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Author: admin, 15.12.2015
For the soundtrack of NBCa€™s Hannibal, the clicking, crackling sounds of synapses firing were created by sampling and exaggerating the noise made by a Newtona€™s cradle (above).
Roman Mars’ podcast 99% Invisible covers design questions large and small, from his fascination with rebar to the history of slot machines to the great Los Angeles Red Car conspiracy. The second way horror movie music makes you feel uneasy is to go the other direction: low grumbling sounds. Composer Brian Reitzell’s score for Hannibal lives half in music, half in sound design. Composer Brian Reitzell slid fingers up and down the neck of a bass to reproduce the revving sound of a motorcycle engine for the Hannibal soundtrack. The other main character in the series is Will Graham, an FBI profiler who has a knack for getting inside the heads of serial killers to try to catch them. The bad guy in Hannibal is Hannibal Lecter, of course, but Graham is also wrestling with his own demons. To represent the Wendigo, Reitzell and Slade wanted a sound that indicated the coming of that character. Hrishkesh Hirway is the producer of Song Exploder, and also records music as The One AM Radio.
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Inquire about our Conversation Classes to help you improve your pronunciation, articulation, as well as sentence formation. Here at The Eye, we cross-post new episodes and host excerpts from the 99% Invisible blog, which offers complementary visuals for each episode.
The first way is to compose music with lots of screechy, irregular tones, imitating the sounds of screams and distress. This is also rooted in biology, since the lowest frequency a species can produce is a function of its body size. You get a sense that it is heard by the characters, inside their imaginations, as it transports you directly into the action. He mixed it with with castanets to represent the ignition, bowed wooden block to represent the flames from the engine, and added some reverb to create a smoky texture. He created the clicking, crackling sounds of synapses firing by sampling and exaggerating the sounds from a Newton’s cradle. He has the dreamlike visions of a demon they call the Wendigo, which represents both the evil of Hannibal and the evil growing inside himself. Once paired with the image of the Wendigo, it was a sonic fit, matching the emotions of the visual and augmenting the presence of the Wendigo in the story.

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For example, in a scene where Hannibal rides a motorcycle, instead of using the recorded sound of an actual motorcycle, Reitzell creates a new sound in the studio that makes viewers feel like they’re actually riding. It’s a sound that evokes the feeling of wind whipping past, the rush of adrenaline, and the engine rumbling below. But this is not the case in the NBC TV series Hannibal, which tells the story a serial killer named Hannibal Lecter, whom you may know from Silence of the Lambs and Manhunter.
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