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63-464: Ollie Jngbert Christian Olsen (born Ian Christopher Olsen , 20 February 1958 – 16 October 2024) was an Australian multi-instrumentalist, composer and sound designer . From the mid-1970s until his later years, he performed, recorded and produced rock, electronic and experimental music . His post-punk groups included Whirlywirld (1978–80), Orchestra of Skin and Bone (1984–86) and No (1987–89). Olsen joined with Michael Hutchence (of INXS ) to form

126-413: A DIY (or "do-it-yourself") approach. From the comfort of their home and at any hour, they can simply use a computer, speakers and headphones rather than renting (or buying) costly equipment or studio space and time for editing and mixing. This provides for faster creation and negotiation with the director. In motion picture production, a Sound Editor/Designer is a member of a film crew responsible for

189-403: A digital audio workstation , and an understanding of game audio integration using audio engine software, audio authoring tools, or middleware to integrate audio into the game engine. Audio middleware is a third-party toolset that sits between the game engine and the audio hardware. Interactivity with computer sound can involve using a variety of playback systems or logic, using tools that allow

252-416: A background in computer programming. Some of such software tools (termed "implementation tools" or "audio engines") feature a workflow that's similar to that in more conventional DAW programs and can also allow the sound production personnel to undertake some of the more creative interactive sound tasks (that are considered to be part of sound design for computer applications) that previously would have required

315-435: A computer programmer. Interactive applications have also given rise to many techniques in "dynamic audio" which loosely means sound that's "parametrically" adjusted during the program's run-time. This allows for a broader expression in sounds, more similar to that in films, because this way the sound designer can e.g. create footstep sounds that vary in a believable and non-repeating way and that also corresponds to what's seen in

378-471: A live performance. A record producer is responsible for extracting the best performance possible from the musicians and for making both musical and technical decisions about the instrumental timbres, arrangements, etc. On some, particularly more electronic music projects, artists and producers in more conventional genres have sometimes sourced additional help from artists often credited as "sound designers", to contribute specific auditory effects, ambiences etc. to

441-465: A manner similar to that of Production Designer , which was created in the 1930s when William Cameron Menzies made revolutionary contributions to the craft of art direction in the making of Gone with the Wind . The audio production team is a principal member of the production staff, with creative output comparable to that of the film editor and director of photography . Several factors have led to

504-613: A musical largely focuses on the artistic merits of sound reinforcement, many musicals, such as Into the Woods also require significant sound scores (see Sound Design for Plays). Sound Reinforcement Design was recognized by the American Theatre Wing's Tony Awards with the Tony Award for Best Sound Design of a Musical until the 2014–15 season, later reinstating in the 2017–18 season. Sound design for plays often involves

567-563: A musical production. This is because sometimes there exists a difference in interests between composers and electronic musicians or sound designers. The latter specialises in electronic music techniques, such as sequencing and synthesizers, but the former is more experienced in writing music in a variety of genres. Since electronic music itself is quite broad in techniques and often separate from techniques applied in other genres, this kind of collaboration can be seen as natural and beneficial. Notable examples of (recognized) sound design in music are

630-628: A musician in the Melbourne punk band, Thrush and the Cunts, in 1978. One of their tracks, "Diseases", appeared in soundtrack of the film, Dogs in Space (1986), which depicts the local little band scene from the late 1970s. She was also a member of Too Fat to Fit Through the Door, alongside Marcus Bergner, Michael Buckley, Tom Hoy, Dave Light and Stuart Grant. They issued a track, "Flintstones Meet

693-410: A recording of Lenin 's voice. Whilst the term "sound designer" was not yet in use, some stage managers specialised as "effects men", creating and performing offstage sound effects using a mix of vocal mimicry, mechanical and electrical contraptions and gramophone records. A great deal of care and attention was paid to the construction and performance of these effects, both naturalistic and abstract. Over

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756-808: A result, Disney utilized systems of that type to control many facilities at their Disney-MGM Studios theme park, which opened in 1989. These features were incorporated into the MIDI Show Control (MSC) specification, an open communications protocol for interacting with diverse devices. The first show to fully utilize the MSC specification was the Magic Kingdom Parade at Walt Disney World 's Magic Kingdom in September 1991. The rise of interest in game audio has also brought more advanced interactive audio tools that are also accessible without

819-610: A return to music and the release of the Whirlywirld Complete Discography 1978-80 LP on HoZac Records due out in June 2020. In 2020 Olsen was diagnosed with multiple system atrophy (MSA). In January 2023 music journalist Jane Gazzo , singer Adalita and producer Nick Launay re-recorded Olsen's 1978 composition "Rooms for the Memory"—originally a top 20 solo single for Hutchence in 1986 and also used in

882-425: A scene might be underscored with music, sound effects or abstract sounds that exist somewhere between the two. Some sound designers are accomplished composers, writing and producing music for productions as well as designing sound. Many sound designs for plays also require significant sound reinforcement (see Sound Design for Musicals). Sound Design for plays was recognized by the American Theatre Wing's Tony Awards with

945-529: A short-term band, Max Q , which issued an album in 1989. He co-founded the alternative electronic music record label Psy-Harmonics with Andrew Till in 1993. In 2014 he formed Taipan Tiger Girls . Ollie Jngbert Christian Olsen (born Ian Christopher Olsen) was born in 1958 in Melbourne. He grew up with a sibling in suburban Blackburn and when he was 11 years-old the family spent four months in Norway in mid-1969. Olsen developed an interest in electronic music as

1008-706: A sound designer beginning in later decades was two-fold. It strategically allowed for a single person to work as both an editor and mixer on a film without running into issues pertaining to the jurisdictions of editors and mixers, as outlined by their respective unions. Additionally, it was a rhetorical move that legitimised the field of post-production sound at a time when studios were downsizing their sound departments, and when producers were routinely skimping on budgets and salaries for sound editors and mixers. In so doing, it allowed those who called themselves sound designers to compete for contract work and to negotiate higher salaries. The position of Sound Designer therefore emerged in

1071-524: A teenager in the mid-1970s, studying with Felix Werder . Olsen issued a range of work from experimental to film and television soundtracks, pop and dance music, installation projects and established record labels . According to Australian musicologist, Ian McFarlane , he is "recognised as one of the key figures in the Australian post-punk electronic movement of the late 1970s. Ever the experimentalist, Olsen's eclectic career in avant rock took him from

1134-606: A theatre sound designer in North America . He summarized his conclusions in a document which, although somewhat dated, provides a succinct record of what was then expected. It was subsequently provided to the ADC and David Goodman at the Florida USA local when they both planned to represent sound designers in the 1990s. MIDI and digital audio technology have contributed to the evolution of sound production techniques in

1197-513: A video for some of his songs, he uses so many great images, and the rhythms he uses are amazing as well. In 1989 Olsen and Hutchence collaborated on a musical project, Max Q , co-producing a self-titled album combining electronic music with orchestra, bass, guitar and backing vocals. The Max Q band included Arne Hanna (guitar), Bill McDonald (bass), John Murphy (drums, percussion), Michael Sheridan (guitar) and Gus Till (keyboards). After recording Olsen and Hutchence travelled to New York City to mix

1260-524: A wide variety of international artists. As of 2006, Olsen was working on a number of recording projects—mostly electro-acoustic pieces—with artists from Australia, Japan and South Africa, for performance and release in 2006. Olsen's musical output that year consisted of the release of the album, I Am The Server (13 February 2006), through the Greek record label, Creative Space, and the release of an electro-acoustic album, entitled Simulated . I Am The Server

1323-534: Is an Australian musician and actress. As a vocalist and keyboardist , she was a member of Sacred Cowboys , Orchestra of Skin and Bone (1984–86), No (1987–89) and a number of bands in Melbourne's little band scene . As an actor, she appeared in the 1986 film Dogs in Space , where she performed the Boys Next Door 's track, " Shivers ". She worked with performance artist, Stelarc , on a short science fiction film, Otherzone (1998). Marie Hoy began as

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1386-599: Is marked in the Theatre Magazine (1906) with two photographs; one showing a musician blowing a bugle into a large horn attached to a disc recorder, the other with an actor recording the agonizing shrieks and groans of the tortured martyrs. The article states: “these sounds are all realistically reproduced by the gramophone”. As cited by Bertolt Brecht , there was a play about Rasputin written in (1927) by Alexej Tolstoi and directed by Erwin Piscator that included

1449-447: Is seeing plays being written increasingly with shorter scenes, which is difficult to achieve with scenery but easily conveyed with sound. The development of film sound design is giving writers and directors higher expectations and knowledge of sound design. Consequently, theatre sound design is widespread and accomplished sound designers commonly establish long-term collaborations with directors. Sound design for musicals often focuses on

1512-666: The Academy of Motion Picture Arts and Sciences recognizes the finest or most aesthetic sound design for a film with the Golden Reel Awards for Sound Editing in the film, broadcast, and game industries, and the Academy Award for Best Sound respectively. In 2021, the 93rd Academy Awards merged Best Sound Editing and Best Sound Mixing into one general Best Sound category. In 2007, the Tony Award for Best Sound Design

1575-497: The 1980s and 1990s. Digital audio workstations (DAW) and a variety of digital signal processing algorithms applied in them allow more complicated soundtracks with more tracks and auditory effects to be realized. Features such as unlimited undo and sample-level editing allows fine control over the soundtracks. In theatre sound , features of computerized theatre sound design systems have also been recognized as being essential for live show control systems at Walt Disney World and, as

1638-647: The Boys Next Door 's track, " Shivers ". Tim Groves of Senses of Cinema observed "Nick Cave fans will appreciate a snippet of the Boys Next Door's version of their classic 'Shivers' (but pine for the rest of the clip, especially when Hoy performs the song at a gig)." In 1984 Hoy joined post-punk band, Orchestra of Skin and Bone , on lead vocals and keyboards with Arnie Hanna on guitar, David Hoy on cello, Tom Hoy on saxophone, Lochie Kirkwood on vocals and saxophone, Ollie Olsen on lead vocals and guitar, Dugald McKenzie on vocals and autoharp, John Murphy on drums, James Rogers on trumpet and Peter Scully on guitar. They issued

1701-633: The Flintsones", on a four-track split extended play , Little Band (1979), with one track each by Morpion, the Take, and Ronnie and the Rhythm Boys. As an actress, Hoy appeared in the short film Incubus (1983), collaborating with Bergner and Buckley. In the same year she appeared in another short, Etrusco Me , directed by Bergner. Initially conceived as a prop for a performance by singer and musician Marie Hoy (who also appears in it), "Etrusco Me"

1764-849: The Melbourne 'little bands' scene, as a member of Too Fat to Fit Through the Door and others. Other musicians associated with Orchestra of Skin and Bone included David Hoy on cello, Tom Hoy on saxophone, Lochie Kirkwood on vocals and saxophone, Dugald McKenzie on vocals and harmonica, James Rogers on trumpet and Peter Scully on guitar. They issued a self-titled album in 1986 and disbanded soon afterwards. The following year, Ollie formed No , with Olsen on keyboards, vocals, drum machine and sampler, Marie Hoy on keyboards, vocals and samples alongside Kevin McMahon on bass guitar and Michael Sheridan on guitar in 1987. Film director Richard Lowenstein asked Olsen to appear in and work as music director for his feature film, Dogs in Space (December 1986). Olsen supervised

1827-683: The Reals' line-up was Peter Cave on drums, Gary Gray on lead vocals and Chris Walsh on bass guitar. At the end of 1977 he formed the Young Charlatans with Janine Hall on bass guitar, Rowland S. Howard on guitar (ex-Obsessions) and Jeffrey Wegener on drums (ex- Saints ). Australian music journalist Clinton Walker described this band as having "inner-city 'supergroup' status from the outset and helped pioneer post-punk rock in Australia." Howard had written his iconic song " Shivers " while with

1890-569: The Reals, one of the original Melbourne punk combos of the late 1970s, through to the acid-house/techno/trance outfit Third Eye . He was also the driving force behind the Psy-Harmonics label." In the late 1970s Olsen formed two punk , post-punk bands, as leader and vocalist, as well as being a key figure in the Melbourne little band scene . His punk bands included the Reals and the Young Charlatans . Aside from Olsen on guitar,

1953-426: The Tony Award for Best Sound Design of a Play until the 2014–15 season, later reinstating the award in the 2017–18 season. In the contemporary music business, especially in the production of rock music , ambient music , progressive rock , and similar genres , the record producer and recording engineer play important roles in the creation of the overall sound (or soundscape ) of a recording, and less often, of

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2016-724: The Young Charlatans, it was later recorded and released by a group Howard joined soon afterwards, The Boys Next Door . Young Charlatans recorded the first (and second) version of "Shivers" as part of their unreleased demos, which were made by Bruce Milne for a future single on his Au Go Go Records label. The Young Charlatans broke up in May 1978 and Olsen, on lead vocals, synthesiser, clarinet and saxophone, formed Whirlywirld , with Andrew Duffield on synthesiser, John Murphy on drums (ex-the News), Dean Richards on guitar and Simon Smith on synthesiser. Their debut self-titled three-track extended play

2079-413: The ability of sound designers to acquire source material quickly, easily and cheaply. Nowadays, a designer can preview and download crisper, more "believable" sounds as opposed to toiling through time- and budget-draining "shot-in-the-dark" searches through record stores, libraries and "the grapevine" for (often) inferior recordings. In addition, software innovation has enabled sound designers to take more of

2142-479: The addition of new equipment. In conjunction with the director and musical director, if any, the sound reinforcement designer determines the use and placement of microphones for actors and musicians. The sound reinforcement designer ensures that the performance can be heard and understood by everyone in the audience, regardless of the shape, size or acoustics of the venue, and that performers can hear everything needed to enable them to do their jobs. While sound design for

2205-504: The associated film Dogs in Space . Olsen's MSA was announced in June 2023 and the new rendition featuring Mick Harvey , Andrew Duffield and Mat Watson ( Taipan Tiger Girls ) was due for release in July with proceeds in support of his ongoing medical expenses. in June 2023, in was reported by Greg Phillips of Australian Musician , that Olsen's condition "continues to deteriorate as there is currently no known cure." In early October 2024 it

2268-776: The contributions of Michael Brook to the U2 album The Joshua Tree , George Massenburg to the Jennifer Warnes album Famous Blue Raincoat , Chris Thomas to the Pink Floyd album The Dark Side of the Moon , and Brian Eno to the Paul Simon album Surprise . In 1974, Suzanne Ciani started her own production company, Ciani/Musica. Inc., which became the #1 sound design music house in New York. In fashion shows,

2331-409: The design and implementation of a sound reinforcement system that will fulfill the needs of the production. If a sound system is already installed in the performance venue, it is the sound designer's job to tune the system for the best use for a particular production. Sound system tuning employs various methods including equalization , delay, volume, speaker and microphone placement, and in some cases,

2394-461: The director and possibly the composer, decides upon the sounds that will be used to create the desired moods. In some productions, the sound designer might also be hired to compose music for the play. The sound designer and the director usually work together to "spot" the cues in the play (i.e., decide when and where sound will be used in the play). Some productions might use music only during scene changes, whilst others might use sound effects. Likewise,

2457-536: The entirety or some specific parts of a film's soundtrack. In the American film industry , the title Sound Designer is not controlled by any professional organization , unlike titles such as Director or Screenwriter . The terms sound design and sound designer began to be used in the motion picture industry in 1969. At that time, The title of Sound Designer was first granted to Walter Murch by Francis Ford Coppola in recognition for Murch's contributions to

2520-464: The film The Rain People . The original meaning of the title Sound Designer , as established by Coppola and Murch, was "an individual ultimately responsible for all aspects of a film's audio track, from the dialogue and sound effects recording to the re-recording (mix) of the final track". The term sound designer has replaced monikers like supervising sound editor or re-recording mixer for

2583-568: The ideas and techniques of sound design have been around almost since theatre started. Dan Dugan , working with three stereo tape decks routed to ten loudspeaker zones during the 1968–69 season of American Conservatory Theater (ACT) in San Francisco, was the first person to be called a sound designer. A theatre sound designer is responsible for everything the audience hears in the performance space, including music, sound effects, sonic textures, and soundscapes. These elements are created by

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2646-407: The original film for a DVD release, Lowenstein told Trevor Block: But Whirlywirld were always the ones for me. I mean, their music is in the movie itself, over the end credits. And the great thing about Ollie [Olsen], and one of the reasons I asked him to do so much in the movie, is that his songs have always had a feel to them, a kind of mood that fitted in with what we were doing. You'd die to make

2709-438: The picture. The digital audio workstation cannot directly "communicate" with game engines, because the game's events often occur in an unpredictable order, whereas traditional digital audio workstations as well as so called linear media (TV, film etc.) have everything occur in the same order every time the production is run. Especially, games have also brought in dynamic or adaptive mixing. The World Wide Web has greatly enhanced

2772-583: The production of interactive sound (e.g. Max/MSP, Wwise). Implementation might require software or electrical engineering of the systems that modify sound or process user input. In interactive applications, a sound designer often collaborates with an engineer (e.g. a sound programmer) who's concerned with designing the playback systems and their efficiency. Sound designers have been recognized by awards organizations for some time, and new awards have emerged more recently in response to advances in sound design technology and quality. The Motion Picture Sound Editors and

2835-428: The production. These people are usually more versed in e.g. electronic music composition and synthesizers than the other musicians on board. In the application of electroacoustic techniques (e.g. binaural sound) and sound synthesis for contemporary music or film music, a sound designer (often also an electronic musician) sometimes refers to an artist who works alongside a composer to realize the more electronic aspects of

2898-465: The promotion of audio production to this level, when previously it was considered subordinate to other parts of film: The contemporary title of sound designer can be compared with the more traditional title of supervising sound editor ; many sound designers use both titles interchangeably. The role of supervising sound editor , or sound supervisor , developed in parallel with the role of sound designer . The demand for more sophisticated soundtracks

2961-406: The reforming of acts from the late 1970s little band scene and produced music recordings for the soundtrack. He re-recorded material by Whirlywirld including two singles, "Win/Lose" (April 1987) as a solo effort, and "Rooms for the Memory" (February) by the film's star, Michael Hutchence (of INXS ). The film also featured Marie Hoy singing "Shivers". In a 2009 interview, following the restoration of

3024-510: The same position: the head designer of the final sound track. Editors and mixers like Murray Spivack ( King Kong ), George Groves ( The Jazz Singer ), James G. Stewart ( Citizen Kane ), and Carl Faulkner ( Journey to the Center of the Earth ) served in this capacity during Hollywood's studio era, and are generally considered to be sound designers by a different name. The advantage of calling oneself

3087-427: The script for music and sound effects to be played at the appropriate time. Italian composer Luigi Russolo built mechanical sound-making devices, called " intonarumori ," for futurist theatrical and music performances starting around 1913. These devices were meant to simulate natural and man-made sounds, such as trains or bombs. Russolo's treatise , The Art of Noises , is one of the earliest written documents on

3150-413: The selection of music and sounds (sound score) for a production based on intimate familiarity with the play, and the design, installation, calibration and utilization of the sound system that reproduces the sound score. The sound designer for a play and the production's director work together to decide the themes and emotions to be explored. Based on this, the sound designer for plays, in collaboration with

3213-715: The sound designer often works with the artistic director to create an atmosphere fitting the theme of a collection, commercial campaign or event. Sound is widely used in a variety of human–computer interfaces , in computer games and video games .  There are a few extra requirements for sound production for computer applications, including re-usability, interactivity and low memory and CPU usage. For example, most computational resources are usually devoted to graphics. Audio production should account for computational limits for sound playback with audio compression or voice allocating systems. Sound design for video games requires proficient knowledge of audio recording and editing using

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3276-819: The sound designer, or sourced from other sound professionals, such as a composer in the case of music. Pre-recorded music must be licensed from a legal entity that represents the artist's work. This can be the artist themselves, a publisher, record label, performing rights organization or music licensing company. The theatre sound designer is also in charge of choosing and installing the sound system —speakers, sound desks, interfaces and convertors, playout/cueing software, microphones, radio mics, foldback, cables, computers, and outboard equipment like FX units and dynamics processors. Modern audio technology has enabled theatre sound designers to produce flexible, complex, and inexpensive designs that can be easily integrated into live performance. The influence of film and television on playwriting

3339-537: The tracks with DJ Todd Terry . Max Q is featured in the 2019 film Mystify by Richard Lowenstein. Olsen returned to Australia and turned his attentions to trance music , co-founding Australian electronic music label, Psy-Harmonics, with Gus Till's brother, Andrew Till, and recording under the name Third Eye. From the 1990s onwards, he worked increasingly in sound design and score for film and score for television. Olsen lectured on and taught electronic music at various universities and symposia, and also performed with

3402-433: The twentieth century recorded sound effects began to replace live sound effects, though often it was the stage manager 's duty to find the sound effects , and an electrician played the recordings during performances. Between 1980 and 1988, Charlie Richmond, USITT's first Sound Design Commissioner, oversaw efforts of their Sound Design Commission to define the duties, responsibilities, standards and procedures expected of

3465-422: The use of abstract noise in the theatre. After his death, his intonarumori' were used in more conventional theatre performances to create realistic sound effects. Possibly the first use of recorded sound in the theatre was a phonograph playing a baby's cry in a London theatre in 1890. Sixteen years later, Herbert Beerbohm Tree used recordings in his London production of Stephen Phillips ’ tragedy NERO. The event

3528-596: Was announced that Olsen would be inducted into the Music Victoria Hall of Fame on 24 October 2024. Olsen married his long term partner and carer, Jayne Olsen on 9 October 2024. Olsen died on 16 October 2024, at the age of 66. Credits: In 1993 Olsen formed Psy-Harmonics, an independent record label , with Andrew Till, which specialised in electronic music . Sound designer The use of sound to evoke emotion, reflect mood and underscore actions in plays and dances began in prehistoric times when it

3591-599: Was composed, recorded and engineered by Olsen, with additional music from Bill McDonald and Peter Luscombe ; the album was mastered by Simon Pool at LGM studios and the album artwork was produced by Maro Kassoti. Simulated was composed, performed and engineered by Olsen, between 1999 and 2006, mastered by Simon Pool at LGM studios, in January 2006, and the album artwork was, again, produced by Maro Kassoti. In January 2019, Olsen announced his retirement from music via Facebook. In May 2020, Olsen announced publicly online on making

3654-530: Was created to honor the best sound design in American theatre on Broadway . North American theatrical award organizations that recognize sound designers include these: Major British award organizations include the Olivier Awards . The Tony Awards retired the awards for Sound Design as of the 2014–2015 season, then reinstated the categories in the 2017–18 season. Marie Hoy Marie Hoy

3717-414: Was felt both inside and outside Hollywood, and the supervising sound editor became the head of the large sound department, with a staff of dozens of sound editors , that was required to realize a complete sound job with a fast turnaround. Sound design, as a distinct discipline, is one of the youngest fields in stagecraft , second only to the use of projection and other multimedia displays, although

3780-612: Was impressed with the band's first EP when out here last year". The duo formed the Beast Apparel, which later became Hugo Klang, and released a single, "Grand Life for Fools and Idiots", in 1982. Olsen returned to Australia in the following year and continued Hugo Klang with Alan Bamford, Tom Hoy and Laughton Ellery, before this group split up in 1983. In 1984 Olsen on vocals and guitar, Marie Hoy on keyboards and vocals and Murphy as drummer formed "an avant-garde outfit", Orchestra of Skin and Bone . Marie Hoy had been an instigator of

3843-571: Was released in June 1979 via Missing Link Records. Olsen wrote two tracks and co-wrote the third with Murphy. The group issued a second self-titled EP in February 1980. The first 500 copies also included a bonus single, "Sextronics", but Whirlywirld disbanded before it appeared. Olsen and Murphy relocated to the United Kingdom in early 1980 on the recommendation of Iggy Pop . The Canberra Times ' Jonathan Green reported that "The Ig

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3906-677: Was screened at the Melbourne International Film Festival in July–August 2009. The film juxtaposes and intermixes sculptural and linguistic elements, shifting meaning and sense, which parallels the theatrical atmospherics and ballistics later characteristically employed in the plays by the Austrian writer/artist Werner Schwab. Hoy also appeared in Dogs in Space , as front woman of Marie Hoy and Friends, to perform

3969-643: Was used in religious practices for healing or recreation. In ancient Japan, theatrical events called kagura were performed in Shinto shrines with music and dance. Plays were performed in medieval times in a form of theatre called Commedia dell'arte , which used music and sound effects to enhance performances. The use of music and sound in the Elizabethan Theatre followed, in which music and sound effects were produced off-stage using devices such as bells, whistles, and horns. Cues would be written in

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