Advice on Teaching Sound

[soundtrane]

Hi

I have been asked to hold some teaching sessions at a new film school out here. The students are young - average age 22 and a mix of wannabe directors/producers/actors/cameramen/editors/soundos. The first set of lectures are on Basics of Sound. I have been preparing sessions to talk about fundamental concepts and definitions. Frequency, Amplitude, Wavelength, Timbre, Pitch, Loudness, etc. I was wondering how long can I keep the attention of say - a kid who wants to be an actor while explaining these concepts. Also without too much math/physics/equations, maybe avoiding equations totally from the picture. I wanted to do this in such a way that the kid will not only remember these concepts but also understand and appreciate their relevance to his work as an actor. I am assuming that txtbook definitions have already been dealt with to some extent in his science class in high school. The point here is to find novel and interesting ways to make them understand and assimilate these concepts. Any ideas, opinions and advice will be greatly appreciated, it will help me formulate my sessions for this class.

best regards

-vin

[tim apter]

hey vin,

ive taught some classes here in SA that seem similar to what you're doing.. drop me an email at timapter@webmail.co.za and i'll forward you the notes i wrote (which were essentially a mish-mash of info from the likes of Jay Rose, Tomlinson Holman and the esteemed folks on RAMPS, dvxuser.com and here)

Tim

[takev]

Hello vin,

Maybe taking a synthesizer and hooking it up to a oscilloscope to show the wave form.

You start by changing the volume, the wave becomes higher/lower.

Then you press an other note, to make the wave form tighter

Pick other sounds, to see a different wave.

Setting the oscilloscope to very slow, you could show ADSR (Attack Decay Sustain Release).

etc.

picture tells a thousand words and such.

Cheers,

    Take

[Ian Thomson]

Hi vin.

last year I was invited to do something similar at my old film school (similar age ranges and interests) - we split the cirriculum into 2 sections, production sound and post/theory.

I've got to say, it's a LOT harder than it looks from the student's side of things (though I may have been looking through rose coloured glasses - it had been 8 years)

no matter how interesting you make the subject matter, be prepared for a few of the students to be dis-interested - it's tough, but most of them managed to get something worthwhile out of the course.

Anything that can get the students up and moving about will help increase their bloodflow, and give you a shot at keeping their interest. I don't know how many students you have, or how useful it would be - but even getting them to stand in different sections of the room and listening to the varying acoustics/decay times of a hand clap, changing positions and repeating - anything that will help them grasp the changes in sound...

Perhaps I'm rambling; but, as Tim has - I'd like to offer my lecture notes so you can pick and choose anything that takes your fancy.

ian@thompsound.com

Best of luck

Ian 

[soundtrane]

Thanks a lot guys, any notes or teaching material you can send me on vinod@soundtrane.com will be truly appreciated.

thanks again!

best regards

-vin

[Doug Brandon]

Maybe you don't need to go too much into the fundamental concepts of accoustical physics to those types of people unless they plan on going into mixing or engineering. The people you mentioned might be more interested in the politics of sound on the set, communications with other departments, script spotting for sound design and how it relates to the different departments during shooting and post production, or similar stuff. I like the fundamentals, and it may be a good lesson if, like you say, you can find a way to relate them to all the different fields that will be in attendance.

I've taught some classes on digital sound recording to engineering students and found that the engineer's mind that is not engaged will quickly go to sleep. I changed my tactics in a hurry.

I think with teaching any class, you MUST engage the students in the lessons by somehow allowing them to participate. Having students come forward at different times to help with demonstrations will keep the others tuned in, almost like watching a good movie, the watcher subconsciously becomes the volunteer standing in front of the class.

You might attach three different microphones next to each other on the end of a boom pole and lock it in the air. Have one student move around it side to side, behind it etc. while a second student slides the faders (presses the solo bottons) of the three mics on the mixer board to hear the differing proximity effects. Leave it up for them to experiment with after class.

You might place two identical microphones next to each other pointed at a loudspeaker emitting a sine wave tone. Moving one mic forward or reverse, hear the effects of phasing.

Demonstrate feedback when you see someone drifting off to la la land.

Or like TAKEV stated above, prepare an oscillascope (they're always fun to watch...and play with after class).

Along with the oscillascope, find an old synthesizer and set a sine wave to one wave per second, and remove the cover from the loudspeaker. Explain compression and rarefaction of a waveform on the blackboard (or whatever color thay are these days), the wave goes up (+) and down(-) as the speaker slowly moves back and forth once per second. As you turn the dial of the old synthesizer, the speaker moves back and forth faster until the eye can no longer perceive it, not coincidently, at around the same time your ears begin to perceive it as a sound somewhere around twenty herz (and hey, the bottom note on the piano...27.5 herz.).

If you were really excited and resourceful, you could explain how the speaker and the diaphragm of the microphone are basically the same thing only acting in reverse of each other. If you have a way to meter the voltage, you could take an old speaker and move it back and forth by hand and demonstrate how magnetic flux tranduces into low voltage signal (perhaps more than you want to get into, but a great show nonetheless).

Regarding the importance of sound to actors, they may not give a hoot (grandma's term) about attack and decay, or bandpass filters, but I have had discussions with some on understanding the importance of sound to their acting careers. I'm a boom operator now. One time working in the mountains of Arizona, Rance Howard (yes, Ron's father) was the big cowboy hat sherrif. He always delivered his lines clear and straightforward (which was helpful because he was wearing a big hat with a rim that forced me to bring the microphone farther out in front at an extreme angle to capture his words.) He was consistent and professional. Another more amatuer actor, who bragged about his acting classes and what a great acting coach he was, would throw many of his lines into the ground (he called what he was doing 'method acting', though I've seen other kinds of method acting that worked for the sound department).

After shooting one day, we were having dinner at the hotel and I expressed how disapointing it was that actors play to the camera, and not to the microphone (I was careful not to implicate the actor in question). He said he teaches his students not to worry about sound, that it was the sound departments problem--it will only impede on the acting performance.

Many actors consider how they would look from different angles, however they don't consider that from their mouth being only on one side, the boom operator will be challanged to keep up with a quickly spinning, bobbing or ducking head (and there's the beginning actor's ever popular 'sobbing with hands over the face while delivering lines' routine).  The same goes, that the camera doesn't want to swing all over the place to follow the actor, neither does the microphone (save the occasional steadicam-walk and talk).

Even after begging the AD to have the actor speak up or not bow his head in sorrow every time he speaks, we ended up having to almost always put a lav mic on this actor because there was no other choice. He spoke in whispers softer than the the trees. We had to turn up the volume on his lav (a crappier sounding mic) to overcome the ambient sounds of the forrest we were capturing with the boom mic (which we were trying to keep consistent with the other actors close-ups to keep the background sound consistent). This actor didn't get it. If they don't sound good, they don't look good.

Oh yes, mention to the camera crew and director wannabe's that whispering during a take usually doesn't go unnoticed.

(Hey OLDSCHOOL, would you mind asking Doug to stop rambling? He might listen to you.)

[tim apter]

nice post doug, i for one appreciate a ramble from a seasoned professional...

[Doug Brandon]

Thank you Tim,

But don't let my light humor with OLDSCHOOL mislead in any way. He is truly a seasoned professional, whereas I hoisted my first boom pole not long ago in '98.

I have only met Mr. Oldschool once, on Saturday, at Don Coufal's (pronounced so-fall) semminar on Good Sound. I met OLDSCHOOL's son first and we had a nice chat. Knowing the apple usually doesn't fall far from the tree, I was not let down when I later met señor Oldschool and found he and his brother (uncle moe, I believe) to be of utmost decent character. And not surprising, these guys, and Jeff wexler, Don Coufal, Robert "Max" Maxwel, Wolf Seeberg and others were quick to lift each other up in high regard. A true group of seasoned professionals of which I only hope to oneday become a part.

Doug

[tim apter]

Yup, a seasoned professional indeed. I too can hope, but I've got at least 30 years of walking the winding noisy road to do before I can lay any sort of "Im a professional" claim. What I like most about the upper echelons of the filmsound community is their willingness to share, and love of educating those below them. It really is one of the things I love most about the field we work in: it really is a world that is more often than not driven by true respect from those of us at the bottom, and true kindness from those at the top.

Aw, Im so soppy.

[bperlman]

A couple of thoughts from another old timer...  For the past few years I have been a guest lecturer/instructor/mentor at a college film school.  I remember my first lecture and the lessons learned... by me.  Like most of us, I love what I do and was excited to share it with these "eager students."  I brought my gear, set up mics, gave everyone headsets and waxed poetic about our important craft. Well, with only a few exceptions, eyes soon glazed over, attention wandered and questions ceased. While not a total disaster, it was not what I'd hoped for, nor expected.  What I failed to realize, as one of the departing students was kind enough to point out, was that the students in this class were going to be directors and producers, not sound people!  (how silly of me) What do they need to know about sound for, anyway?

My recommendations are:

First, know exactly who you are presenting to and tailor your comments to their perceived needs.  In my case I teach three levels. A general overview of sound as a component of filmmaking.  A practical class in recording for the student film.  And, a much more technical mentoring relationship with those students who hope to become mixers.

Second, don't give overly technical information to people who won't use it.  I've been mixing for nearly four decades and the last time I was amused by a wave form scope was in middle school. If you feel you need it, save it for a technical discussion with people who are interested.

Last, do your best to make sound an important part of their filmmaking experience, not the technical mumbo-jumbo they already think it is. I try to teach that regardless of our flashing lights, jumping meters and weird jargon (butt plug, anyone), we are first and foremost on the set to support their film. Their success as directors and producers will be heightened by learning to use all the tools at their disposal... including their sound department.

Bruce

[old school]

Hey Doug, ramble on, thats what the forum is for. I enjoyed meeting Doug and all the other fine folks at Don Coufals "Good Sound" class last sat. I think Don did a great job presenting a complex subject/system, within which we all work. He probably said more in those two hours than he said on our 1st picture together( 5 months on "9 to 5" ) Don is a wise man of few words, so I hope you enjoyed them as much as I did.

   Hey Tim, if your gettin paid , then your a pro, but all pro's can emprove their game so I encourage you and all sound peeps to work on their game and you'll blink a few times and wake up to find that you've been in the league 30 plus years and you are one of the new old guys. I continue my education all the time, but I also work on having a good time doing my job which I believe to be equally  important.

Max Respect.... Old School

[old school]

Hey Bruce, I didn't Know you taught at a film school, but being a film school grad myself I do know that they all want to direct. Who wouldn't? I think your points are well observed and one needs to know one's audience. If you ever teach a class on Doc sound or your wwork on Woodstock, sign me up, I could listen to your stories all day/semester.

Max Respect,    Old School

[tim apter]

Oldschool,

Thanks man... and I continue to appreciate and enjoy all the stories you guys have to share.

Tim

[Doug Brandon]

And not surprising, these guys, and Jeff wexler, Don Coufal, Robert "Max" Maxwel, Wolf Seeberg and others were quick to lift each other up in high regard.

The name should have been Robert "Max" Maxfield, not Maxwel (must have had too much coffey, I mean coffee--didn't even spell Maxwell correctly)

Sorry Max

Doug

[soundtrane]

Notes for my first lecture which went off quite well this afternoon. Thanks for all the inputs and advice, all of it was of great importance to me.

best regards

-vin

Fundamentals_of_Sound_-_Session_I.doc

[redge]

Vin,

If you aren't familiar with it, Geoff Martin's e-book, Introduction to Sound Recording, is excellent: http://www.tonmeister.ca/

So is Ron Streicher's and Alton Everest's New Stereo Sound Book: http://www.stereosoundbook.com/

[soundtrane]

Many thanks redge..

best

-vin

[OscarL]

Hi Vin, great to hear that your first session went well. I have been teaching and holding seminars for a couple of years and agree with most that has been said already, know who you talk to, what might interest them when it comes to sound etc.

I try to have a "workflow" in my head, partly to keep it easier for them to follow and also to keep me on track, it's easy to wander off when you are passionate about something. I have also noticed that having a lot of examples helps keeping the focus. If you have filmclips that illustrate what you say, then they get the connection between sound and picture easier and if you have worked on it an anecdote or two will get the questions going.

I have used "Practical Art of Motion Picture Sound" by David Lewis Yewdall, and it has a nice example of how a mix is beeing built and other interesting examples on a CD. Another good place for facts are  www.filmsound.org , a really good place by an other swede, Sven E Carlsson with a lot of papers and info from many of the leading people in the soundindustry (a little focused on post, but...)

Good luck and if you need more info or inspiration just ask!

Regards

Oscar