May 2018 i

Delighted to see Mark O'Rowe's The Delinquent Season has been released. I'd a great time working on it as my first credited as dialogue editor gig. Working on it, I learned the amazing strengths of Izotope RX spectral repair for cleaning up incidental noises, which was really important for an intimate, dialogue driven drama film.

The Vinyl Factory have released a short film on contemporary musicians and artists using field recording in their work. It raises some really interesting questions about the act of field recording in itself. In a strictly technical mode, the aim would be to record sound as cleanly as possible in the highest fidelity. But if field recording in an artistic sense, it can be argued that it's the moment and place of the recordist in that moment that matters more than the objective quality of the recording. 

December i

November 2017 ii

To celebrate Good Time's general release, Lopatin has put together his second FACT mix (his first was way back in 2010) and woven together a selection of his favorite soundtrack cuts plus a few extras for good measure. It’s a wild ride, kicking off with Giorgio Moroder’s Midnight Express track ‘Cacophony’, running through a cut from Stanley Kubrick’s daughter Vivian (under her Abigail Mead pseudonym), a snippet from Brad Fiedel’s Terminator soundtrack and a memorable theme from Running Man.


Ben Frost + Steve Albini + Richard Mosse = 


The amazing Knobs breaks down a record session for scoring a podcast, using the super creative 'Infinite Jets' pedal:


Automation in Ableton has always been a massive headache, so looking forward to the new automation and arrangement editing functionality:


 Great interview with the  Strangers Things 2  sound team on the   A Sound Effect   Blog. Good insights into what plug ins they were using for some of the 'Mind Flayer' sound.

Great interview with the Strangers Things 2 sound team on the A Sound Effect Blog. Good insights into what plug ins they were using for some of the 'Mind Flayer' sound.

November 2017 i

Screen Shot 2017-11-06 at 21.15.35.jpg

Last week, I mixed the new short film, Distance by Sharon Whooley of Harvest Films. It was a visually and sonically arresting piece of work, so I look forward to seeing it again in the coming months.

Another event I engineered was this years Sounds Alive Hallowe'en event, 'The Demon Tree'. Taking it's name from the Dark Fantasy radio drama production, it featured a fantastic stage design, and musical interludes by the immeasurably talented Laura Sheeran, to heighten the tension of the original radio drama. 

This week I got my LOM 'Elektrouši' coil mics. Handy because they are a stereo pair that plug directly into my PCM-D100. These mics allow you to pick up electromagnetic interference from devices, to hear all the hidden buzzes, tones and click our surroundings are making. A touch of reverb and you start getting some fun stuff:

File_000.jpeg

The ever brilliant SoundWorks Collection have a great interview with the sound team and composers who worked on Blade Runner 2049. The CS-80 stuff with Hans at 07:40 highlighted for me the importance of the other acoustic elements that Vangelis incorporated in his soundtrack to the original. It isn't just the sweeping synth stuff that makes it magic, it's the orchestral elements that anchor the emotional thread of the music, the timpani hits and harp arpeggios that really make it dig into you.

June 2017 i

The June heat means sound is travelling faster than it has all year (warm air increases speed of sound) which unfortunately allows for all the late night drunken Dublin sing song to reach my apartment window even quicker. Not that I'm a curmudgeon!

Anne Maree Barry's new work Otium Cum Dignitate (Leisure with Dignity) which I sound designed is currently on show in The Lab on Foley Street until August 20th. It's a fascinating exploration of gender and class division through the lens of early 20th century Dublin, specifically the notorious Monto area above Talbot Street.

Currently in the works is a radio adaptation of Orla Murphy's award winning theatre drama Remember to Breath

Set during a young Irish woman's attempts to learn to swim in a post-earthquake Christchurch, New Zealand, it explores themes of loss, disconnection, and identity as she strives to reconcile her old home life with her new home land. Sound design and mixing are almost complete and it will be broadcasting on Newstalk FM in the near future.