ABSTRACT
Animation provides the sound editorial department with a silent backdrop from which to create a sonic world. Whether cutting hard effects, developing backgrounds, creating design elements, or recording Foley effects, the absence of production audio associated with live action film is often liberating. As with score, readily identifiable styles of FX and Foley have emerged that are associated with innovated sound designers, production companies, and animation genres. The use of sound effects for dramatic purposes can be traced back to ancient Greek theater. In the beginning of the twentieth century, Radio Theater became the primary outlet for storytelling. The techniques developed for Radio Theater would become the foundation for sound in cinema. Treg Brown and Jimmy MacDonald are two of the earliest known sound designers. Brown is known for his creative blending of subjective and realistic sounds to create the unique SFX style associated with the early Warner Brothers animation. Jimmy MacDonald is remembered for developing many of the innovated sound making devices that can be heard in decades of Disney classics. In the 1950s, Wes Harrison “Mr. Sound Effects” demonstrated the power of vocalizations that can be heard in many of the Disney and MGM productions of that decade. Wes proved that many of the best SFX are found 72right under our noses. When Hanna and Barbera left MGM, they brought a large portion of the SFX library used for Tom and Jerry with them. With the help of Pat Foley and Greg Watson, Hanna and Barbera developed one of the most iconic SFX libraries in the history of animation. Contemporary sound designers such as Gary Rydstrom, Randy Thom, Ben Burtt, and Dane Davis continue the strong tradition established by these innovators.
Thanks to the movies, gunfire has always sounded unreal to me, even when being fired at.
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