media

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Number 095www.curriculum-press.co.uk
Understanding and Using Sound
M tudiesSedia
The aims of this Factsheet are to:
• explore different ways that film and TV producers use sound
• offer advice on how to use sound effectively in your own
practical work
• discuss the kinds of equipment you might need and techniques
for getting the best out of it
The first major Hollywood film to be released with sound was the
Jazz Singer in 1927. Prior to its release, all films had been silent but,
within a few years, silent films were almost extinct as audiences
jumped at the chance to hear their favourite stars speak. However,
the transition to sound was not smooth and many film makers and
critics felt that, far from improving cinema, something important had
been lost with the coming of sound as film became less cinematic
and visual creativity was hampered by the need to record clean
dialogue. This Factsheet will look at what problems recording sound
presents to film makers and how those issues can be overcome with
the right equipment. It will also consider how sound has been used
creatively to enhance film and TV and look at some techniques for
improving the use of sound in your own practical coursework.
(http://magnoliaforever.
wordpress.com/2011/09/22/
bande-a-part-910/)
Why is Sound Difficult?
For the early pioneers of sound in the cinema, recording sound was
a major headache. Film cameras of the time were very noisy and had
to be enclosed in huge boxes known as “blimps” in order to muffle
the sound they made. Film crews who were used to shooting on
location an exciting and getting visually interesting shots, found it
very difficult to control background noises like cars going by, which
would spoil a recording. Directors, who were used to talking to their
actors during a take to coach their performance, had to remain silent
during filming so their instructions wouldn’t be recorded.
Until the mid-30s, it wasn’t even possible to change a film’s
soundtrack after editing so all music and sound effects had to be
recorded at the same time as the images were filmed. To achieve
this, musicians would often be playing in the corner of a set while
the actors performed the scene.
These days, film makers are able to control sound recordings with
incredible precision and sound can be edited separately from the
images to create fantastically creative and precise effects. Sound
can be used in many different ways and the following terms will
help you describe and analyse the use of sound in film and media
texts.
Keyword Glossary
Diegetic Sound refers to sound that occurs within the imaginary
world in which the film is taking place. If a character is walking
across a gravel driveway, the sound of the footsteps is happening
in the story so it is diegetic. Be clear though that this sound need
not have been recorded at the time filming took place. It was probably
added during a Foley Session (see below).
Non-Diegetic Sound does not occur within the world of the film and
the characters cannot hear it. Most typically, this might be music
that has been added to a scene to help develop atmosphere or
show emotion.
On-Screen refers to sound whose source can be seen in the frame.
It is therefore, by definition, diegetic sound.
Off-Screen refers to sound that happens outside the frame. It is
still diegetic though as it is happening in the world of the film.
Parallel refers to sound that fits in with and emphasizes the images
on screen. In Jaws, the approach of the shark is signaled by
threatening string music. The scary image is complimented by the
scary music.
Case Study: Band a Part
In his film Band a Part, director Jean Luc Godard has his
characters challenge each other to a minute’s silence while they
are hanging out in a busy cafe. However, after a count of 3, as
well as each character keeping silent, all the noise in the film is
removed entirely, leaving an eerie silence. When projected in
the cinema, audiences often look at each other at this moment,
unsure if the film has broken. Godard is illustrating that there is
no such thing as silence. Even when characters don’t speak,
there is always background noise. Watch the scene on Youtube
by searching for Band a Part, A Minute’s Silence.
Jean Luc Godard’s use of silence in Band a Part (1964) draws
attention to the fact that there is, in fact, no such thing as silence
in film.
Contrapuntal refers to sound
that works in opposition to, and
comments on, the images on
screen. Famously in Tarantino’s
Reservoir Dogs, Mr. Blonde
tortures a policeman while a light
pop tune plays on the radio.
The images are horrifying, but the
accompanying music has a more
lighthearted and fun feel.
This creates an effect which deliberately challenges the audience’s
response to the scene and suggests that Mr. Blonde sees torture as
fun.
Taratino’s use of the song Stuck In The Middle With You during a
torture scene makes a powerful statement about the state of mind
of the gangster, Mr. Blonde.
Cue: A piece of music that has been written to begin and end at a
specific point in a film or TV programme.
(http://images2.makefive.com/
images/entertainment/movies/best-
quentin-tarantino-characters/mr-
blonde-7.jpg)

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Sound Bridge: A sound effect or music cue that runs across a cut,
smoothing the join and linking the two shots or scenes together.
Direct Sound is sound that was recorded at the time filming took
place. This can create a sound track that is more like real life as all
sounds are heard at the level they occur in real life. However, using
direct sound can cause problems if something loud happens off
camera, the audience will want to see what has caused the noise
and may think it is important to the story.
Post-Synchronised Sound is added after filming has taken place. In
the Italian film industry, films are usually shot without using any
sound equipment and the dialogue is recorded afterwards in a studio
and matched to the images. Films made in one language are often
dubbed in this way into other languages for foreign markets.
Foley Session: Virtually all sound effects are added to films in a
Foley session. A Foley artist records sounds to accompany the
film, ensuring the sounds match with the images on screen. By
using post-synchronised sound in this way, the volume of each
sound can be controlled so the audience’s attention can be directed
to certain sounds. Other sounds can be reduced in volume or
eliminated altogether. ‘Foley’ is written with a capital ‘f’ as the
process is named after Jack Foley, who developed many sound
techniques.
Practical Activity
Watch a scene from a film you enjoy with the sound turned off.
Using any materials you can bring to hand, create and
alternative soundtrack in your own Foley session. Record your
own dialogue and even add your own music. Make a recording
of your efforts and play them back alongside the scene. How
has the effect or the meaning of the scene been changed? If you
can digitize the scene, import it into a video editing programme
like iMovie and add your new dialogue, music cues and Foley
with more precision.
Scene Analysis: Hot Fuzz
Different types of sound work together to create an overall effect in
the first four minutes of the film Hot Fuzz. At the very beginning of
the film, the central character, Nicholas Angel, is introduced during
a montage showing him completing his police training. This is
followed by a scene with dialogue in his superior’s office. Virtually
all the sound in the first half is post-synchronised which allows the
position and volume of individual sounds to be carefully controlled.
Direct sound is used for the dialogue in the second part of the
sequence as it has been shot in a studio which allows intrusive
sounds from outside the set to be minimised.
The sequence begins with a long
shot of Angel approaching the
camera from some distance. The
sound of his footsteps is on-
screen sound as we can see the
source.
It is also diegetic as it is happening in the world of the film. Remember
though, the footsteps will have been added in a Foley session and will
not be direct sound. Furthermore, the sound of the footsteps echoes
around, suggesting the emptiness of the building. As he reaches the
camera, Angel pulls out his police badge and holds it up to the lens.
As he does so, whooshing sound is heard, emphasising the action
and giving it more impact, even though it feels quite unreal. This is
also a post-synchronised effect as the sound cannot be replicated
using an ID card swishing through the air.
(http://harrytibbleslcmedia.blogspot
.co.uk/2010/09/hot-fuzz-opening-
analysis.html)
Next, Angel is walking through another police building. This time,
however, there are no footsteps. The sound designer or Foley artist
has chosen not to add them, perhaps because they might compete
for the audience’s attention with the music and the voice over which
begin here. The music and the voice over are non-diegetic, they
have been post-sychronised to help build the character and exist for
the audience only.
The subsequent montage gives the audience a lot of information
about Angel’s character very quickly and sound is used to help get
that information across. Key sound effects are emphasized, such as
the ticking of his answer book in the exam, the click of the stop
watch in the athletics and the skid of tyres in the driving sequences.
These sounds help the audience to understand each of the
achievements as they are being shown. Note too that the screech
of the bicycle tyres is not realistic (it sounds more like a car
screeching to a halt). This noise has been used for effect, not realism.
As Angel turns a corner in the building, he looks up as if looking at
a lift indicator. As he does so, a ‘bing’ sound can be heard which
seems to suggest that the lift has arrived and he enters. Although
the audience does not see the lift, sound is used to suggest its
existence and to imply that Angel is going to see somebody
important who works on a higher floor, indicating their position in
the hierarchy. The same sound is used in the latter part of the scene
every time a more important policeman is introduced, suggesting
that they have come down from their offices to see Nicholas Angel.
The non-diegetic music is brisk and gives a sense of how quickly
and efficiently Angel has succeeded in his police career. The song
has also been carefully chosen too. Goody Two Shoes by Adam
and the Ants is used to reflect on Angel’s character, suggesting
that although he is a success, his abilities make him the object of
derision, not admiration. This music also works as a sound bridge,
linking all these very quick shots together into a smooth sequence.
The voice over is also non-diegetic and is used to give information
to the audience quickly. Voice overs are often used by film makers
as a last resort when they have struggled to communicate the story
through other, more visual means. Here though, it feels appropriate
and adds to the comedy.
At the end of the montage, the film cuts to a dialogue scene in the
sergeant’s office. The music ends abruptly which creates an effective
contrast between the loud, fast paced montage and the quiet, slow
scene we are now in. Initially, there is no non-diegetic music in this
scene, but there is plenty of off screen sound. For example, the
viewer can hear telephones ringing and background chat.
(http://superzeroproductions.
blogspot.co.uk/2011/10/
analysing-film-openings-
general-2.html)
Although the audience cannot
see the source of these sounds,
they are still diegetic as they
come from the world of the story
and create the impression of a
busy office. Notice how the
volume of these sounds is kept
down though, so as not to
distract from the dialogue. This
suggests that they have been
post-synchronised and are not
direct sound.
(http://www.wearysloth.com/Gallery/
ActorsC/43141-27300.gif)

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095.UnderstandingandUsingSound Media Studies
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By using off-screen sound in this way, it is possible to create the
illusion that the office is very busy without the need to hire lots of
extras to make it look busy. Think about how you can use off screen
sound in your own practical work in this way to make a scene more
realistic.
Further into the scene, non-diegetic music cues are used to highlight
key moments in the narrative and help let the audience know how to
react. When the sergeant reveals that Angel is going to be made a
sergeant himself, some angelic sounding strings with a rising melody
are used, suggesting that this is the news that Angel has been
waiting for. The music stops abruptly when he finds out where the
position will be however, letting us know that he is disappointed.
When he asks to speak to the inspector, an ominous, deep note is
heard which builds to a climax when the inspector arrives. This use
of music is parallel as it is used to reinforce the meaning of the
images and dialogue.
Coursework Hint
Film and Media coursework will often require you to provide an
analysis of scenes you have looked at for research and looking
at the use of sound is an excellent approach for such an analysis.
Make sure you offer the kind of detail that is given in the example
above to demonstrate your knowledge. Make sure that you use
the key terms appropriately and that you explain in detail how
each technique creates meaning for the audience.
Activity
Use the website www.tellyads.com to watch the adverts listed
below. Write a brief analysis of each one to explain the terms
you have learned in this sheet can be applied to explaining how
sound is used.
Burger King – Angus XT – Mmmm!
Citroen – Orchestra – Marilyn Manson
Persil – Garage Band
Nestle – Yorkie – Shopping Bags
Go Ahead! – Chocolate Thins – Snack Enlightenment
Essential Equipment
If your film is going to feature any direct sound, most likely some
dialogue, you will need to plan carefully how you will make a good
recording. Simply going out to shoot with just a camcorder and no
separate sound recording equipment is unlikely to produce
satisfactory results. Consider investing in the following equipment
to ensure you get the best quality sound that you can.
A camcorder with a separate mic input is very useful so you have
the option to connect an additional microphone and headphones.
You will then need a directional microphone that can be connected
to the camcorder. A directional mic will only pick up sound coming
at it from a certain direction which is useful for reducing unwanted
sound in your recording. Make sure it is pointed at your actor’s
mouths. Microphones require power so make sure you have plenty
of spare batteries. You will also need to make sure that you have a
long enough cable to stretch back to the camera.
(http://www.gadgetspeak.com/
aimg/583805-canon%20legria-
fs200-controls-lcd-screen-l.jpg)
An external microphone will enable you to get your mic closer to
the source of the sound.
You must use headphones to monitor your sound while you shoot.
Before you go out to shoot, do this simple test: connect a pair of
headphones to your camera and hold a mobile phone close to the
microphone, send a text message and listen to the effect. You should
hear an electrical buzzing noise. You should listen out for such
interference and other unwanted sounds. Did a plane fly overhead?
Did the sound boom get knocked? Your sound person should listen
out for such problems and alert the director that they need to do
another take. Unwanted noise like this will spoil your recording and
is virtually impossible to remove in post production. If you are not
sure if you got a good recording, do another take.
A boom pole is essential to get your microphone as close as possible
to your actors without it appearing in the shot. Your sound person
should hold the pole above their head, keeping it parallel to the
ground, dropping it just over the actors’ heads. In close ups, it will
be possible to get the mic closer by holding underneath the frame.
( h t t p : / / g - e c x . i m a g e s -
amazon.com/images/G/01/
musical_instruments/detail-
page/B002GYPS3M-1.jpg)
Aboompole,fittedwitha‘deadcat’isessentialforrecordingdialogue
scenes effectively.
A suspension mount will isolate your microphone from the boom
pole. Vibrations caused by knocks or fingers tapping on the poll
will be, to some extent, absorbed by the rubber mounting that the
mic sits in. Simply taping your mic to a pole will mean that any
vibration of the boom pole will be transferred to the microphone
and cause noise on your recording.
(http://www.ebay.ca/itm/Proaim-
cage-mattebox-blimp-boom-
pole-flycam-body-pod-steady-
l e d - l i g h t - c a m e r a - /
400258197763)
A suspension mount will screw to the end of your boom pole. The
mic sits inside the rubber bands, isolating it from bumps and
knocks.
When shooting outside, wind can blow into the casing of the
microphone and cause a loud rumbling sound that is very distracting.
To combat this, use a ‘dead cat’ to cover your microphone. The fur
will absorb the wind and reduce the noise. Even better, choose your
locations carefully to avoid windy situations altogether.
(http://emmedia.ca/?page_id=41)

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095.UnderstandingandUsingSound Media Studies
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A long cable trailing from the microphone to the camera can be awkward and
is also a trip hazard. You may want to consider recording your sound on a
completely separate device, such as a Zoom H4n. This will give you superior
quality sound and means that your sound recorder can work independently
of the camera operator. You will need to clapperboard every shot if you work
this way to ensure you can syncronise the sound and visuals in the edit.
Coursework Hint
While having the right equipment is important, it will only help you if you know how to use it effectively. Use these simple
filmmaking techniques for better results.
1. Location Recce. Visit all the locations you are planning to use to make your film and consider how you will control sound. Is
traffic noise an issue? Will planes from the nearby airport be intrusive? Is there a noisy air conditioning system you need to take
into account?
2. Room Tone. In every location, get your cast and crew to be quiet and record two minutes of unbroken sound in the location. You
can use this ‘wildtrack’ to cover gaps in your soundtrack where you have had to cut out unwanted and intrusive sounds without
leaving an odd silence, like in Band a Part.
3. Plan your sound design right from the start. Consider what sound effects you are going to need and collect / record sounds as
you proceed with the project. What your film sounds like should be as important to you as what it looks like.
4. Make separate recordings of key sound effects so you can post sync them later. Don’t rely on direct sound for your sound effects.
Activity
In his column in The Independent newspaper, Thomas Sutcliffe has referred to a phenomenon he describes as ‘honking’. This
occurs in a film or TV show when a passing car honks its horn for no apparent reason other than to draw the audience’s attention
to its presence. Sutcliffe also notes that anyone riding a bicycle in the background of a shot will ring the bell, again for no
apparent reason. These things have become clichés of film and TV soundtracks. Other clichés include the fact that speakers
always seem to get feedback when speaking into any microphone in a film or the use of cicadas as a background sound at night
time. Keep a note of any other sound clichés you spot during your viewing. What is the purpose of the apparently unnecessary
sound? Can you use a similar technique in your own work?
(http://www.conceptmusic.com.au/
products/Zoom-H4N-Hand-Held-Digital-
Recorder.html)
Acknowledgements: This Media Studies Factsheet was researched and written by Rob Hind
Curriculum Press. Bank House, 105 King Street, Wellington, TF1 1NU. Media Factsheets may be copied free of charge by teaching staff or students,
provided that their school is a registered subscriber. No part of these Factsheets may be reproduced, stored in a retrieval system, or transmitted, in any
other form or by any other means, without the prior permission of the publisher. ISSN 1351-5136