Norman Mclaren Animated Sound
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Notes on Animated SoundAuthor(s): Norman McLaren and William JordanSource: The Quarterly of Film Radio and Television, Vol. 7, No. 3 (Spring, 1953), pp. 223-229Published by: University of California PressStable URL: http://www.jstor.org/stable/1209819 .
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N o t e s o n Animated S o u n d
NORMAN McLAREN
Introduction by WILLIAM JORDAN
NORMAN McLAREN is currently in India on a film assignment for UNESCO, but willreturn to Ottawa, Canada, to resume his work with the Canadian Film Board. A pioneerin animation, McLaren composed and photographed music and sound effects from draw-
ings in three notable films, Love Your Neighbor, Now Is the Time, and Two Bagatelles.William Jordan, a member of the Theater Arts Department of the University of Cali-
fornia, Los Angeles campus, introduces Mr. McLaren's description of his animated soundmethod with an explanation of normal sound recording.
IN NORMALound recording, the "live"voice, music, or noise, is collected bya microphone which converts these audible sound energies into correspond-
ing, fluctuating electrical energy. This current is then carried throughwires to the recording apparatus. After amplification, the electrical impulsesactuate a light valve which produces on film emulsion a photographicimage of the original sounds. Depending upon the kind of light valve used,the image may be either one of varying area-a saw-toothed pattern where
black meets white-or one of varying density, which appears as strips oflightness or darkness. These photographic images of sound waves are re-corded on a narrow strip near one edge of the film width, and are convertedback to sound when the completed film is run through a sound projector.In other words, actual sounds are translated into energy, and the energyinto light, which can be recorded on film as a pattern of light and dark.Because the animated sound techniques described in this article also pro-duce patterns on film, animated and recorded live sound can be used inthe same film. McLaren's Two Bagatelles contains a section of recorded
calliope music, and Maurice Blackburn, who composed and photographedmusic for Twirligig and Phantasy, used in the latter a combination of ani-mated sound and saxophones.
In the article which follows, Norman McLaren describes each step of hisanimated sound technique.
A SMALL LIBRARY of several dozen cards, each containing black
and white areas representing sound waves, replaced traditional
musical instruments and noisemaking devices in the animated
sound process developed at the National Film Board in Canada.
These drawings were photographed with the same kind of
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motion-picture camera as is normally used in the shooting of
animated cartoons. In fact, they were shot in precisely the same
wayas the drawingsof a cartoon;that is, one drawingis placed infront of the cameraand one frame of film is taken. Then the first
drawing is removed, replaced with another drawing, and the
second frame of film taken; the drawing is changed again, the
third frame taken, and so on.
The only difference from normal cartoon picture shooting is
that the drawingsare not of scenesfrom the visible world around
us but are of sound waves, and they are not done on cards ofmotion-picture screen proportions but on long, narrow cards.
These cardsarephotographednot on the area of the filmoccupied
by the picture but to the left of it, on the narrow verticle strip
normally reserved for the sound track.
When the film is developed and printed, and run on a sound
projector, the photographed images of these black-and-white
drawingsare heard as either noise, sound effects,or music. It istherefore logical to call the kind of sound produced in this way"animated"sound, for it is madeby the same method as animated
pictures, and from a creative and artistic point of view it shares
many of the peculiarities and possibilities of animated visuals. It
could also be called "drawn" or "graphic"sound; in the past it
has frequently been called "synthetic"sound, which is correct,
but since "synthetic" sound also includes sound made by newelectronic and electrical instruments which do not necessarilyinvolve the use of motion-picturefilm,this is a moregeneral term.
"Animated"is by far the most precise term for the type of sound
discussedin this article.
There aremanypossiblewaysof makinganimatedsound,some
of which were tried out aslong ago as 1931.These notes deal only
with the method we have been developing during the last fewyearsat the National Film Boardof Canada.
It would have been possible to make drawingsof sound waves
byrecording"live"music soundson film soundtrack,then tracing
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ANIMATED SOUND 225
the resulting patternsfrom the track.However, to do this would
be as pointless and creatively stultifying as to make animated
cartoonsby photographinglive actorsand tracing their outlines.Instead, in the films under discussion,a nonnaturalisticapproachwastaken,with no particularattemptto imitate naturalsoundsor
traditionalmusical instruments. New kinds of sound waveswere
made by using simple and easily drawn shapes.The drawingsconsist of a basic figure or simple shape that is
repeatedover and over to forma patternedband.The figure may
be no more thanawhite line on a darkgroundorasingle gradationof tone fromlight to dark,but, byvirtue of its identical repetition,it builds up into a series of sound waves having a definite tone
color.
Each card in the library of drawingscarries one such band of
repeatedpatternson an areaone inch wide by twelve inches long.On some cardsthe basic figure is repeated only about four times
within this area, and this, when photographedon one frame offilm,will sound as a musicalnote of a fairlydeep pitch (abouttwo
octavesbelow middle A). For mid-pitchesthere are from twentyto thirtyrepetitions of the basic figureon each card,and for very
high-pitched notes as many as one hundred and twenty.There is one cardfor each semitone of the chromaticscale,and
in all, for the sound tracksof Love YourNeighbour, Now is the
Time, Two Bagatelles, Twirligig, and Phantasy, sixty such cardswereused,coveringarangeof fiveoctaves,fromtwo octavesbelow
middle A to three octaves above.
These sixty cardswere labeled with the standardmusical nota-
tion and arrangedsystematically n a small box to form a kind of
keyboard.When the music wasbeing shot, the box wasplaced beside the
camera so that the composer(whowould alsooperatethe camera),desiringa particularpitch, could select from the box the requiredcard and place it in front of the camera.
To get notes of a very deep pitch, the music was shot twice as
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fast as finally desired; in the process of rerecording it was slowed
down by half, and thus dropped one octave in pitch.
Because a picture camera takes film intermittently by the frame-ful (rather than running continuously as in the ordinary sound
recording equipment) the sound track has a mosaic nature; in
other words, it builds up out of small units each one twenty-fourth
of a second long.1If longer duration of a note is desired, several successive frames
of the same card are shot, building up a sustained effect by a very
rapid repetition of the same note, as in a mandolin or xylophone;for a very short note, just one frame or at most two frames suffice.
For rests and pauses a black card is photographed. Thus by
photographing combinations of picture cards and black cards for
varying lengths of time and at varying speeds, the composer con-
trols both pitch and rhythm.
Before exposing the film, however, the composer has to deter-
mine the precise volume or dynamic level of the notes. This is oneof the important new factors in animated music, for in the past
dynamic markings have never been written into traditional music
scoring with any degree of precision. The difference between forte
and fortissimo, piano and pianissimo, for example, is relative, not
exact.
In addition, the standard pp, p, mf, f, and ff, etc., indicating
relative and approximate amounts of volume, are never appliedto every single note in a score, and their final determining is left
to the interpreting artist; but in creating animated music, the
composer determines the precise dynamics of every note in the
score. In other words, the composer must also be the interpretive
artist.
To this end, twenty-four degrees of dynamic level were used
(representing a decibel scale) and opposite each note in the scorethe number representing the desired dynamic level of that note
was written.
1The standard for projecting sound motion pictures is at the rate of twenty-four images
per second.
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For instance, o, i, and 2 represent three differing degrees of
ppp; 9, 1o, and 11,threeshadesof mp; 12, 13,and 14,threedegrees
of mf; 21, 22, and 23, threedegreesof fff; 24representsaffff.Subdivisionsof thesetwenty-fourdegreeswereconstantlybeing
used (particularly in crescendos and diminuendos), but were
seldom written into the score. In local or rapid crescendosand
diminuendos only the startingand finishing dynamicmarkswere
written and the type of crescendos and diminuendos (such as
"arithmetical"or "geometric")were indicated by a small sketch.
The volume was controlled sometimes by manipulating theshutter or diaphragmof the camera and so affectingthe exposure
(variabledensitycontrol) but more often by covering up the one-
inch-wide drawing until only a half or fourth or other fraction
of its width was visible (variableareacontrol).Whichever method
was used, the calibration was in decibels, giving the composer
complete control of dynamics.
The sound of a note, however, is affectednot only by volumebut by its attack, sustention, and decay,or tone contour. Not onlydid the composer have the last and precise word on dynamicsbut he was also forced to specify the exact tone contour of each
note. This is importantbecausethe contouringof the note is more
important than its basic tone quality in determining "instru-
mental"effect.In traditionalmusicalsounds,for instance,a piano
note has a very rapid attack,no period of sustention, but a longperiod of decay;its contour is like a mountain peakwith one very
steep side, and one gently sloping side. A typical organ note has
an abrupt attack, a prolonged sustention, and a rapid decay; a
contour rather like a plateau with a precipice at one side and a
steepslopeat the other.A tapon awood blockhasa suddenattack,no sustention, and a very rapid decay. Wind instruments are
capableof muchlessabruptforms of attackthanpercussioninstru-ments. A violin, like the human voice, is capable of almost anykind of attack,sustention, and decay.
By giving a particularcontour to each note, the composer gave
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it what would traditionally be called its instrumental quality. In
practice this was done by placing black masks of varying shapes
in front of the selected pitch card bearing the drawing of thesound waves; in this way we obtained about six kinds of tone
contour, some not possible by traditional instruments.
In Love Your Neighbour there was very considerable use of
variable tone contouring, while in the other films only one per-cussive type of contour (wedge-shaped) predominated.
In the sound track of Love Your Neighbour the range and
variety of sound effects and tone qualities were considerably en-
larged by using several supplementary sets of drawings, some of
which had rising and falling pitches for portamento and glissando
effects. Some drawings, though simple to the eye and easy to pre-
pare, had a complex sound-wave structure, rich in harmonics, thus
giving very strident and harsh sound qualities.
For several simultaneous musical parts, either in harmony or
counterpoint, three methods were used. In one, different drawingswere superimposed on each other by several separate exposures.
In another, the sound track was divided lengthwise into several
parallel strips and the different drawings shot beside each other
in each strip. The third was a method in which each musical part
was shot on a separate film and the various parts mixed together
during rerecording.
Animated sound produced by this method is normally com-
pletely "dry," or without resonance or echo. To achieve more
resonance and add acoustic quality, two methods were used. The
first, mainly for specific notes and localized or momentary effects,
was done by shooting the same note in a rapid series of diminish-
ing volumes (that is, the same drawing in smaller and smaller
sizes); this simulates the natural effect of the sound waves bounc-
ing back and forth from the walls of an instrument, room, hall, orcavern. The degree to which any particular note in the score can
be placed in such an acoustical environment is controlled during
shooting by the number and nature of diminishing replicas of the
original drawing of that note.
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To obtain the general or over-allacousticalenvironment,vary-
ing amounts of reverberation and echo were added, either elec-
tronicallyor acoustically during a rerecording.To sum up the variousfeatures of animated sound asdeveloped
to date at the National Film Board of Canada:
The composerhas control over pitch (to the nearest 1/o1 of a
tone), over dynamics (to at least 1 per cent of the total dynamic
range), over rhythm and metric spacing (to the nearest 1/50 of a
second). The control over "timbre" (tone contour and tone
quality) is less flexible, but a variety of about a half dozen typesof tone quality and tone contour are possible, which by cross
combination give quite a rangeof "instrumental"effects.
Now that the initial researchhas been done it has sometimes
been found more economical to make animated rather than live
music, particularlyfor animated visuals. This is understandable
if we consider the hours of rehearsal which musicians have to
endure in order to match synchronously the visual action of afilm. On the otherhand, the composerof animatedmusic,working
slowly in incrementsof 1/24 of a second, can correlate his music
with the most subtle visual movement. The differences both in
cost, especially in termsof man-hours,and precision can be con-
siderable. Subsequent changes and alterations to parts of the
music can be made without the need to rephotographthe whole
score, simply by reshooting the particularnotes affected.Although we consider the possibilities of animated sound still
largelyunexplored, and this particularmethod to be not only one
of many but still far from perfect,we are alreadykeenly awareof
some of its salient featuresas a medium of expression.It is free from the normal limitations affectingthe human per-
formance of musical instruments and from the usual laws of
acoustics.For the musician, perhapsthe most important point isthat the shooting of the music is not carriedon at the samespeedas that at which it will finally be heard, but as slowly as desired,thus permitting the composerto plan preciselyand to deliberate
on the execution of the music as much as on the composing.
ANIMATED SOUND 229