Last week I had the chance to visit the LA Gun Club. I'm not a shooter, but I snapped up the opportunity to get some recordings after my first attempt in Michigan 2 years ago. I only had 2 small field recorders, but I hit record and put them in various places along the range — and knocked on wood that their capsules could handle the barrage of sound at high decibels.
The results were not too shabby! Here's a sample form my soundcloud:
Matt Glenn
Tuesday, July 17, 2012
Wednesday, February 15, 2012
Overnight Recording in the [Spooky] Claire Trevor Theater
The largest theater space on the UCI campus is the Claire Trevor Theater, a proscenium space with a full orchestra pit and approximately 300 seats. I had the pleasure of spending a good many hours there, including four all-night designfests, during tech for The Merchant of Venice. Amidst my near-hallucinatory exhaustion, I became very aware that the CTT comes to life at night—at least sonically. One notable “feature”, which actually plagued a couple of the dress rehearsals, is the air pressure difference between the inside of the theater and the outdoors, which becomes noticeable when the correct combination of entrance doors are left open. If you’ve seen David Fincher’s The Girl with the Dragon Tattoo movie and noticed the use of wind whistling through open doors then you are familiar with this effect.
So I got to thinking that someone ought to record Claire’s diverse sound palette and expansive reverberant space. I got my trusty Sound Devices 702 and a couple of mics and headed in at 11:30 PM on one night. I recorded everything I could get my hands on for about 3 hours: the enormous loading bay door, the incredible booming bass of the concrete stairwell to the catwalks, a chainlink fence of a gear cage, and all sorts of activity in the catwalks including footsteps and various bangs. I was unfortunately unable to capture the air pressure difference sound as I could not duplicate it — I was pretty tired by 2:30AM. Next time!
Tuesday, May 24, 2011
Capturing the Sound of the Big House
Here's an old post that I never published. I thought I would dust it off...
The big house is, as I found out, the 3rd largest [non-race-track] stadium in the world. The game vs. UMass this yea was the 225th game in a row where attendance had exceeded 100,000 people, according to the announcer (a man named Carl Grapentine, with whom I have actually worked to record the introductory voiceover for the fall 2009 Men's Glee Club concert).
In addition to watching the action, I thought the UMass game would provide an excellent opportunity to capture the undescribable energy of the big house crowd. The recording happened back in September, of course, but just today I sat down with the files and slapped together a little montage that evokes fond memories from Big House football games. Due to the desire to be inconspicuous, I had only my Microtrack with me (which has since been replaced by a Sony PCM-D50 after kicking the bucket). Still, the "talent" trumps the technology, and the clip gives a good taste of the energy (and volume) at a Michigan football game.
Sounds of the Big House by mattglenn
 |
| From Blogger Pictures |
The big house is, as I found out, the 3rd largest [non-race-track] stadium in the world. The game vs. UMass this yea was the 225th game in a row where attendance had exceeded 100,000 people, according to the announcer (a man named Carl Grapentine, with whom I have actually worked to record the introductory voiceover for the fall 2009 Men's Glee Club concert).
In addition to watching the action, I thought the UMass game would provide an excellent opportunity to capture the undescribable energy of the big house crowd. The recording happened back in September, of course, but just today I sat down with the files and slapped together a little montage that evokes fond memories from Big House football games. Due to the desire to be inconspicuous, I had only my Microtrack with me (which has since been replaced by a Sony PCM-D50 after kicking the bucket). Still, the "talent" trumps the technology, and the clip gives a good taste of the energy (and volume) at a Michigan football game.
Sounds of the Big House by mattglenn
Tuesday, April 19, 2011
Album Release
The Jazz quartet recording that I began working on this past summer has just been released. Check out the bandcamp site for two of the track, and support the musicians if you like the music by buying the album!
The Glenn Tucker, the keyboard player, approached me a year ago this month in our business of music class and asked me to mix their album. The quartet expected to record this album with a single mic in their basement, but I'm very glad that they decided to take their incredible talent to BIG SKY RECORDING STUDIOS instead. It's been a pleasure to mix, congrats to everyone involved!
The Glenn Tucker, the keyboard player, approached me a year ago this month in our business of music class and asked me to mix their album. The quartet expected to record this album with a single mic in their basement, but I'm very glad that they decided to take their incredible talent to BIG SKY RECORDING STUDIOS instead. It's been a pleasure to mix, congrats to everyone involved!
Thursday, March 17, 2011
A Few Works to Show
"Faceless"
Danced by AMBER KAO
Edited by MATT GLENN
Music: "The Mark Has Been Made" by Nine Inch Nails
A project for Screen Arts and Cultures 404: Screen Dance
University of Michigan School of Literature, Science and the Arts
“Honestly”
Composed, Performed and Produced by Kevin Dekimpe
Shot and Edited by Liann Kaye
Music mixed by Kevin DeKimpe
Opening scene sound design and music mastering by MATT GLENN
Leaving My Blog Coma
I must hand it to the demographic of working people/students who are able to maintain consistent blogging habits. When the assignments add up and projects become obsessions, I know I have far less than the obligatory mental stamina for updating Sound Statements. This past week, though, I was accepted to the Masters of Fine Arts Sound Design for Theater program at the University of California, Irvine. I figured it was time.
My interview visit to Irvine was quite momentary in the scheme of things: I flew out on a Monday afternoon and left Tuesday afternoon, giving me a total of about 6 hours of daytime on campus. In that time, though, I was wowed by the energy of the people and the resources at their hands. Here's a picture of their sound studio:
Mike Hooker and Vinnie Olivieri are the two ringleaders of the department. Professor Hooker has a notable background in sound design for themed entertainment, having worked with Disneyland among others. Professor Olivieri has composed and designed sound for many regional theatre projects, and headed to New York recently to finish his first broadway design for a play called High . The two bring contrasting, but complimentary backgrounds to the program, and both seem to have a lot of professorial energy. Although the program centers around theatrical sound design, I am focusing on building the core skills to be able to sound design any project across any medium. Having both Profs. Hooker and Olivieri will help to keep my design palate diverse.
I also had my spring break two weeks ago, which I decided to spend on the east coast. My tour took me from Bethesda, to Boston, to New Haven and to Manhatten, and I had my dad's Zoom H2 recorder with me at all times. Funnily enough, a lot of the sounds I wound up gathering were train sounds —— between Amtrak, the T in Boston, the NYC subway and the DC metro I had a lot to work with. I also captured a plethora of interesting sounds from my childhood home in Bethesda, from obscenely creaky doors to washing machine foley. Here is a quick mix I did of a few goodies:
DC Sounds by mattglenn
My interview visit to Irvine was quite momentary in the scheme of things: I flew out on a Monday afternoon and left Tuesday afternoon, giving me a total of about 6 hours of daytime on campus. In that time, though, I was wowed by the energy of the people and the resources at their hands. Here's a picture of their sound studio:
Mike Hooker and Vinnie Olivieri are the two ringleaders of the department. Professor Hooker has a notable background in sound design for themed entertainment, having worked with Disneyland among others. Professor Olivieri has composed and designed sound for many regional theatre projects, and headed to New York recently to finish his first broadway design for a play called High . The two bring contrasting, but complimentary backgrounds to the program, and both seem to have a lot of professorial energy. Although the program centers around theatrical sound design, I am focusing on building the core skills to be able to sound design any project across any medium. Having both Profs. Hooker and Olivieri will help to keep my design palate diverse.
I also had my spring break two weeks ago, which I decided to spend on the east coast. My tour took me from Bethesda, to Boston, to New Haven and to Manhatten, and I had my dad's Zoom H2 recorder with me at all times. Funnily enough, a lot of the sounds I wound up gathering were train sounds —— between Amtrak, the T in Boston, the NYC subway and the DC metro I had a lot to work with. I also captured a plethora of interesting sounds from my childhood home in Bethesda, from obscenely creaky doors to washing machine foley. Here is a quick mix I did of a few goodies:
DC Sounds by mattglenn
Guerilla Filmmaking
This past saturday, myself, my five group members, and five other actors took over a backstreet behind an administration building in order to film a high-action short for our compositing class. The premise is simple: there is a glowing orb at one end of the street, and a group of people (including the male protagonist) are attempted to nab it. The catch is that the orb has a defense mechanism, a pulse it sends out that freezes the pursuers in mid-stride.
To achieve the desired effects (freezing the characters, placing the orb in the space, stabilizing the shots) we will use motion tracking, masking, and layering techniques. The film was shot on a Canon 60D DSLR camera, at 1080p 24fps. The soundscape will provide opportunities to design standard sounds like footsteps and car sounds, but also to create sounds for the orb and the orb's pulse, and to make a musical score that keeps up the excitement.
Here are a few photos from the shoot:
To achieve the desired effects (freezing the characters, placing the orb in the space, stabilizing the shots) we will use motion tracking, masking, and layering techniques. The film was shot on a Canon 60D DSLR camera, at 1080p 24fps. The soundscape will provide opportunities to design standard sounds like footsteps and car sounds, but also to create sounds for the orb and the orb's pulse, and to make a musical score that keeps up the excitement.
Here are a few photos from the shoot:
Tuesday, January 4, 2011
New Years
I'll admit that I don't usually take much time to ponder the end of a year. I make my resolutions, and keep some of them. Now, everyone seems to call this the beginning of the next decade, but please don't forget that we celebrated a new millenium on January 1, 2000 —— 11 years ago —— but let's just go with the flow.
I can't forget the end of the 90s. For one, the Y2K bug fiasco was hilarious——people even freaked out on the 9th of September, 1999 when they though computers couldn't handle the number after 9/9/99. But I was still too young to understand most of that. Actually, I was more obsessed with the fact that I wouldn't be writing '90-something' in the date anymore. I actually wrote a very heartfelt diary entry to the 90s talking about how much I would miss them. I did this also on the night of June 1st, 1999, the last night that my age would be a single digit. It's scary to think: I giddily awaited my last semester of elementary school in January, 2000, and now I anxiously await responses from master's programs.
I find it cool how perfectly this past decade sandwiched the most important years of development for our generation——in technology, in world culture, in historical events, and in personal growth. We are the generation who first saw the common cell phone as late-middle- and early-high-schoolers (I purposefully use "common cell phone" like a species); we are the last generation that still remembers actually using dial-up internet and VHS tapes.
We were just old enough to remember exactly where we were on September 11th, 2001, and to know what the events meant to the world. We were old enough to organize protests a year and a half later, when our country declared another war. We remember Bill Nye the Science Guy and Nickelodeon, and the birth of the brain-melting reality TV wave...maybe that's a bit subjective. This past decade was really when we put life in perspective, since most of us clearly remember what life was like in 1999.
I went from having to wait for my parents to get off the phone to use the the web to writing emails into my phone using only my voice: I cannot imagine what is going to happen in the next 10 years.
I can't forget the end of the 90s. For one, the Y2K bug fiasco was hilarious——people even freaked out on the 9th of September, 1999 when they though computers couldn't handle the number after 9/9/99. But I was still too young to understand most of that. Actually, I was more obsessed with the fact that I wouldn't be writing '90-something' in the date anymore. I actually wrote a very heartfelt diary entry to the 90s talking about how much I would miss them. I did this also on the night of June 1st, 1999, the last night that my age would be a single digit. It's scary to think: I giddily awaited my last semester of elementary school in January, 2000, and now I anxiously await responses from master's programs.
I find it cool how perfectly this past decade sandwiched the most important years of development for our generation——in technology, in world culture, in historical events, and in personal growth. We are the generation who first saw the common cell phone as late-middle- and early-high-schoolers (I purposefully use "common cell phone" like a species); we are the last generation that still remembers actually using dial-up internet and VHS tapes.
We were just old enough to remember exactly where we were on September 11th, 2001, and to know what the events meant to the world. We were old enough to organize protests a year and a half later, when our country declared another war. We remember Bill Nye the Science Guy and Nickelodeon, and the birth of the brain-melting reality TV wave...maybe that's a bit subjective. This past decade was really when we put life in perspective, since most of us clearly remember what life was like in 1999.
I went from having to wait for my parents to get off the phone to use the the web to writing emails into my phone using only my voice: I cannot imagine what is going to happen in the next 10 years.
Monday, January 3, 2011
Tuesday, November 23, 2010
A Few Personal Projects
I recently uploaded two of my personal projects to Youtube, in preparation to use them as resume material. Both were done for my Sound, Image, and Story class, which focuses primarily on the use of sound and music to support, enhance, or alter a plot-driven visual work.
The first project is a photo roman , a movie that consists entirely of still images. The images follow a passage of narration which I was inspired to write by the photos. I mixed in a bed of sound design, including a few iterations of a particularly fun effect in which I isolate one or more resonances in a field recording:
Stepping away from twisted, existential prose, my second project is a mashup edit of the famous courtroom scene from the film A Few Good Men , starring Tom Cruise and Jack Nicholson. I changed their relationship a bit...
Not only was this sonically a very friendly scene to re-cut, but when Jack Nicholson feeds you lines like "Deep down in places you don't talk about at parties..." it's just too hard to refuse.
The first project is a photo roman , a movie that consists entirely of still images. The images follow a passage of narration which I was inspired to write by the photos. I mixed in a bed of sound design, including a few iterations of a particularly fun effect in which I isolate one or more resonances in a field recording:
Stepping away from twisted, existential prose, my second project is a mashup edit of the famous courtroom scene from the film A Few Good Men , starring Tom Cruise and Jack Nicholson. I changed their relationship a bit...
Not only was this sonically a very friendly scene to re-cut, but when Jack Nicholson feeds you lines like "Deep down in places you don't talk about at parties..." it's just too hard to refuse.
Monday, October 4, 2010
"The Township" ...
...taking your computer screen by storm with 60,000 hits on youtube so far! The music was composed, performed and recorded by Kevin Dekimpe and mixed by myself. Take a gander!
Sunday, September 19, 2010
The Recent Ailments of "The Beatbox"
I must digress for a moment from my usual "This is what I recorded today!" posts. It has been nearly 4 months since my faithful, aging Subaru Legacy made the 550-mile trip from Bethesda, MD to Ann Arbor and it has been squeaky-clean since then, albeit only in analogy, not in appearance. Recently, though, it began losing its grip on the fan belt, producing the infamous *eeky eeky eeky eeky eeeeeeeeeeeeeeeeeee* sound. I took him to the shop, all is well (while I was there, check out what I saw)
I think a lot of college students with old-but-reliable cars develop a bit of a loving pet-human relationship with their loyal vehicle, myself included. So when I began to hear this cry for help my mind instantly filled in images of sudden auto-death instead of the $50 that it actually took to fix this relatively routine problem.
But hey Beatbox is fine, and before I took him in I even got a sweet sound recording of his squeals:
You didn't think I would let this sound get away, did you? (Warning: this is a bit loud)
Car Start w/ Loose Fanbelt by mattglenn
I think a lot of college students with old-but-reliable cars develop a bit of a loving pet-human relationship with their loyal vehicle, myself included. So when I began to hear this cry for help my mind instantly filled in images of sudden auto-death instead of the $50 that it actually took to fix this relatively routine problem.
But hey Beatbox is fine, and before I took him in I even got a sweet sound recording of his squeals:
You didn't think I would let this sound get away, did you? (Warning: this is a bit loud)
Car Start w/ Loose Fanbelt by mattglenn
Flutes, Drums, and Composing...Oh My
Back in Diver land I have been doing much research on the culture behind the Shakuhachi, a traditional Japanese bamboo flute who's use dates back to 13th century zen monks, or komuso, who used the flute during prayers and meditation and to seek alms on the street. Music for this flute was organized into honkyoku, individual pieces that varied in tone, tempo and length. Here is an example, entitled Akita sugagaki:
In the 18th century, a komuso named Kinko Kurosawa was commissioned by the shogunate to travel throughout the lands of Japan to document the enormous variety of honkyoku that existed by that time. Incredibly, many of these honkyoku are taught and performed without the aid of scripted music. I have been in contact with Shakuhachi master Michael Chikuzen Gould (not to be confused with UM percussion professor Michael Gould, although the two have collaborated). We are hoping to work out a mechanical license agreement so that I can use his gorgeous recordings in the sound design for The Diver.
The Diver, by the way, is heavily influenced by traditional Japanese Noh theatre which, while an incredibly beautiful art, can appear very jarring to western audiences due to its slow pace and the unique vocal style employed:
I am hoping to adopt the instrumentation of Noh for some of my designs, including a shoulder-played drum called a Kotsuzumi, a hip-drum called a Otsuzumi, and the unmistakeable high-pitched Nohkan flute.
It will be fun and very hard to bring a new twist to the usual use of these instruments; on the other hand, it seems that most Japanese musicians and actors have trained for their entire lives to become masters, so I probably won't have a choice :).
In the 18th century, a komuso named Kinko Kurosawa was commissioned by the shogunate to travel throughout the lands of Japan to document the enormous variety of honkyoku that existed by that time. Incredibly, many of these honkyoku are taught and performed without the aid of scripted music. I have been in contact with Shakuhachi master Michael Chikuzen Gould (not to be confused with UM percussion professor Michael Gould, although the two have collaborated). We are hoping to work out a mechanical license agreement so that I can use his gorgeous recordings in the sound design for The Diver.
The Diver, by the way, is heavily influenced by traditional Japanese Noh theatre which, while an incredibly beautiful art, can appear very jarring to western audiences due to its slow pace and the unique vocal style employed:
I am hoping to adopt the instrumentation of Noh for some of my designs, including a shoulder-played drum called a Kotsuzumi, a hip-drum called a Otsuzumi, and the unmistakeable high-pitched Nohkan flute.
It will be fun and very hard to bring a new twist to the usual use of these instruments; on the other hand, it seems that most Japanese musicians and actors have trained for their entire lives to become masters, so I probably won't have a choice :).
Tuesday, August 31, 2010
Some Pillowtalk
The much-anticipated return of the University of Michigan student body has swept over Ann Arbor. Traffic lights become more decoration than law as the pedestrians become the dominant source of traffic control, while most cars contain new or returning students rushing around to buy tall-twin bedsheets and colorful, economical storage units. Amidst the I find myself reminded of the inherent distraction that college social life can cause. It's not entirely unhealthy for the typical student, to whom a week or so of meeting, greeting, and eating can be a therapeutic break from the tiresome norm. Alas, I am not, by those standards, a typical student.
For starters, I love my work. Not like, love. Like one would love a soul mate. I frequently ask myself how sound design can possibly be a career when it feels so little like a job. Sound design is my primary area of study, though, and this semester I am preparing designs for a theatre performance which will be my senior thesis project. I have been working for quite a while already on this project and lately I have noticed that I am very easily distracted by all that is going on around me. Between packing up my room, preparing to move, eating, working on (or even thinking about) other projects and seeing old friends, I have very little time to sit down and tackle the designs that I ought to be churning out by now.
I wish I could say that there exists a reliable process to creating a soundscape or sound effect sequence, but no such scientific method exists. Like most arts, the creative process for sound design is often based so much on spontaneous inspiration and/or resources at hand, so if my mind is focusing on plans for the evening, edits for my long-overdue movie mix, the excruciating 5 days it has been since I have taken a run, or emails from my parents about grad schools then I have very little capacity remaining to think creatively. Unfortunately, such seemingly trivial things in my life take a serious toll on my workflow.
And the biggest culprit of all? Sleep habits. Yes, the body pillow and I seem to have shorter and shorter cuddle sessions. I definitely shouldn't be writing this at 4am, but that's my cycle. It does not help my brain function and I know it, I feel it daily. Unfortunately, I often do not have the spine to deny my friends' and girlfriend's invitations to extend the bedtime. I know they couldn't possibly understand how strongly I feel about sleep, but sometimes I just do not have the will power to "get all serious" and explain it to them. There we go, it's a goal.
Lesson: don't ignore sleep. It's the best medicine and the most reliable brainstorm-recharger.
I leave you with one of the cues that I have worked hard on for the diver. If you can, try to listen on headphones or on a good speaker system.
Dive Sample 2 by mattglenn
For starters, I love my work. Not like, love. Like one would love a soul mate. I frequently ask myself how sound design can possibly be a career when it feels so little like a job. Sound design is my primary area of study, though, and this semester I am preparing designs for a theatre performance which will be my senior thesis project. I have been working for quite a while already on this project and lately I have noticed that I am very easily distracted by all that is going on around me. Between packing up my room, preparing to move, eating, working on (or even thinking about) other projects and seeing old friends, I have very little time to sit down and tackle the designs that I ought to be churning out by now.
I wish I could say that there exists a reliable process to creating a soundscape or sound effect sequence, but no such scientific method exists. Like most arts, the creative process for sound design is often based so much on spontaneous inspiration and/or resources at hand, so if my mind is focusing on plans for the evening, edits for my long-overdue movie mix, the excruciating 5 days it has been since I have taken a run, or emails from my parents about grad schools then I have very little capacity remaining to think creatively. Unfortunately, such seemingly trivial things in my life take a serious toll on my workflow.
And the biggest culprit of all? Sleep habits. Yes, the body pillow and I seem to have shorter and shorter cuddle sessions. I definitely shouldn't be writing this at 4am, but that's my cycle. It does not help my brain function and I know it, I feel it daily. Unfortunately, I often do not have the spine to deny my friends' and girlfriend's invitations to extend the bedtime. I know they couldn't possibly understand how strongly I feel about sleep, but sometimes I just do not have the will power to "get all serious" and explain it to them. There we go, it's a goal.
Lesson: don't ignore sleep. It's the best medicine and the most reliable brainstorm-recharger.
I leave you with one of the cues that I have worked hard on for the diver. If you can, try to listen on headphones or on a good speaker system.
Dive Sample 2 by mattglenn
Sunday, August 22, 2010
So I am back from California...
...but that does not mean I have put away my recording gear at all. I have been capturing various sound from the area and have begun my designs for The Diver , the play I am sound designing as my senior thesis project.
Today, I was grabbing breakfast with my friends Rebecca and James and James made this "interesting" grunt-like sound by making his voice break. So I recorded it and decided to play around. The result is a fairly creepy low-pitched moan. I demonstrate the process from original grunt to Lord-of-the-Rings-forest groan in this clip:
Pitch Shifting My Friend James by mattglenn
I made this while playing with Bias Peak LE software, and I discovered that the pitch-shifting algorithm in Peak is miles above any of the software I own. Sorry mom, sorry dad, might be spending some more money...
Today, I was grabbing breakfast with my friends Rebecca and James and James made this "interesting" grunt-like sound by making his voice break. So I recorded it and decided to play around. The result is a fairly creepy low-pitched moan. I demonstrate the process from original grunt to Lord-of-the-Rings-forest groan in this clip:
Pitch Shifting My Friend James by mattglenn
I made this while playing with Bias Peak LE software, and I discovered that the pitch-shifting algorithm in Peak is miles above any of the software I own. Sorry mom, sorry dad, might be spending some more money...
Thursday, August 12, 2010
California, Day 1
I am here in Davis, California hanging out with the family and getting ready to drive down to Lake Tahoe for a few days for some hiking, swimming, rock climbing, and other what-not. My brother, Jon (who runs his own blog HERE), knows of an area where burrowing owls have nests, so last night I went out with the field sound kit to try to get some owl calls recorded.
Well hey definitely live up to their reputation as silent flyers. Even when I approached a small group of them huddled together by a burrow they merely stared silently, a few ducking into the large circular entrances to their dens. Once I got close enough, though, one owl broke off from the group and flew a few yards to my other side, calling and flapping his wings wildly. I can only guess that this was a threat, distraction or some signal to the other owls in response to my presence, but the others silently started to scatter or retreat into the burrows. Most were gone in a matter of minutes, but for the 10 minutes of recording that I did I managed to pull together a few amazing examples of the single owl's calls:
Burrowing Owls by mattglenn
Jon has been photographing the owls for a while, you can see some of his pictures here (to see the full-size versions of the photos, hold your mouse over the yellow icon in the bottom left corner and click the link):
I will have the kit down in Tahoe and I hope to add to my wildlife sounds collection. Will post more soon!
Well hey definitely live up to their reputation as silent flyers. Even when I approached a small group of them huddled together by a burrow they merely stared silently, a few ducking into the large circular entrances to their dens. Once I got close enough, though, one owl broke off from the group and flew a few yards to my other side, calling and flapping his wings wildly. I can only guess that this was a threat, distraction or some signal to the other owls in response to my presence, but the others silently started to scatter or retreat into the burrows. Most were gone in a matter of minutes, but for the 10 minutes of recording that I did I managed to pull together a few amazing examples of the single owl's calls:
Burrowing Owls by mattglenn
Jon has been photographing the owls for a while, you can see some of his pictures here (to see the full-size versions of the photos, hold your mouse over the yellow icon in the bottom left corner and click the link):
I will have the kit down in Tahoe and I hope to add to my wildlife sounds collection. Will post more soon!
Monday, August 9, 2010
Underwater Recording
1. Take a really old dynamic mic that may or may not be yours and may or may not be important
2. Wrap it up in an [unlubricated] condom
3. seal at the end with electrical and/or duct tape
4. Plug it in
5. Knock on wood
6. Toss it in
7. Hit record.
Underwater Samples by mattglenn
2. Wrap it up in an [unlubricated] condom
3. seal at the end with electrical and/or duct tape
4. Plug it in
5. Knock on wood
6. Toss it in
7. Hit record.
Underwater Samples by mattglenn
Sunday, August 8, 2010
Sound Cloud
I have a soundcloud account now, at http://soundcloud.com/mattrglenn.
I will be using this account to share some of the sound effects I have been gathering and the music I have been working on. I will be able to embed the sounds directly into this blog as well. For instance:
Lightning Strike Sample by mattrglenn
I will be using this account to share some of the sound effects I have been gathering and the music I have been working on. I will be able to embed the sounds directly into this blog as well. For instance:
Lightning Strike Sample by mattrglenn
Wednesday, August 4, 2010
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