{"id":55790,"date":"2024-02-08T15:09:36","date_gmt":"2024-02-08T15:09:36","guid":{"rendered":"https:\/\/www.synthax.co.uk\/latest\/?p=55790"},"modified":"2024-02-12T10:21:13","modified_gmt":"2024-02-12T10:21:13","slug":"inside-a-foley-studio-earthsound-post-dynaudio-core-59","status":"publish","type":"post","link":"https:\/\/www.synthax.co.uk\/latest\/2024\/02\/08\/inside-a-foley-studio-earthsound-post-dynaudio-core-59\/","title":{"rendered":"Inside a Foley Studio: Earthsound Post and the Dynaudio Core 59s"},"content":{"rendered":"\n<div class=\"article-wrapper\">\n<img decoding=\"async\" loading=\"lazy\" id=\"hero-image\" class=\"aligncenter size-full wp-image-55721\" style=\"margin: 2.2em auto 2.2em;\" src=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2024\/02\/Earthsound-Post-Foley-Feature-Image-synthax-audio-uk-1.jpg\" alt=\"Earthsound post video synthax interview feature image\" width=\"1200\" height=\"660\">\n<\/div>\n\n\n\n<div class=\"article-wrapper\">\n\n\n\n<div id=\"article-menu\">\n    <h3>Jump to these sections:<\/h3>\n    <ul>\n        <li>\n        <a href=\"#earthsound-intro\">Introduction<\/a>\n        <\/li><br>\n        <li>\n        <a href=\"#earthsound-video\">Video Interview<\/a>\n        <\/li><br>\n        <li>\n        <a href=\"#earthsound-foley\">What is Foley?<\/a>\n        <\/li><br>\n        <li>\n        <a href=\"#earthsound-recording\">The recording process<\/a>\n        <\/li><br>\n        <li>\n        <a href=\"#earthsound-craft\">What makes a good Foley artist?<\/a>\n        <\/li><br>\n        <li>\n        <a href=\"#earthsound-studio\">Building a Foley Recording Studio<\/a>\n        <\/li><br>\n        <li>\n        <a href=\"#earthsound-monitors\">Choosing Dynaudio Studio Monitors<\/a>\n        <\/li><br>\n    <\/ul>\n    <\/div>\n\n\n<div id=\"article-intro\">\n<h3 id=\"earthsound-intro\">Earthsound Foley take us inside their purpose-built Foley studio in the Bedfordshire (UK) countryside.<\/h3>\n<p>One of the most unique roles in Film and TV Sound is undoubtedly that of the <em>Foley artist<\/em>.<\/p>\n<p>Whether it\u2019s a feature-length film or a 30 second TV advert, a huge number of the sounds the audience hears are actually re-recorded in a studio after the video has been shot, and added back in during post-production.<\/p>\n<p>Maybe the location team didn\u2019t fully capture the sound they wanted on-set. Or there could be a requirement for additional layers, in order to provide the highest audio quality &#8211; and maximum impact &#8211; for the final, finished scene.<\/p>\n<p>This is where the <em>Foley artist<\/em> steps in, re-creating the movements of each actor in time to the footage, as well as adding any other sounds a TV show or film might need (including creating entirely new sounds through the ingenious use of props).<\/p>\n<p>If you\u2019ve ever wondered what it\u2019s like to work in a Foley studio, join us as we step inside the newly-built Foley stage designed and operated by <strong>Earthsound<\/strong> &#8211; a company set up by <em>Foley Artist<\/em> <strong>Jason Swanscott<\/strong> and <em>Sound Designer<\/em> <strong>Rob Price<\/strong> &#8211; who recently upgraded their studio monitors to the <a title=\"Dynaudio Core Series - Professional studio monitors with breathtaking accuracy\" href=\"https:\/\/www.synthax.co.uk\/dynaudio\/dynaudio-core-series\/\">Dynaudio Core Series<\/a>. Coconut shells at the ready\u2026<\/p>\n<\/div>\n\n\n<\/div>\n<div style=\"clear:both;\"><\/div>\n\n\n\n<p>&nbsp;<\/p>\n<div style=\"display: flex; justify-content: center; margin: 0 auto; text-align: center;\">\n<div id=\"earthsound-video\">\n<h4 style=\"text-align: center;\">Inside a Foley Studio | Earthsound Post Interview<\/h4>\n<p><iframe loading=\"lazy\" title=\"Inside a Foley Studio | Earthsound Foley with Rob Price and Jason Swanscott (Dynaudio Core 59)\" src=\"https:\/\/www.youtube.com\/embed\/exipLgbPNSI\" width=\"1024\" height=\"576\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: center;font-size: 1.2em;\">See more videos at <a title=\"Subscribe to the SynthaxTV YouTube channel\" href=\"http:\/\/www.youtube.com\/subscription_center?add_user=synthaxtv\" target=\"_blank\" rel=\"noopener\">Synthax TV<\/a><\/p>\n<\/div>\n<\/div>\n<h2>&nbsp;<\/h2>\n\n\n\n<div style=\"display: block;\"><\/div>\n\n\n\n<div class=\"article-wrapper\">\n    <h2 id=\"earthsound-foley\">A day in the life of a Foley artist<\/h2>\n    <p><strong>What is foley?<\/strong><\/p>\n    <p>\u201cFoley artists are named after someone called Jack Foley, who originated this art form,\u201d <em>Sound Designer<\/em> <strong>Rob Price <\/strong>tells us. \u201cSomebody is performing bespoke sound effects to picture, which are mostly mimicking what the actors are doing on-screen.<\/p>\n    <p>\u201cSo putting the footage up and copying what the actor does \u2013 and sometimes augmenting and replacing what they do \u2013 but essentially bringing those sounds into the show. That\u2019s what Jason as a Foley artist will be doing.\u201d<\/p>\n    <p><img decoding=\"async\" loading=\"lazy\" class=\"head-img alignright\" src=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2024\/02\/Earthsound-Post-Foley-Rob_Price-Jason_Swanscott.jpg\" alt=\"Sound Designer Rob Price and Foley Artist Jason Swanscott being interviewed by Dynaudio UK\" width=\"550\" height=\"367\">Founded by business partners <strong>Jason Swanscott<\/strong> and <strong>Rob Price<\/strong>, <strong>Earthsound<\/strong> is a purpose-built recording studio just outside London, and provides professional Foley and sound design services for TV, film and advertising. Recent projects include <em>Guy Ritchie\u2019s The Covenant<\/em>, <em>Luther<\/em> and <em>The Lazarus Project<\/em>, as well as the upcoming Bob Marley biopic, <em>Bob Marley: One Love<\/em>.<\/p>\n    <p>Having worked in film for close to 15 years, <strong>Rob<\/strong> has a wealth of experience in the sound department as a <em>Foley editor<\/em> and <em>Foley mixer, <\/em>roles that work in tandem with the <em>artist &#8211; <\/em>setting up microphones and mixing the incoming sound on the desk, while bouncing ideas back and forth with the <em>artist<\/em>.<\/p>\n    <p><strong>Jason\u2019s<\/strong> history as a <em>Foley artist<\/em> stretches back even further \u2013 a veteran of the craft, he&#8217;s been putting sound to picture for the past three decades. Without diving too far into his credits list, let\u2019s just say as a UK company it would be remiss of us not to include a couple of other stone-cold classics from Director <strong>Guy Ritchie<\/strong> &#8211; <em>Lock, Stock and Two Smoking Barrels<\/em> and follow-up <em>Snatch<\/em>, two icons of British cinema.<\/p>\n    <p>\u201cA lot of people think I just walk on the spot all day,\u201d laughs <strong>Jason<\/strong> in response to the question of what an average day in the studio looks like for him.<\/p>\n    <p>\u201cAs an artist I will perform, and put any noise in the world that I\u2019m capable of doing, on a soundtrack. I can run up a hill, fall down a pit. I can swim in the sea with sharks, I can shoot a laser \u2013 not an actual one but you know, I can make the noise.&#8221;<\/p>\n    <p>\u201cYou could do a laser for them, we\u2019ve got slinkies,\u201d interjects <strong>Rob<\/strong>.<\/p>\n    <p>\u201cYeah I can do you a space laser if you want,\u201d <strong>Jason <\/strong>chuckles. \u201cBasically I can go anywhere in the world &#8211; or outer space &#8211; and make bespoke noises for your film, right here in our studio.\u201d<\/p>\n    <p style=\"text-align: center;\"><a href=\"#hero-image\">[Return to top]<\/a><\/p>\n    <p>&nbsp;<\/p>\n    <img decoding=\"async\" loading=\"lazy\" class=\"head-img alignleft wp-image-55704\" src=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2024\/02\/Earthsound-Post-Foley-Prop-Room.jpg\" alt=\"Prop room at Earthsound Audio Post-Production\" width=\"525\" height=\"350\" srcset=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2024\/02\/Earthsound-Post-Foley-Prop-Room.jpg 1200w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2024\/02\/Earthsound-Post-Foley-Prop-Room-300x200.jpg 300w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2024\/02\/Earthsound-Post-Foley-Prop-Room-1024x683.jpg 1024w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2024\/02\/Earthsound-Post-Foley-Prop-Room-768x512.jpg 768w\" sizes=\"(max-width: 525px) 100vw, 525px\" \/>\n    <p id=\"earthsound-recording\"><strong>What is the process of recording Foley?<\/strong><\/p>\n    <p>Turning slinkies into lasers aside, we were curious to know more about how the guys start the process of recording Foley.<\/p>\n    <p>\u201cYou begin by doing what is called <em>the moves<\/em>,\u201d <strong>Rob<\/strong> explains, \u201cwhich is essentially performing the cloth or clothes movements of the actors as they\u2019re moving around. It gives you a good chance to get a sense of the project &#8211; you\u2019re putting this base layer in, and asking yourself \u2018okay, what are we going to need to do in this scene? Do we attack it this way or that way?\u2019<\/p>\n    <p>\u201cEach project is different. You might be working with somebody who you\u2019ve had extensive conversations with beforehand, or you might just be sent the footage cold on the day.<\/p>\n    <p>\u201cDepending on the workflow, we may then move on to footsteps. So breaking the scene down, recording steps on all of the different surfaces. This helps get a sense of the different characters &#8211; who they are &#8211; and helps us understand how we want to drive the story with the performance element.<\/p>\n    <p>\u201cThen we have the <em>spot effects<\/em>, which is anything that an actor interacts with physically along with many other sounds in the scene, which we&#8217;ll also provide a sound effect for.<\/p>\n    <p>\u201cSo we tend to break it down into more manageable chunks first. And then it\u2019s on to recording it all.\u201d<\/p>\n    <p>Of course, no trip to a Foley studio would be complete without seeing the guys in action, and Rob and Jason kindly treat us to a quick &#8216;behind the scenes&#8217;. A clip from a TV show is brought up on the screen &#8211; a fantasy\/horror that involves one of the characters being levitated by an unseen assailant, then slammed repeatedly into the floor.<\/p>\n    <p>(This actually takes place in the background, with the foreground showing two actors in conversation, unaware at first of what&#8217;s going on in the room behind them.)<\/p>\n    <p>It\u2019s immediately clear that <strong>Rob<\/strong> and <strong>Jason<\/strong> are at the top of their game \u2013 like a finely trained musician, <strong>Jason<\/strong> springs into action, swinging his heavy coat on to the floor perfectly in sync with each shot.<\/p>\n    <p>The two then exchange a couple of words about a table that&#8217;s barely visible, which the character actually knocks slightly during one of the slams.<\/p>\n    <p><strong>Jason<\/strong> quickly drags a table over &#8211; ready-prepared for such occasions, with an assortment of random objects scattered across it &#8211; and they do another take, this time with <strong>Jason<\/strong> simultaneously knocking into it as his coat hits the ground.<\/p>\n    <p>&nbsp;<\/p>\n    <img decoding=\"async\" loading=\"lazy\" width=\"1200\" height=\"675\" class=\"head-img aligncenter\" src=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2024\/02\/Earthsound-Post-Foley-The-Covenant.jpg\" alt=\"\" class=\"wp-image-55787\" srcset=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2024\/02\/Earthsound-Post-Foley-The-Covenant.jpg 1200w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2024\/02\/Earthsound-Post-Foley-The-Covenant-300x169.jpg 300w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2024\/02\/Earthsound-Post-Foley-The-Covenant-1024x576.jpg 1024w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2024\/02\/Earthsound-Post-Foley-The-Covenant-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/>\n    <p>&nbsp;<\/p>\n    <div class=\"article-wrapper\">\n    <p>At the same time, <strong>Rob<\/strong> has already grabbed an EQ in Pro Tools and started making some finely placed cuts, a move which he modestly insists is simply the result of making these decisions &#8220;thousands of times over&#8221;.<\/p>\n    <p>This makes us wonder &#8211; with so many sample libraries and other tools available these days, are all of the sounds in each project original?<\/p>\n    <p>\u201cSometimes you augment sounds with other recordings, but the vast majority of the time, what you\u2019re recording is bespoke,\u201d <strong>Rob<\/strong> explains.<\/p>\n    <p>\u201cThat\u2019s primarily the point of Foley &#8211; to record new material that\u2019s original and specific to the action on screen, and in-line with the individual characters. Not just their movements, but their emotions as well. Responding to when they\u2019re angry, tired, upset \u2013 it\u2019s a different sound. Even if it\u2019s something you\u2019re only subtly picking up on.\u201d<\/p>\n    <p>\u201cAt the end of the day I\u2019m an artist,\u201d says <strong>Jason<\/strong>. \u201cI\u2019m acting &#8211; I act every day. It could be a three-year-old little girl running across floorboards in slippers, or it could be a six-foot blonde with red stilettos on \u2013 I\u2019ve actually got a couple of pairs of those as well!&#8221;<\/p>\n    <p>\u201cOr it\u2019s like the killer creeping through the house,&#8221; says <strong>Rob<\/strong>. \u201cLeather boots, got a bit of creak on, a bit of menace. Some of these things are tropes but there are other really subtle things you can do.&#8221;<\/p>\n    <p>\u201cIt\u2019s performance art. Back in the day, a lot of Foley artists came from theatre or acting backgrounds.\u201d<\/p>\n    <p>\u201cOr dance,\u201d adds <strong>Jason<\/strong>.<\/p>\n    <p>\u201cYeah. A character hangs up a step for half a second in hesitation &#8211; small things like that,&#8221; <strong>Rob<\/strong> continues. &#8220;That\u2019s mainly what you\u2019re trying to do, in all areas of sound design for film. Just trying to work these little openings, to keep the story going.\u201d<\/p>\n    <p>It&#8217;s these small touches which make it immediately apparent why <strong>Earthsound<\/strong> is chosen by some of the biggest names in film. As we discuss the scene they&#8217;ve just been recording, <strong>Rob<\/strong> points out something we&#8217;d likely never have spotted \u2013 there\u2019s actually two clutches of microphones set up, one close, one further away.<\/p>\n    <p><strong>Jason<\/strong> then draws our attention to the clip again &#8211; although the action in the first shot was in the distance, the camera briefly cut to a closer shot, then back to the original again.<\/p>\n    <p>&#8220;In this instance, it&#8217;s likely we&#8217;ll use the second set of mics for the distance shots, then the first set for the closer ones,&#8221; <strong>Rob<\/strong> says.<\/p>\n    <p>Perfectly logical of course, but something you probably wouldn\u2019t think of unless you\u2019re a seasoned pro in film production sound!<\/p>\n    <p style=\"text-align: center;\"><a href=\"#hero-image\">[Return to top]<\/a><\/p>\n    <p>&nbsp;<\/p>\n    <img decoding=\"async\" loading=\"lazy\" class=\"head-img alignleft\" src=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2024\/02\/Earthsound-Foley-Studio-Dynaudio-Core-Monitors.jpg\" alt=\"Dynaudio Core 59 studio monitors in an LCR setup\" width=\"525\" height=\"350\">\n    <p id=\"earthsound-craft\"><strong>What makes a good Foley artist?<\/strong><\/p>\n    <p>Whilst the majority of sounds are recorded in the studio, the guys aren\u2019t opposed to heading outdoors in the search for the <em>Foley<\/em> grail. It\u2019s also clear that Jason\u2019s not afraid to put his body on the line, bringing new meaning to the term \u2018suffer for your art\u2019.<\/p>\n    <p>\u201cThere\u2019s been occasions where sometimes we take the recording out of the studio,\u201d explains <strong>Rob<\/strong>. \u201cWe did a film last year where we were recording in a quarry.&#8221;<\/p>\n    <p>\u201cWe broke in actually,\u201d confesses <strong>Jason<\/strong>.<\/p>\n    <p>\u201cWe slightly broke in, yeah,\u201d smirks <strong>Rob<\/strong>. \u201cWe wanted to get these slides and rolls down these slopes and just thought the best way to do it was, actually just to fall down this slope. So Jason was covered in cuts and bruises.\u201d<\/p>\n    <p>\u201cIt did hurt, it was a much stupider idea than I first thought,\u201d <strong>Jason<\/strong> reminisces. \u201cI thought \u2018this\u2019ll be alright\u2019 &#8211; I was trying to do Jake Gyllenhall falling twenty foot down this slope.<\/p>\n    <p>\u201cRob\u2019s got the mics on and I said \u2018you ready?\u2019, and then I jumped. And half way down I\u2019m thinking \u2018what am I doing?\u2019 haha. My leg was all ripped to pieces! And I got down and Rob says \u2018sounded good, you want to go again?\u2019. And I\u2019m thinking \u2018you go again\u2019!\u201d<\/p>\n    <p>\u201cI think that\u2019s definitely what Jason is bringing to it, like throwing himself into a sound,\u201d says <strong>Rob<\/strong>. \u201cIf someone on-screen kicks through a door, Jason may actually kick through the door!<\/p>\n    <p>\u201cThere\u2019s definitely an element of reality when you attack a sound properly and put your physicality into it.\u201d<\/p>\n    <p>\u201cOn the farm here, we\u2019ve got my old car. If we do a scene where we\u2019re smashing up a car, we go out and smash it! Or we do a scene in a forest. Sometimes it might be best to do it in our earth pit, other times it\u2019s best to go in the woods round here.<\/p>\n    <p>\u201cYeah it helps get that real crack of the wood, it can be better doing it out there,\u201d adds <strong>Jason<\/strong>. \u201cYou get the sound of the world. We can then bring it back in here and if we haven\u2019t quite got the sharpness we want, we can add it in.\u201d<\/p>\n    <p style=\"text-align: center;\"><a href=\"#hero-image\">[Return to top]<\/a><\/p>\n    <p>&nbsp;<\/p>\n    <img decoding=\"async\" loading=\"lazy\" class=\"head-img alignright\" src=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2024\/02\/Earthsound-Post-Foley-Jason_Swanscott-Recording.jpg\" alt=\"Foley Artist Jason Swanscott recording a whip\" width=\"525\" height=\"364\">\n    <h2 id=\"earthsound-studio\">Building a Foley Recording Studio<\/h2>\n    <p>Having worked in many different studios throughout the UK, <strong>Rob<\/strong> and <strong>Jason<\/strong> explained to us that a lot of Foley is actually recorded in less than desirable rooms &#8211; it&#8217;s for this reason that the duo decided to build their own space.<\/p>\n    <p>Purpose-built for recording and mixing professional Foley, the studio features a wide range of floor surfaces and pits several metres in length \u2013 completely isolated from the building\u2019s structure \u2013 something the guys believe makes <strong>Earthsound<\/strong> unique within the UK.<\/p>\n    <p>\u201cOne of the big issues you get with Foley studios is resonancy and vibrations, either from other surfaces, or from the room itself,\u201d says <strong>Rob<\/strong>. \u201cThis affects the sounds you\u2019re recording \u2013 that resonance can get into your footsteps and other effects. And as a viewer, the second you recognise that those feet aren\u2019t really taking place outside, it takes you out of the immersion.\u201d<\/p>\n    <p>\u201cA lot of studios will have one single surface which they then lay their other surfaces on,\u201d explains <strong>Jason<\/strong>. \u201cIn our studio, we created a 10m x 10m space and dug down, then built ourselves a grid of concrete going straight down into the earth. So the pits are completely isolated from the inner walls of the studio. I don\u2019t think anyone\u2019s done that before on this scale, at least not in the UK.\u201d<\/p>\n    <p>Along with its prop room &#8211; stocked full of everything you\u2019d expect from a Foley studio &#8211; <strong>Earthsound<\/strong> is well-equipped to cover any scenario the pair may need to tackle in their line of work, including a bedroom and a bathroom area for different interior sounds.<\/p>\n    <p>The wide range of floor pits feature all kinds of indoor and outdoor surfaces \u2013 various types of wood, marble, concrete and tarmac, as well as earth, grass and gravel \u2013 whilst two water pits allow for recording everything from puddles to large splashes, with one sloped for organically moving between different water depths.<\/p>\n    <p>\u201cA lot of studios only have a small, 1m x 1m area for the artist to perform footsteps, sometimes even smaller,\u201d says <strong>Rob<\/strong>. \u201cWe always wanted to improve on that &#8211; our idea was that the artist should be able to actually <em>walk<\/em>.<\/p>\n    <p>\u201cAll the surfaces are therefore in long strips, so that Jason can walk up and down. This way he can achieve all sorts of variety in his walk. And he can easily transition through a lot of different environments, which can be interchangeable for any interior or exterior we need.\u201d<\/p>\n    <p>&nbsp;<\/p>\n    <\/div>\n    <p><img decoding=\"async\" loading=\"lazy\" class=\"head-img aligncenter wp-image-55711 size-full\" src=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2024\/02\/Earthsound-Post-Foley-Stage.jpg\" alt=\"Earthsound Foley studio wide shot\" width=\"1200\" height=\"900\" srcset=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2024\/02\/Earthsound-Post-Foley-Stage.jpg 1200w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2024\/02\/Earthsound-Post-Foley-Stage-300x225.jpg 300w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2024\/02\/Earthsound-Post-Foley-Stage-1024x768.jpg 1024w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2024\/02\/Earthsound-Post-Foley-Stage-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/><\/p>\n    <p>&nbsp;<\/p>\n    <div class=\"article-wrapper\">\n    <p>\u201cSay we\u2019re doing a programme set inside a school. If you\u2019re walking on the parquet, you then step into an office with a different floor,\u201d says <strong>Jason<\/strong>. \u201cOr if you\u2019re walking down the road, you might be going from paving slab to dirt, or tarmac to grass.\u201d<\/p>\n    <p>\u201cThat\u2019s why we kept everything close together, so Jason can move between environments in a single take,\u201d continues <strong>Rob<\/strong>. \u201cThe moment you\u2019re punching in and out for your recordings, you\u2019re starting to lose something.\u201d<\/p>\n    <p>\u201cWhen people come in \u2013 other Foley artists, editors or sound supervisors &#8211; they say they can tell right away that the studio\u2019s been built by an artist and a mixer, because everything\u2019s in the right place,&#8221; adds <strong>Jason<\/strong>. &#8220;It\u2019s right there ready for them to go, rather than having to go \u2018oh where\u2019s that switch? Where\u2019s that surface?\u2019 It\u2019s all been pre-built, and thought out logically ahead of time by us.\u201d<\/p>\n    <p>\u201cThen over on this side of the room we\u2019ve got our projector for when you want to play back a reel,\u201d says <strong>Rob <\/strong>as he leads us over to the mix area. \u201cOr let\u2019s say you\u2019re doing larger sounds on a big film &#8211; sometimes having that bigger screen will help you visualise them in a different way.<\/p>\n    <p>\u201cThen we have the monitoring system which we\u2019ve got in now \u2013 these <strong>Dynaudios<\/strong> in LCR. We\u2019ve got a nearfield setup along with those for mains, so we can hear how it\u2019s translating on different setups. That\u2019s making us get a more accurate picture of the sound and how it might play on a mix stage.\u201d<\/p>\n    <\/div>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center;\"><a href=\"#hero-image\">[Return to top]<\/a><\/p>\n    <div class=\"article-wrapper\">\n    <h2>&nbsp;<\/h2>\n    <img decoding=\"async\" loading=\"lazy\" class=\"head-img alignleft\" src=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2024\/02\/Earthsound-Post-Foley-Avid-S3-1.jpg\" alt=\"Avid S3 console and computer screens on a wooden desk\" width=\"525\" height=\"350\">\n    <h2 id=\"earthsound-monitors\">Foley Mixing with Dynaudio Core Series<\/h2>\n    <p>\u201cThis part of it is where I live,\u201d continues <strong>Rob<\/strong> as he takes through the <strong>Earthsound<\/strong> studio rig.<\/p>\n    <p>\u201cIt\u2019s pretty basic, and it changes from time to time. Right now we\u2019ve got an <em>Avid S3<\/em>. I\u2019m actually monitoring on headphones most of the time when we record.<\/p>\n    <p>\u201cWhen people usually build Foley studios, they\u2019d have a control room. But the way me and Jason like to work, I like to get up, walk around and hear things. Then afterwards we\u2019ll fire it out of one of the monitor setups.<\/p>\n    <p>\u201cI\u2019ve got a load of mics coming in here &#8211; sometimes eight at a time if I really want to confuse myself &#8211; and I\u2019ll just be mixing takes, changing mic positions.\u201d<\/p>\n    <p>When it came to choosing a main set of speakers, the pair decided on <strong>Dynaudio\u2019s<\/strong> flagship <strong>Core 59<\/strong> monitors in an LCR configuration. A household name in UK pro audio and post-production circles, <a title=\"Dynaudio PRO Studio Monitors | Synthax Audio UK\" href=\"\/dynaudio\/\">Dynaudio monitors<\/a> are perfect for providing the attention to detail required in professional film sound production.<\/p>\n    <p>&nbsp;\u201cA lot of the mixers we know are premixing on them, so we wanted to line up our sound with what they have in their suites,\u201d says <strong>Rob<\/strong>. \u201cThat way, what we\u2019re hearing is as similar as possible to what they\u2019re hearing in their studios.\u201d<\/p>\n    <h2>&nbsp;<\/h2>\n    <h3 style=\"text-align: center;\">\u201cwe asked a few Re-recording mixers what they work on, and quite a few said Dynaudio\u201d<\/h3>\n    <p>&nbsp;<\/p>\n    <p>\u201cYeah we asked a few Re-recording mixers what they work on, and <a title=\"Captured for Eternity | Re-recording Mixer Mark Taylor on Dynaudio Core 59s\" href=\"\/latest\/2023\/02\/24\/captured-for-eternity-mark-taylor-dynaudio-core-series\/\">quite a few said Dynaudio<\/a>,\u201d says <strong>Jason<\/strong> on the topic of choosing speakers. \u201cThat\u2019s one of the reasons we went for these. It\u2019s been a big investment &#8211; we could have gone a lot cheaper and smaller &#8211; but it\u2019s been well, well worth it.\u201d<\/p>\n    <p>\u201cAccurate monitoring is of course very important to what we do,\u201d nods <strong>Rob<\/strong>. \u201cEspecially stuff like the accuracy of transients. With Foley you could be recording these very small, particular sounds in one moment, then have someone smashing through a wall in the next.<\/p>\n    <p>\u201cYou need a speaker that can translate all of these things. When you\u2019re listening to something like footsteps for example, you need something that\u2019s not accentuating the bottom end too much. You just want clarity on how much is actually being captured.<\/p>\n    <p>\u201cAs Jason says, a lot of mixers we know are premixing on Dynaudios, so it seemed a good route to go down. The 59s have a fairly natural sound that\u2019s translating well. We\u2019re using them every day, and I\u2019ve been really pleased with the sound of them so far.\u201d<\/p>\n    <p>Our thanks to <strong>Earthsound<\/strong>. To get in touch with <strong>Jason Swanscott<\/strong> and <strong>Rob Price<\/strong>, head over to <a title=\"Earthsound | Audio Postproduction | Foley\" href=\"https:\/\/www.earthsoundpost.com\/\" target=\"_blank\" rel=\"noopener\">www.earthsoundpost.com<\/a>.<\/p>\n    <p>&nbsp;<\/p>\n    <p><img decoding=\"async\" loading=\"lazy\" class=\"alignright  wp-image-49177\" src=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2023\/02\/Dynaudio-Core-Family-7-59-horizontal.jpg\" alt=\"Dynaudio Core 7 (upright) and Core 59 (horizontal) studio monitors\" width=\"401\" height=\"178\" srcset=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2023\/02\/Dynaudio-Core-Family-7-59-horizontal.jpg 1500w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2023\/02\/Dynaudio-Core-Family-7-59-horizontal-300x133.jpg 300w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2023\/02\/Dynaudio-Core-Family-7-59-horizontal-1024x455.jpg 1024w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2023\/02\/Dynaudio-Core-Family-7-59-horizontal-768x341.jpg 768w\" sizes=\"(max-width: 401px) 100vw, 401px\" \/><\/p>\n    <h3>Additional Links:<\/h3>\n    <p><a title=\"Dynaudio Core Series | Synthax Audio UK\" href=\"https:\/\/www.synthax.co.uk\/dynaudio\/dynaudio-core-series\/\">See the full range of Dynaudio Core Series Monitors<\/a><\/p>\n    <p>To find out where to buy Dynaudio studio monitors in the UK, <a title=\"Authorised UK Dealers | All Brands | Synthax Audio UK\" href=\"https:\/\/www.synthax.co.uk\/latest\/dealers\/\">see our list of Authorised UK Dealers<\/a>.<\/p>\n    <p style=\"clear: both;\">&nbsp;<\/p>\n    <hr>\n    <p><img decoding=\"async\" loading=\"lazy\" class=\"head-img alignleft\" style=\"margin-top: 32px;\" src=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2022\/09\/Dynaudio-Logo.jpg\" alt=\"Dynaudio PRO Studio Monitors logo\" width=\"177\" height=\"23\"><\/p>\n    <p>Dynaudio is world-famous for making hand-crafted high-end loudspeakers for living rooms, home cinemas, cars and professional recording studios.<\/p>\n    <p>Since the beginning in 1977, the company has made iconic products rooted in a love of music and film \u2013 reproducing exactly what the artist intended. Nothing more, nothing less.<\/p>\n    <p>&nbsp;<\/p>\n    <\/div>\n    <\/div>\n    <\/div>\n\n\n\n<style>\n\nh1 {\n  line-height: 36px;\n}\n\n.article-wrapper p, .article-wrapper li {\n  font-size: 130% !important;\n  line-height: 26px !important; \n}\n\n.article-wrapper em {\n  color: #222222;\n}\n\n.article-wrapper h3, .article-wrapper h2 {\n\n}\n\n\/*\n.article-wrapper-heading {\n  letter-spacing: 0.01em;\n}\n*\/\n\n.eightCol {\n  padding: 0 !important;\n}\n\n.wp-block-separator {\n  margin: 10px;\n}\n\n.footer-top-wrapper {\n  padding-bottom: 0;\n}\n\n\n.footer-text {\n  font-family: \"Helvetica Neue\", Helvetica, Arial, sans-serif; \n  font-size: 24px; \n  font-style: normal; \n  font-variant: normal;\n  font-weight: 400;\n  margin: 20px 0;\n}\n\n.footer-text p {\n  line-height: 32px !important;\n}\n\n@media only screen and (max-width: 960px) {\n\nh2 {\n  font-size: 21px;\n  line-height: 28px;\n}\n\n  .head-img {\n    width: 98vw;\n    display: flex;\n    justify-content: center;\n    margin: auto;\n    clear: both;\n  }\n  \n  .separator {\n    display: none;\n  }\n\n.article-wrapper p, .article-wrapper li {\n  font-size: 130% !important;\n  line-height: 22px !important; \n}\n\n.article-wrapper h3, .article-wrapper h2 {\n\n}\n\n.article-wrapper > .quote h3 {\n  letter-spacing: 0em !important;\n}\n\n\n}\n\n<\/style>\n\n\n\n<style>\n\n#article-menu h3 {\n  font-weight: 500;\n}\n\n#article-menu ul {\n  margin: 0;\n  list-style-position: outside;\n  list-style: disclosure-closed;\n}\n\n#article-menu ul li {\n  list-style: disclosure-closed;\n  margin-left: 1em;\n  color: #00569A;\n  }\n\n#article-menu {\n  float: left;\n  width: 32%;\n  background-color: #eef0f2;\n  padding: 2em;\n  border-radius: 12px;\n  border: 1px solid #eef0f2;\n  margin: 1em 3em 3em 1em;\n }\n\n#article-intro {\n  float: left;\n  width: 62%;\n}\n\n@media only screen and (max-width: 1040px) {\n  #article-menu, #article-intro {\n    display: block;\n    width: 98%;\n    margin: 1em auto 1em;\n  }\n\n}\n\n<\/style>\n","protected":false},"excerpt":{"rendered":"<p>Jump to these sections: Introduction Video Interview What is Foley? The recording process What makes a good Foley artist? Building a Foley Recording Studio Choosing Dynaudio Studio Monitors Earthsound Foley take us inside their purpose-built Foley studio in the Bedfordshire (UK) countryside. One of the most unique roles in Film and TV Sound is undoubtedly&hellip;<\/p>\n","protected":false},"author":3,"featured_media":55806,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false},"categories":[4,494],"tags":[2114,592,2051,2251,1216,2252,2255,919,2254,2256,1212,2052,2253,2257,2041,563,2258],"_links":{"self":[{"href":"https:\/\/www.synthax.co.uk\/latest\/wp-json\/wp\/v2\/posts\/55790"}],"collection":[{"href":"https:\/\/www.synthax.co.uk\/latest\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.synthax.co.uk\/latest\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.synthax.co.uk\/latest\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.synthax.co.uk\/latest\/wp-json\/wp\/v2\/comments?post=55790"}],"version-history":[{"count":86,"href":"https:\/\/www.synthax.co.uk\/latest\/wp-json\/wp\/v2\/posts\/55790\/revisions"}],"predecessor-version":[{"id":55891,"href":"https:\/\/www.synthax.co.uk\/latest\/wp-json\/wp\/v2\/posts\/55790\/revisions\/55891"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.synthax.co.uk\/latest\/wp-json\/wp\/v2\/media\/55806"}],"wp:attachment":[{"href":"https:\/\/www.synthax.co.uk\/latest\/wp-json\/wp\/v2\/media?parent=55790"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.synthax.co.uk\/latest\/wp-json\/wp\/v2\/categories?post=55790"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.synthax.co.uk\/latest\/wp-json\/wp\/v2\/tags?post=55790"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}