sounds in higher and lower registers that will support that key ‘note’.”
– Dave Whittaker, M.P.S.E.
All through a film's evolution, sound endures uneven recordings, mismatching formats, missed opportunities, temp voices, temp music, and temp sound effects. It suffers clipped lines, radio interference, line static, digital zits, dramatic level shifts, noisy backgrounds, fluorescent ballast, power hums, and just about every other insult and shortcoming a sound engineer can imagine—not to mention ignorance, carelessness, and mindlessness. The project experiences ...