Welcome to our new series Sculpting the Film Soundtrack, which brings you new perspectives on sound and filmmaking. As Guest Editor, we’re honored and delighted to have Katherine Spring, Associate Professor of Film Studies at Wilfrid Laurier University. Spring is the author of an exciting and important new book Saying it With Songs: Popular Music and the Coming of Sound to Hollywood Cinema. Read it! You’ll find an impeccably researched work that’s the definition of how the history of film sound and media convergence ought to be written.
But before rushing back to the early days, stick around here on SO! for the first of our three installments in Sculpting the Film Soundtrack.
It’s been 35 years since film editor and sound designer Walter Murch used the sounds of whirring helicopter blades in place of an orchestral string section in Apocalypse Now, in essence blurring the boundary between two core components of the movie soundtrack: music and sound effects. This blog series explores other ways in which filmmakers have treated the soundtrack as a holistic entity, one in which the traditional divisions between music, effects, and speech have been disrupted in the name of sculpting innovative sonic textures.
In three entries, Benjamin Wright, Danijela Kulezic-Wilson, and Randolph Jordan will examine the integrated soundtrack from a variety of perspectives, including technology, labor, aesthetic practice, theoretical frameworks, and suggest that the dissolution of the boundaries between soundtrack categories can prompt us to apprehend film sound in new ways. If, as Murch himself once said, “Listening to interestingly arranged sounds makes you hear differently,” then the time is ripe for considering how and what we might hear across the softening edges of the film soundtrack.
- Guest Editor Katherine Spring
Composing a sound world for Man of Steel (2013), Zack Snyder’s recent Superman reboot, had Hans Zimmer thinking about telephone wires stretching across the plains of Clark Kent’s boyhood home in Smallville. “What would that sound like,” he said in an interview last year. “That wind making those telephone wires buzz – how could I write a piece of music out of that?” The answer, as it turned out, was not blowing in the wind, but sliding up and down the scale of a pedal steel guitar, the twangy lap instruments of country music. In recording sessions, Zimmer instructed a group of pedal steel players to experiment with sustains, reverb, and pitches that, when mixed into the final track, accompany Superman leaping over tall buildings at a single bound.
His work on Man of Steel, just one of his most recent films in a long and celebrated career, exemplifies his unique take on composing for cinema. “I would have been just as happy being a recording engineer as a composer,” remarked Zimmer last year in an interview to commemorate the release of a percussion library he created in collaboration with Spitfire Audio, a British sample library developer. “Sometimes it’s very difficult to stop me from mangling sounds, engineering, and doing any of those things, and actually getting me to sit down and write the notes.” Dubbed the “HZ01 London Ensembles,” the library consists of a collection of percussion recordings featuring many of the same musicians who have performed for Zimmer’s film scores, playing everything from tamtams to taikos, buckets to bombos, timpani to anvils. According to Spitfire’s founders, the library recreates Zimmer’s approach to percussion recording by offering a “distillation of a decade’s worth of musical experimentation and innovation.”
In many ways, the collection is a reminder not just of the influence of Zimmer’s work on contemporary film, television, and video game composers but also of his distinctive approach to film scoring, one that emphasizes sonic experimentation and innovation. Having spent the early part of his career as a synth programmer and keyboardist for new wave bands such as The Buggles and Ultravox, then as a protégé of English film composer Stanley Myers, Zimmer has cultivated a hybrid electronic-orchestral aesthetic that uses a range of analog and digital oscillators, filters, and amplifiers to twist and augment solo instrument samples into a synthesized whole.
Zimmer played backup keyboards on “Video Killed the Radio Star.”
In a very short time, Zimmer has become a dominant voice in contemporary film music with a sound that blends melody with dissonance and electronic minimalism with rock and roll percussion. His early Hollywood successes, Driving Miss Daisy (1989) and Days of Thunder (1990), combined catchy themes and electronic passages with propulsive rhythms, while his score for Black Rain (1989), which featured taiko drums, electronic percussion, and driving ostinatos, laid the groundwork for an altogether new kind of action film score, one that Zimmer refined over the next two decades on projects such as The Rock (1996), Gladiator (2000), and The Pirates of the Caribbean series.
What is especially intriguing about Zimmer’s sound is the way in which he combines the traditional role of the composer, who fashions scores around distinct melodies (or “leitmotifs”), with that of the recording engineer, who focuses on sculpting sounds. Zimmer may not be the first person in the film business to experiment with synthesized tones and electronic arrangements – you’d have to credit Bebe and Louis Barron (Forbidden Planet, 1956), Vangelis (Chariots of Fire, 1981), Jerry Goldsmith (Logan’s Run, 1976), and Giorgio Moroder (Midnight Express, 1981) for pushing that envelope – but he has turned modern film composing into an engineering art, something that few other film composers can claim.
One thing that separates Zimmer’s working method from that of other composers is that he does not confine himself to pen and paper, or even keyboard and computer monitor. Instead, he invites musicians to his studio or a sound stage for an impromptu jam session to find and hone the musical syntax of a project. Afterwards, he returns to his studio and uses the raw samples from the sessions to compose the rest of the score, in much the same way that a recording engineer creates the architecture of a sound mix.
“There is something about that collaborative process that happens in music all the time,” Zimmer told an interviewer in 2010. “That thing that can only happen with eye contact and when people are in the same room and they start making music and they are fiercely dependent on each other. They cannot sound good without the other person’s part.”
Zimmer facilitates the social and aesthetic contours of these off-the-cuff performances and later sculpts the samples into the larger fabric of a score. In most cases, these partnerships have provided the equivalent of a pop hook to much of Zimmer’s output: Lebo M’s opening vocal in The Lion King (1994), Johnny Marr’s reverb-heavy guitar licks in Inception, Lisa Gerrard’s ethereal vocals in Gladiator and Black Hawk Down (2002), and the recent contributions of the so-called “Magnificent Six” musicians to The Amazing Spider Man 2 (2014).
The melodic hooks are simple but infectious – even Zimmer admits he writes “stupidly simple music” that can often be played with one finger on the piano. But what matters most are the colors that frame those notes and the performances that imbue those simple melodies with a personality. Zimmer’s work on Christopher Nolan’s Dark Knight trilogy revolves around a deceptively simple rising two-note motif that often signifies the presence of the caped crusader, but the pounding taiko hits and bleeding brass figures that surround it do as much to conjure up images of Gotham City as cinematographer Wally Pfister’s neo-noir photography. The heroic aspects of the Batman character are muted in Zimmer’s score except for the presence of the expansive brass figures and taiko hits, which reach an operatic crescendo in the finale, where the image of Batman escaping into the blinding light of the city is accompanied by a grand statement of the two-note figure backed by a driving string ostinato. Throughout the series, a string ostinato and taikos set the pace for action sequences and hint at the presence of Batman who lies somewhere in the shadows of Gotham.
Zimmer’s expressive treatment of musical colors also characterizes his engineering practices, which are more commonly used in the recording industry. Music scholar Paul Théberge has noted that the recording engineer’s interest in an aesthetic of recorded musical “sound” led to an increased demand for control over the recording process, especially in the early days of multitrack rock recording where overdubbing created a separate, hierarchical space for solo instruments. Likewise for Zimmer, it’s not just about capturing individual sounds from an orchestra but also layering them into a synthesized product. Zimmer is also interested in experimenting with acoustic performances, pushing musicians to play their instruments in unconventional ways or playing his notes “the wrong way,” as he demonstrates here in the making of the Joker’s theme from The Dark Knight:
The significance of the cooperative aspects of these musical performances and their treatment as musical “colors” to be modulated, tweaked, and polished rests on a paradoxical treatment of sound. While he often finds his sound world among the wrong notes, mistakes, and impromptu performances of world musicians, Zimmer is also often criticized for removing traces of an original performance by obscuring it with synth drones and distortion. In some cases, like in The Peacemaker (1997), the orchestration is mushy and sounds overly processed. But in other cases, the trace of a solo performance can constitute a thematic motif in the same way that a melody serves to identify place, space, or character in classical film music. Compare, for instance, Danny Elfman’s opening title theme for Tim Burton’s Batman (1989) and Zimmer’s opening title music for The Dark Knight. While Elfman creates a suite of themes around a central Batman motif, Zimmer builds a sparse sound world that introduces a sustained note on the electric cello that will eventually be identified with the Joker. It’s the timbre of the cello, not its melody, that carries its identifying features.
To texture the sounds in Man of Steel, Zimmer also commissioned Chas Smith, a Los Angeles-based composer, performer, and exotic instrument designer to construct instruments from “junk” objects Smith found around the city that could be played with a bow or by hand while also functioning as metal art works. The highly abstract designs carry names that give some hint to their origins – “Bertoia 718” named after modern sculptor and furniture designer Harry Bertoia; “Copper Box” named for the copper rods that comprise its design; and “Tin Sheet” that, when prodded, sounds like futuristic thunderclaps.
Smith’s performances of his exotic instruments are woven into the fabric of the score, providing it with a sort of musical sound design. Consider General Zod’s suite of themes and motifs, titled “Arcade” on the 2-disc version of the soundtrack. The motif is built around a call-and-answer ostinato for strings and brass that is interrupted by Smith’s sculptural dissonance. It’s the sound of an otherworldly menace, organic but processed, sculpted into a conventional motif-driven sound world.
Zimmer remains a fixture in contemporary film music partly because, as music critic Jon Burlingame has pointed out, he has a relentless desire to search for fresh approaches to a film’s musical landscape. This pursuit begins with his extracting of sounds and colors from live performances and electronically engineering them during the scoring process. Such heightened attention to sound texture and color motivated the creation of the Spitfire percussion library, but can only hint at the experimentation and improvisational nature that goes into Zimmer’s work. In each of his film scores, the music tells a story that is tailored to the demands of the narrative, but the sounds reveal Zimmer’s urge to manipulate sound samples until they are, in his own words, “polished like a diamond.”
Ben Wright holds a Provost Postdoctoral Fellowship from the University of Southern California in the School of Cinematic Arts. In 2011, he received his Ph.D. in Cultural Studies from the Institute for Comparative Studies in Literature, Art and Culture at Carleton University. His research focuses on the study of production cultures, especially exploring the industrial, social, and technological effects of labor structures within the American film industry. His work on production culture, film sound and music, and screen comedy has appeared in numerous journals and anthologies. He is currently completing a manuscript on the history of contemporary sound production, titled Hearing Hollywood: Art, Industry, and Labor in Hollywood Film Sound.
All images creative commons.
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Welcome back to Start a Band, our two-part series on Lou Reed and the Velvet Underground, focusing on what the band’s sonic provocations mean for sound studies today. Last week, we heard from Jake Smith, who introduced us to a way of thinking about the Velvets that emphasized the “haptic” qualities that emerge so often while listening to them. Following that idea, Smith took us on a kind of journey from the skin to the musculature and the viscera through a deep analysis of key songs in their catalog — “This is your body on the Velvet Underground.”
This week, we’re delighted to welcome to Sounding Out! a writer whose work we’ve been eager to feature for a long while — Tim Anderson, Associate Professor of Communication and Theatre Arts at Old Dominion University. Tim has written extensively on popular music and sound, and is currently a leader of the Sound Studies Scholarly Interest Group at the Society for Cinema and Media Studies, one of the scholarly groups associated with the SO! Thursday stream. It’s such a pleasure to present this sensitive and personal account of the Velvet Underground — and of learning to listen.
Reports of Lou Reed’s death came on a Sunday. Even though he was 71, it was still a shock. To many present-day friends and colleagues Reed’s Velvet Underground are a band that they understand are important, but just don’t get. In the case of an artist like Lou Reed, an artist who never had a top ten charting single and only two gold albums, you could see their point.
Still, I obsessed. Rattled from my travels in Washington, DC, I called my wife and we talked about his music for about an hour or so, after which I took a long walk to the Washington Mall. It was a sunny fall day, October 27, 2013, and I walked past the Smithsonian with its prominent memorials, such a clean space for so much past, some of which the nation has buried and some of which we don’t even bother to think about. The deceased have always done the most important work in our nation’s capital.
The day after, I really don’t remember doing much. I took a train home, read everything I could online about Reed, and thought a lot about his records. The ones I liked —New York and The Blue Mask—the ones I learned to like —it took me years to enjoy Transformer—and the ones I loved —The Velvet Underground and Nico, White Light, White Heat, The Velvet Underground and VU. Those four records, more than any records I can remember, altered me, many of my friends in my teens and in college, and almost every rock musician I admired in the 1980s. Velvet Underground records were simply foundational. Writing about Reed’s death, rock critic Greg Kot summed up the Velvet’s influence by claiming that they were “as influential as The Beatles” and if you named “just about any left-of-centre band or artist since the ‘70s”, some of whom like R.E.M., U2 and Talking Heads “became mainstream giants”all of them would “acknowledge a deep debt to the Velvet Underground.”
This influence is the reason that the collective mourning of such a marginally popular figure swelled to such a crescendo. However, to paraphrase the words of one of Reed’s most storied rivals, Lester Bangs, on the death of John Lennon, this was not the mourning of a person. Most of us never met Lou Reed. Instead, we were mourning ourselves. To lose Lou Reed was tantamount to losing the author of a proverbial urtext of a kind of secret rock language that has been passed down since the late 1960s on how to be cool. It was a language of composed of style, gestures, and reactions. It was one that was filled with a fun that was not of the obligatory “hey-dude-let’s-party!” party. The Velvet’s overdriven guitars repeatedly underscored that teenage kicks included other aesthetic pleasures such as contemplation and melancholy. Most importantly, the Velvet Underground offered a language of listening passed down from one rock underground to another.
Because pop fans of all stripes must learn how to be a fan, learning how and what to listen to is a taste-defining social exercise. Simon Frith once explained that, for him, “one aspect of learning how to be a rock fan in the 1960s was, in fact, learning to prefer [original records made by black artists of the 1950s] to covers [made by white artists of the same era]. And this was, as I recall, something that had to be learned [by Frith]: nearly all the records I had bought in the late 1950s had been the cover versions” (Performing Rites: On the Value of Popular Music, 1996). In my case, learning to listen also meant learning what to listen to while listening to The Velvet Underground, a process involving peers, record clerks, friends, musicians and reviews.
As a young rock fan who began first collecting cassettes —that’s right, cassettes —this process would begin through an obsession with R.E.M.’s Murmur, a cryptic, odd inscrutable cassette with no lyrics, a black and white picture and layers of reverb. The copy I found had been severely discounted in a ma and pa record store in Globe, Arizona. In Summer 1983 I read a rave review in a copy of Rolling Stone and at 14 had purchased a cassette unlike anything I had ever heard; I wasn’t sure I enjoyed it. Why did so many reviewers seem to fall over themselves about this record? To solve this puzzle, it meant learning how to listen to music invested in tone rather than ostentatious chops. It meant paying attention to drones rather than solos. It meant following those features to Velvet Underground records after peers, record clerks, friends, musicians and reviews made a point that Murmur reminded them a bit of VU records.
Murmur was also the first record I ever purchased that embraced what Jacob Smith so wonderfully identifies as a distinctive trait of all Velvet Underground records. For Smith, these pop records are part of a genealogy that “stress evocative timbres, idiosyncratic voices, and signature sounds over structural or lyrical complexity.” The distillation of this pop ethos onto record was one of the reasons that so many musicians whose abilities may have been limited but whose tastes tended toward the poetic found The Velvets so influential. As Jonathan Richman explained, “I didn’t start singing or playing till I was 15 and heard the Velvet Underground. They made an atmosphere, and I knew that I could make one too!” (Quoted in Greil Marcus, Lipstick Traces: A Secret History of the Twentieth Century, 61). Indeed, Smith notes that the deceptive complexity of VU Records “can be found more on the level of timbre than in musical structure or instrumentation” and “lyrics often encourage a blurring of listening and touching”; his post actually reads like many of the conversations and reviews surrounding R.E.M.’s debut LP. The same could also be said of records released by other 1980s and 90s artists such as The Pixies, My Bloody Valentine, Opal, Mazzy Star, Radiohead, The Dream Syndicate, Galaxie 500, The Rain Parade, Green on Red, New Order, Joy Division, The Feelies, Spacemen 3, Sonic Youth, The Pretenders, The Sisters of Mercy, Ministry, The Jesus and Mary Chain, and The Violent Femmes, to name but a few who drew water from the Velvet Underground well. Bands sonically inspired by the Velvets often providing feedback before solos, drummed without cymbals, and portrayed dark themes sung in monotones that sounded sophisticated and obscure.
However, actually hearing a Velvet Underground record in 1983 and 1984 was a significant problem for newer fans, as their MGM catalog was out of print. Many understood these records to be effectively buried by label president Mike Curb’s infamous axing of the act from MGM along with seventeen others who allegedly promoted and exploited “hard drugs through music” (Tiegel, Eliot “Mgm Busts 18 Rock Groups.” Billboard, November 7 1970, 1, 70). As Lou Reed himself once noted, “it’s depressing when you’re still around and your albums are out of print.” I have often wondered if this was one of the reasons that The Velvets catalogue would have such a profound effect on so many of us. Sure, I had found a copy of Loaded, the band’s fourth official release, but its bright tones had none of the subversive menace that so many reviewers alluded to when speaking of the Velvets. Even in a mountain town in Arizona, I had a better chance of finding used copies of The Grateful Dead’s Wake of the Flood or Blues for Allah than I did The Velvet Underground and Nico. In other cities, in other record stores, when I did find those records they were used and prices started at $15 and up. They were records I simply could not afford to listen to.
All that changed after 1985, when every MGM Velvet Underground record would appear in my life for less than $25. Bill Levenson’s efforts as Polygram’s then A&R manager to reissue the buried and lost MGM catalog on Verve provided me and every other young person who had only “heard of The Velvet Underground” the chance to finally to listen to all of these records at once. Indeed, the moment of the catalogue’s reissue was simply a sonic flood, one where sounds filled in gaps that had been cut deeply by conversations, descriptions and my own imagination. Writing at the time about these reissues and the unveiling of a lost album’s worth of material that would be titled V.U., David Fricke argued that “rock historians and fans alike owe Bill Levenson, the executive producer of V.U., a debt of thanks for resurrecting these tracks and for giving the band’s first three LPs the proper reissue they’ve long deserved. At $5.98 list price, The Velvet Underground and Nico,White Light/White Heat and The Velvet Underground are essential purchases —certainly essential listening for any study of Seventies and Eighties punk evolution. As for V.U., the Great Lost Velvet Underground Album is no longer lost. It is simply great” (Fricke, David. “The Velvet Underground – V.U.” Rolling Stone, March 14 1985).
Is it too much to suggest a that the pent up desire to hear a secret history sparked by The Velvet Underground’s reissues created the 80s/90s iteration of “alternative rock”? Perhaps, but history is filled with desires asserted, accepted and denied. Indeed, most of those aforementioned 80s alternative acts I came into contact with had been performing and recording and releasing records years before 1985. However, there is no doubt that the VU reissues turned a number of ears predisposed to hearing in a certain way onto new ways of listening to the Velvets concentrated doses of moody darkness, modes that earlier Velvet Underground fans simply had little access to.
Ignoring the impact of the sonic flood of VU material that fell upon my ears during this period turns away from a specific history of listening that, while personally unique, was an opportunity available to so many of my contemporaries. Indeed, if sounds have histories because their traces persist, then listening must have histories guided partially by testimonial. To hear these histories we might ask ourselves to remember how, why, and with whom did we listen, and to trade in this information. If we did so, we might better understand how we learned to listen: especially what to listen to and why it was important. And, without these testimonials of our pasts as listeners, we just may lose sound’s crucial other half.
Featured Image: “Velvet Underground Yellow Label Mono” by Flickr user Simon MurphyThe Velvet Underground – Yellow label mono
Tim J. Anderson is an Associate Professor of Communication and Theatre Arts at Old Dominion University where studies the multiple cultural and material practices that make music popular. He has published numerous book chapters, refereed journal articles, and two monographs: Making Easy Listening: Material Culture and Postwar American Recording (University of Minnesota Press, 2006) and Popular Music in a Digital Music Economy: Problems and Practices for an Emerging Service Industry (Routledge, 2014). His latest research project focuses on recordings, musicians, listeners and the public sphere. His website is timjanderson.weebly.com and he can be contacted at email@example.com.
SO! Reads: Susan Schmidt Horning’s Chasing Sound: Technology, Culture and the Art of Studio Recording from Edison to the LP
The recently published Chasing Sound: Technology, Culture & the Art of Studio Recording from Edison to the LP (Johns Hopkins Press, 2013) is historian Susan Schmidt Horning’s first book. Veering away from the usual sound recording suspects (like the phonograph), Chasing Sound shows the studio and the audio engineer as central to the cultural and technological changes associated with the production and reproduction of sound.
According to Schmidt Horning, such changes were reflected in the shifting ideal of recorded music as a representation of live performance to the ideal of recorded music as a studio-engineered creation. Using the accounts of those responsible for recording sound, Schmidt Horning constructs a rich narrative that manages to be accessible while still focused on the highly technical work required of studio workers. That said, by focusing so heavily on user practices and anecdotes she misses an opportunity to engage with the theoretical implications of the ways audio engineers imagine and describe the actual space in which they work. Still, I contend that Chasing Sound represents an indispensable and critical approach for historians of sound, one that is unafraid of reconfiguring the central players in a narrative as big as the history of recorded music.
As a contribution to sound studies, Chasing Sound follows in the footsteps of Trevor Pinch’s Analog Days, the first work to explicitly apply Science and Technology Studies (STS) approaches to the history of a musical instrument. For Pinch, a critical understanding of sound requires examining the ways in which society and technology produce historical sites of change and stabilization. This approach focuses on understanding the ways people engage with technologies of sound, in order to interrogate their cultural and historical meanings. A historian of science and technology by training, Schmidt Horning has thus devoted much of her academic career to writing about the production and reproduction of sound through the practices and tacit knowledge of engineers, producers, musicians and technicians at music studios. By following the breadcrumbs dropped by these actors, Chasing Sound reveals the rich history of commercial studios and the cultural ideals cultivated therein.
Methodologically, the author draws on a mixed bag of sources, which include oral histories from early recordists, interviews with more contemporary audio engineers, her own ethnomethodogical studio research, trade literature, and archival documents from big studios like EMI. The book proceeds in chronological order, with each chapter laying out changes in the physical and acoustic qualities of commercial studios as they shifted from bare-walled rooms with “the recording horn jutting through a wall at the far end of the room” (9) to multi-track studios complete with “Mission furniture, [and] hand-laid distressed wood floors.” (209) The author plots these changes alongside improvements in the science of acoustics, the importation of techniques and tools from the more well developed medium of radio broadcasting, the consolidation and growth of the recording industry, the rise of independent labels, the emergence of new attitudes and musical tastes, and the professionalization of audio engineering.
Chasing Sound, unlike many other books on the topic, places the studio in relation to a set of changing cultural expectations regarding recorded music. Where recordings were once understood as a reflection of live performance, they later were seen as a signature creation of music studios. Rather than focusing on the phonograph, gramophone, microphone, or magnetic tape, the author argues that the recording studio belongs at the center of recorded music because it was there that the ideal of music as a “technologically mediated art” was first engineered into cultural listening norms. Consequently the audio engineer, or recordist as he (or in rare cases, she) was known prior to the 1930s, must also be understood as central to narratives regarding recorded sound from its inception. In this way, Schmidt Horning aims to recontextualize and centralize the studio and its inhabitants within histories of the production and reproduction of sound.
Because the audio engineer represents an inextricable part of this history, each chapter devotes time to the technologies and practices cultivated by the amateur recordists and trusted professionals responsible for recording sound. Initially such practices formed the basis of their tacit knowledge regarding the proper “staging” of artists in relation to acoustic recording horns among other techniques, but by the 1950s, sound engineers were responsible not just for positioning artists, microphones, and the increasingly important work of “enhancing” recordings during post-production. The book concludes by charting the unfettered rise of independent studios as well as the consequent proliferation of (and backlash to) new sound manipulation technologies in the 1970s.
Throughout the text the author notes the ways in which audio engineers often lamented the increasing technological mediation involved in record production, even as it granted them more creative control and prestige.
Schmidt Horning’s methodology represents Chasing Sound’s strongest quality. The rich narratives of the audio engineers allow the author to directly connect their technologically and culturally informed ideas about what constitutes good sound to the desires and expectations of listeners. In addition to this work, Schmidt Horning also highlights the ways in which advances in engineering technology did not necessarily overlap neatly with cultural norms. Throughout the text the author notes the ways in which audio engineers often lamented the increasing technological mediation involved in record production, even as it granted them more creative control and prestige. Such examples reveal the tightly knit relationship between ideas of liveness, talent, creativity, and authenticity. Chasing Sound is full of stories that detail the complex material, artistic, and ethical constraints around which recordists and engineers navigated in order to achieve the perfect sound.
The author’s methodological approach certainly helps to structure the narrative, but there are also ways in which it prevents her from digging in to important theoretical discourses regarding the studio. As Eliot Bates notes in his article, “What Studios Do,” the way audio engineers conceive of their workspaces is crucial for making sense of the power relations and social interactions that govern and are governed by studio spaces. Chasing Sound does not pursue these discourses. The author briefly mentions how the metaphor of flight is often used by sound engineers regarding the increasingly complex console controls of the 1950s and 60s but does not provide further elaboration on the implications of such a comparison. Even if the participants in her study did not reflect on their colloquial notes about the studio space, it would have been interesting to see Schmidt Horning consider what these metaphors reveal about the changing roles of the engineer.
These points aside, Chasing Sound is an important read both for those with a general interest in the history of sound production and reproduction as well as those scholars more specifically invested in understanding the role of recorded sound in society. Since I discussed the book’s limitations in “Making Music in Studio X,” Chasing Sound has become a foundational text in much of my research. Specifically, the author’s claim that the studio is (and has been) a critical site for examining broader industrial, technological, and cultural changes resonates deeply with me because it offers a critical methodology for considering issues of identity and power within studio spaces that are often neglected. In this regard, Chasing Sound is important not just for what it discusses, but also for what it does not. Noting the lack of female and black audio engineers discussed throughout the book, the author laments, “For the first century of sound recording, the field of audio engineering and recording studios in particular comprised a profoundly white male-centered culture that reflected corporate culture at large and technical professions in particular.” (9) The absence of these faces serves to remind us that while successfully “chasing sound” certainly relies on the cultivation of craft skill, and tacit knowledge, it also depends heavily on access.
Chasing Sound stands out as the most exhaustive history of audio engineering available. Schmidt Horning’s user-focused narrative successfully ties together changes in studio configurations and audio engineering practices with cultural expectations regarding recorded music. This helps to show how the studio and audio engineer can easily be recognized as central figures in the history of sound reproduction. Chasing Sound’s intervention is necessary as the history of recording is often told through artifacts like the phonograph, microphone, and magnetic tape, not living spaces like the studio and its inhabitants. Schmidt Horning’s dedication to telling these neglected stories is what makes the book come to life. Her research promises to open up new avenues for others interested in these issues. For me, this means pursuing lines of inquiry related to the growing philanthropic interest in the recording studio as a site for engaging and “assisting” low-income communities. In this way Chasing Sound asks us to recognize the recording studio as a critical site for the production and reproduction of our assumptions about what counts as appropriate, good, or real in music and people.
Featured Image: My Recording Studio by Flickr User Fabio Dellutri
Enongo Lumumba-Kasongo is a PhD student in the Department of Science and Technology Studies at Cornell University. Since completing a senior thesis on digital music software, tacit knowledge, and gender under the guidance of Trevor Pinch, she has become interested in pursuing research in the emergent field of sound studies. She hopes to combine her passion for music with her academic interests in technological systems, bodies, politics and practices that construct and are constructed by sound. More specifically she would like to examine the politics surrounding low-income community studios, as well as the uses of sound in (or as) electronic games. In her free time she produces hip hop beats and raps under the moniker Sammus (based on the video game character, Samus Aran, from the popular Metroid franchise).
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Making Music at Studio X: The Identity Politics of Community Studios– Enongo Lumumba-Kasongo
SO! Reads: Japanoise: Music at the Edge of Circulation– Seth Mulliken
Welcome back to the final article in our three-part series, Radio de Acción. Special thanks to you, our readers, and to editors Jennifer Stoever and Neil Verma at Sounding Out! for hosting this addition to a burgeoning field of Latin American critics and producers who are changing the way we hear radio as history, as theory, and in practice.
Over the past several weeks we have tried to bring you into the multiple worlds made possible by radio in Latin America. If you missed our previous posts, please find Alejandra Bronfman’s stunning history of radio in the Caribbean here, and Karl Swinehart’s fascinating study of Aymaran-Spanish radio here.
Both of these critical approaches set the stage for Carolina Guerrero’s extraordinary work with radio in the Americas. An executive director and co-founder of Radio Ambulante—a program that fellow co-founder and novelist Daniel Alarcón calls “This American Life, but in Spanish, and transnational”—Guerrero’s post takes us behind the scenes of her show to consider how the sounds on radio come to life for us as listeners, and the significance of hearing someone’s words in her or his own voice and language. For more Radio Ambulante after you finish reading and listening to Carolina’s post, please visit their website and download their podcasts.
–Guest editor Tom McEnaney
In late 2007, novelist Daniel Alarcón was hired by the BBC to produce a radio documentary about Andean migration in his native Peru. He spent 10 days traveling around the country, from the highlands to Lima, conducting interviews in both English and Spanish, talking to a wide range of people with very personal stories about migration. But when Daniel received the final mix from London, he was disappointed to find that the editor had privileged the English language voices, and left out many of the most compelling Spanish language storytellers. Daniel was left with a question: what if there was a space for those voices on the radio waves? What would it sound like?
Over coffee in San Francisco in January 2011, Alarcón and I decided to create that space, inspired by US public radio shows like This American Life and Radiolab, which had no Spanish counterpart. We knew that poignant, fun, surprising, unique, sometimes sordid, sometimes romantic, absurd and incredible stories we often heard in Latin America were out there, just waiting to be reported. We knew that they would make great radio. And we knew there was an audience—in Latin America and the US—that wanted to hear it. The result became Radio Ambulante.
We began by asking many of our print journalist friends in Latin America to share stories with us. We sent them links to stories from some of our favorite American radio programs, and then contacted a few bilingual independent radio producers here in the US, and asked them for advice on the basics of radio production. Many directed us to Transom.org, which was an absolutely essential resource.
In March of 2012, we launched a Kickstarter campaign. All we had was an idea and a sampler with less than 45 minutes of audio—and still, we managed to raise $46,000 with the support of 600 backers. The success of this campaign was a huge confidence boost, and we knew we were on to something. We used this money to produce our pilot season.
Since then, we’ve worked with more than twenty different producers in more than a dozen countries. These are the characters that emerge from Radio Ambulante stories: a transgender Nicaraguan woman living with her Mexican wife in San Francisco’s Mission District; a Peruvian stowaway telling his harrowing tale of coming to New York in 1959, hidden in the hold of a tanker ship; the Chilean soccer player who dared challenge the authority of General Pinochet; a young Argentine immigrant to North Carolina, trying to find his way through the racially charged environment of an American high school. Taken together these voices create a nuanced portrait of Latino and Latin American life:
PERSONAL STORIES FOR ALL EARS
Now in our third season, we’ve been working hard to create a group of trusted producers and editors across Latin America; people we can turn to with an idea, people we know we can trust with our limited time and resources; reporters we can send to Cuba, send to Honduras, send to Venezuela, and be certain they’ll come back with usable tape, and a good story. We want these first time producers to become long-term contributors.
That’s the case of Camila Segura, Radio Ambulante’s current Senior Editor. She had no prior experience as a radio producer when she reported her first story for us in 2012. That piece, El otro, el mismo (The Other, The Same) is about two men, one Colombian, one Argentinian, who not only share the same name, but who look almost identical. From this coincidence, the story becomes something much stranger, funnier, more subtle, and ultimately quite moving:
We want the listener to be able to relate and identify with the characters, to feel what they feel. A good Radio Ambulante story should be universal and shouldn’t have an expiration date.
One story from our first season captures this universal quality. In 2011, River Plate, one of the most famous soccer clubs in South America, was relegated to the Argentine Second Division. This event shook the entire nation, and anyone who listens to this story could relate to the sadness and pain that the protagonist is feeling. Two years later, the story still has that raw power:
HOW WE SOUND
Martina Castro, Senior Producer, has designed most of Radio Ambulante’s sound, finding the balance between music and sound effects in order to support the voice of the main characters. As she explains,
There are many kinds of pieces that make it to Radio Ambulante. Sometimes the story is focused on one person and their experience: something that happened long ago. Like with Mayer Olórtegui in Polizones (The Stowaways), and the story of how he and his friend Mario jumped aboard a ship headed to the United States. There is no substitute for a dynamic storyteller like Mayer. He not only recreates moments, sometimes even imitating the sounds of what he heard, but he remembers the emotion of what happened, and really feels deeply what he is talking about, like when his voice breaks up at the mention of saying goodbye to his friend Mario.
Other, more symphonic, multi-voiced pieces provide a different kind of production challenge. The script must showcase the many characters, while giving the listener enough grounding so as not to get lost. A particularly successful example is our award-winning piece “N.N.”, about Puerto Berrio, Colombia, by reporter Nadja Drost. Nadja gathered recordings of this river town, and conducted interviews with many locals, always focused on the issue of the floating, anonymous dead and the town’s strange relationship with these bodies. The music in a piece like this is only meant to support those real-life sounds and characters, and a repeated melody serves as a ghost-like echo of the dead, those voices we never hear.
We use music carefully to shift the mood, to mark the end of a section, and to alert the listener that something new is coming. The music is also meant to break up chapters of a story, give us a moment to reflect on what we just heard, or to indicate when something is about to change. There are examples in Yuri Herrera’s “Postcard from Juárez,” produced by Daniel Alarcón. It tells the story of Diana la Cazadora, or Diana the Hunter, a vigilante who set about killing bus drivers in one of the world’s most violent cities, allegedly as revenge for years of misogyny and sexism.
In this particular story, we were able to do something that the English version (produced for This American Life) could not: read in the original Spanish the letter that the supposed killer sent the local Ciudad Juárez newspaper explaining her actions. We had this read by Lizzy Cantú, a Mexican journalist who’d worked with us before, and then distorted her voice, to give it that dark ambience. The listener is supposed to feel the grim violence in those words: the desperation.
In three seasons producing the show, we’ve learned that the craft of radio comes from listening, and that the most challenging aspect of producing radio is not in the technical details of recording those voices or sounds, but in the story itself.
The most basic building block of a good radio story is a good interview. The technical aspects of gathering sound are less important than phrasing the questions to get vivid, almost filmic answers, full of details that set the scene.. As Executive Producer Daniel Alarcón explains,
We ask our reporters to push interviewees to describe scenes in great detail, to unpack moments. Our interviews can last two hours or more, and many are surprised that we go so in depth. We like our reporters to circle back, and then circle back again, so that we’re sure we’re getting the most vivid version possible of a given story’s crucial moments.
We ask our reporters to write colloquially, to imagine they’re telling the story to a friend at a bar. It’s important to have immediacy in the language, an expressive tone that can seem almost improvised, even when it isn’t. The emotional impact of radio is that it feels as though a secret is being shared. The script and the production should always be in service of this intimacy.
Before a script is final, it’s shared with other editors on the team around the globe (California, Colombia, Puerto Rico, Chile), mixed, edited, soundtracked, and refined through hours of collective work online.
While creating our own sound and storytelling style, Radio Ambulante is constantly experiment with different formats and looking for new ways to interact with our listeners. We’ve done three live radio shows, in Los Angeles, San Francisco, and New York. In addition, we’ve produced two English Language specials, and partnered with writers and animators on hybrid multimedia storytelling. With our partners at PRI, we’re developing a new interview series, and are working with Latin American universities and media outlets to teach more journalists to use radio. Our hope is that Radio Ambulante’s success will mean more innovative radio work in Spanish, and more experiments in the possibilities of bilingual radio.
Carolina Guerrero is the Executive Director of Radio Ambulante. Before getting into journalism, she was a promoter for cultural and social projects, creating a bridge between organizations in three different continents. She has worked with public and private institutions in several countries, for which she has designed and overseen festivals, art exhibits, teaching workshops and fundraising events. Carolina is a John S. Knight Journalism Fellow at Stanford University 2014-15. She is the proud mother of León and Eliseo. (@nuncaduermo)
All images courtesy @radioambulante on Twitter
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