Group Foley Sounds

These are they sounds we recorded in a group around campus. We were told to go off and collect sounds around campus to then show to the class.
Group sound 6

Group sound 7

Group sound 8

Group sound 9

Group sound 10

Group sound 11

Group sound 12

Foley Sounds

These are the Foley sounds I recorded.

Sound 1

Sound 2

Sound 3

Sound 4



An Oscilloscope is a type of electronic test instrument that allows observation of constantly varying signal voltages, usually as a two-dimensional graph of one or more electrical potential differences using the vertical or y‑axis, plotted as a function of time (horizontal or x‑axis). This way, many types of signals can be converted to voltages and displayed. Oscilloscopes are used to observe the change of an electrical signal over time, such that voltage and time describe a shape which is continuously graphed against a calibrated scale. Some computer sound software allows the sound being reproduced to be displayed on the screen as if by an oscilloscope.

Musique Concrete

Musique concrète is a form of electroacoustic music that is made in part from acousmatic sound. In addition to sounds derived from musical instruments or voices, it may use other sources of sound such as electronic synthesizers or sounds recorded from nature. Also, compositions in this idiom are not restricted to the normal musical rules of melody, harmony, rhythm, metre and so on. Originally contrasted with “pure” elektronische Musik (based solely on the production and manipulation of electronically produced sounds rather than recorded sounds), the theoretical basis of musique concrète as a compositional practice was developed by Pierre Schaeffer, beginning in the early 1940s. The genre emerged out of Europe from the utilization of new music technology developed in the post-Nazi Germany era, following the advance of electroacoustic and acousmatic music.

Sound Terminology

So in our first lecture we also got taught some sound terminology. These are a few we learnt about;

Amplitude (Volume)– Maximum distance particles move from their normal position. Louder the sound, more energy it carries & the bigger the amplitude.

Wavelength– Length of one wave. Distance between one high pressure region (compression) and the next.

Frequency– Number of waves produced in on second. Measured in hertz, Hz. Higher pitched sound has a higher frequency than a lower pitched sound.

Compression– Where particles are squashed together.

Rarefaction– Where particles are spread out.

Tension and release– This is where composers in music build up tension in their sound and then release it.

An Optical Poem

In 1938 Oskar Fischinger created his first commissioned and realised film by a major american studio. The process of making this film involved hundreds of manipulated cut outs hung on invisible wires, and shot frame by frame in synchronisation to Liszt’s Rhapsody. This film resembles imaginary through time and space.

I like the way in this film that he has made something so simple and such basic shapes move so elegantly and softly to the classical music. The different directions and shape conform to his resemblement of space as they make a blank canvas seam 3D and have depth to it. I think this animation works really well and doesn’t take too much out of the sounds so you really listen to the beats of the music instead of concentrating on the visual side of it. This has shown me the importance of music in films and how the choice of music is important to go along side the visual but to also help the visual stand out and be influenced by the sound.

Oskar Fischinger


22 June 1900 – 31 January 1967 German-American abstract animator, filmmaker, and painter

Fischinger was notable for inventing abstract musical animations many decades before the appearance of computer graphics and music videos, and got inspired by a pioneer in abstract films Walter Ruttmann who he met in Frankfurt.
He was known for creating the Lumigraph in the late 1940’s. The Lumigraph instrument produced imagery by pressing against a rubberized screen so it could protrude into a narrow beam of colored light. As a visual instrument, the size of its screen was limited by the reach of the performer. Two people were required to operate the Lumigraph: one to manipulate the screen to create imagery, and a second to change the colors of the lights on cue. The device itself was silent, but was performed accompanying various music.


In this video Svankmajer created in 1990, we see some of Svankmajers claymation work. I really liked this piece as it was very different to what animations I have seen before, he takes the form and creation of the body to a different level. Using sound he adds effects to his piece making each piece of clay have a different character, we see them come alive and the use of metamorphic sounds such as the flapping of the ears representing a butterfly and the snorting of the pig for the nose, its gives an indication to the audience as to what these body parts are before we even see them, like with the nose. We also see a big influence on sound when the genitalia is banging at the door. It leaves the audience wondering what is behind the door, we know it is something big and maybe dangerous because the sound gives us this representation before we see it. It builds up a picture in our heads as to what we might expect. I like the way in which the body is formed together and how each part has a life of their own, creating the hands to begin with which put the body together showing us how important the hands are to be able to do things. The sound is a big part in this film, as it gives character, expectation and build up in the animation. He introduces different elements of the body to visual effects and maintains humour throughout, using incredible detail which makes us believe and see that the clay figure looks very realistic.

Jan Svankmajer


1934-Present Filmmaker and Artist

Svankmajer studied at the College of Applied Arts in Prague and later in the Department of Puppetry at the Prague Academy of Performing Arts.
He has gained a reputation over several decades for his distinctive use of stop-motion technique, and his ability to make surreal, nightmarish, and yet somehow funny pictures.
Švankmajer’s trademarks include very exaggerated sounds, often creating a very strange effect in all eating scenes. He often uses fast-motion sequences when people walk or interact. His movies often involve inanimate objects being brought to life through stop-motion. Many of his films also include clay objects in stop-motion, otherwise known as clay animation. Food is a favourite subject and medium. Švankmajer also uses pixilation in many of his films.