- published: 01 Feb 2014
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Benjamin "Ben" Burtt, Jr. (born July 12, 1948) is an American sound designer, film editor, director, screenwriter, and voice actor. He has worked as sound designer on various films, including the Star Wars and Indiana Jones film series, Invasion of the Body Snatchers (1978), E.T. the Extra-Terrestrial (1982), WALL-E (2008) and Star Trek (2009).
He is most notable for creating many of the iconic sound effects heard in the Star Wars film franchise, including the "voice" of R2-D2, the lightsaber hum, the sound of the blaster guns, and the heavy-breathing sound of Darth Vader. Burtt is also known for "voicing" the title character, Wall-E, in the 2008 Pixar movie WALL-E. He also created the robotic sound of Wall-E's voice, along with all the other characters in WALL-E, and was the sound editor of the movie.
The winner of four Academy Awards (two of which are Special Achievement Academy Awards), he is the director of various documentary films. He is also the editor of the Star Wars prequel trilogy.
Star Wars is an American epic space opera franchise, centered on a film series created by George Lucas. It depicts the adventures of various characters "a long time ago in a galaxy far, far away".
The first film in the series, Star Wars (later subtitled Episode IV: A New Hope), was released on May 25, 1977 by 20th Century Fox and became a worldwide pop culture phenomenon. It was followed by the similarly successful sequels The Empire Strikes Back (1980) and Return of the Jedi (1983); these three films constitute the original Star Wars trilogy. A prequel trilogy was later released between 1999 and 2005, which received a more mixed reaction from critics and fans, compared to the original trilogy. All seven films were nominated for or won Academy Awards, and were commercial successes, with a combined box office revenue of $4.38 billion, making Star Wars the fourth highest-grossing film series. The series has spawned an extensive media franchise—the Star Wars expanded universe—including books, television series, computer and video games, and comic books, resulting in significant development of the series's fictional universe. Star Wars also holds a Guinness World Records title for the "Most successful film merchandising franchise." In 2012, the total value of the Star Wars franchise was estimated at USD $30.7 billion, including box-office receipts as well as profits from their video games and DVD sales.
Sound design is the process of specifying, acquiring, manipulating or generating audio elements. It is employed in a variety of disciplines including filmmaking, television production, theatre, sound recording and reproduction, live performance, sound art, post-production, radio and video game software development. Sound design most commonly involves the manipulation of previously composed or recorded audio, such as sound effects and dialogue. In some instances it may also involve the composition or manipulation of audio to create a desired effect or mood. A sound designer is one who practices the art of sound design.
The use of sound to evoke emotion, reflect mood and underscore actions in plays and dances began in prehistoric times. At its earliest, it was used in religious practices for healing or just for fun. 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 the script for music and sound effects to be played at the appropriate time.
In physics, sound is a vibration that propagates as a typically audible mechanical wave of pressure and displacement, through a medium such as air or water. In physiology and psychology, sound is the reception of such waves and their perception by the brain.
Acoustics is the interdisciplinary science that deals with the study of mechanical waves in gases, liquids, and solids including vibration, sound, ultrasound, and infrasound. A scientist who works in the field of acoustics is an acoustician, while someone working in the field of acoustical engineering may be called an acoustical engineer. An audio engineer, on the other hand is concerned with the recording, manipulation, mixing, and reproduction of sound.
Applications of acoustics are found in almost all aspects of modern society, subdisciplines include aeroacoustics, audio signal processing, architectural acoustics, bioacoustics, electro-acoustics, environmental noise, musical acoustics, noise control, psychoacoustics, speech, ultrasound, underwater acoustics, and vibration.
Sound Advice was a radio show on CBC Radio. It aired for fourteen years on Saturday afternoons, latterly on CBC Radio 2. The host was Rick Phillips. Its final broadcast was on March 29, 2008.
As of April 22, 2008, a stream of new programming will appear every two weeks on Universal Music's web page. Streams will be archived.
The show reviewed recordings of classical music and, except in special themed shows, a rating of up to five stars was given. The program advised listeners on building up a library of classical music. The show also aimed to impart discriminating distinctions so that listeners will become skilled in forming their own opinions. To further this instructive effort, different recordings of the same piece were often played in succession to illustrate different (and sometimes substandard) approaches in the performance.
Ben Burtt, sound designer of the Star Wars films, details how he created the iconic sound of lightsabers in this vintage interview. The lightsaber hum is one of Burtt's favorite sounds, he says. Inspired by Ralph McQuarrie's concept paintings featuring lightsabers, Burtt said he could "hear the sound in his head." At the time, he was still a graduate student at USC and was working as a projectionist. The old projector had an interlocked motor which, when idle, made a "wonderful humming sound." Burtt recorded it, and it became the basis of the lightsaber sound. But it wasn't enough -- he needed a buzzing sound, and he actually found it by accident. Walking by television set with a live microphone, the microphone picked up the transmission from the unit and produced a buzz. Burtt loved it, ...
Very interesting 10-minute television special on sound effect wizard Ben Burtt. *** "Meet Pat Welsh: the voice of E.T." 07:34 *** (Original upload: https://www.youtube.com/watch?v=20uVkEwZMRg)
An Interview with Sound Designer Ben Burtt taken from The Star Wars Trilogy Definitive Collection Laserdisc Boxset, released 1993.
Ben Burtt, sound designer of the Star Wars films, details how he created the sound design of the original trilogy in this vintage interview. In a film such as Star Wars, Burtt explains, the soundtrack is completely fabricated in a studio. Only about 15 to 20% of dialogue was recorded on-set; everything else was recorded later, including sound effects from footsteps to cloth rustle to exploding Death Stars. Everything that goes into a final soundtrack requires organization, eventually becoming an encyclopedia of sound. Sound designers collect sound and catalog it. "I think I have 6,000 tapes," Burtt says, consisting of everything from animal growls to jet engines. Thus, part of being a sound designer is "being a librarian."
Skywalker Sound's Ben Burtt, sound designer of the Star Wars films, discusses the different roles required in creating and mixing audio for films and how that changed with Star Wars. Historically, there had typically three jobs in sound on a film: production recordist (on-set, with a microphone, recording dialogue and sound as they occur during shooting), sound editor (goes out and records sounds, edits them, and adds them to the film), and the sound mixer (blends all the sound together for the final film mix). Sound designer is a position and title that Burtt essentially created for himself with the first Star Wars film, as he combined elements of all three aeforementioned jobs into one. Ultimately, Burtt coordinated everything that was heard in the final soundtrack of the film.
Featurette on the sound design of Star Wars Episode II: Attack of the Clones.
Also watch: "Fantastic 10-minute SFX documentary w/ Sound Designer Ben Burtt on Star Wars, Indy, E.T. & more!" https://www.youtube.com/watch?v=mWiuKNPqkko The 'comical' sounds that make the Millennium Falcon's hyperdrive malfunction, as demonstrated by Star Wars sound designer Ben Burtt in this 1980 clip.
Super 8's Supervising Sound Designer Ben Burtt tells us the background and abilities he finds to be most important for an aspiring sound designer or cinema professional. Hear his work in Super 8 on Blu-ray with Dolby TrueHD 7.1 lossless audio. Learn more about Dolby TrueHD at http://bit.ly/HqyWRt
An Interview with Sound Designer Ben Burtt taken from The Star Wars Trilogy Definitive Collection Laserdisc Boxset, released 1993.
Sound Effects master and multiple Oscar winner, Ben Burtt shares some amazing stories about Star Wars and other films he has worked on.
Featurette on the sound design of Star Wars Episode II: Attack of the Clones.
Denis Muren of ILM and Ben Burtt of Skywalker Sound discuss their work on the Indiana Jones movies and prepping them for Blu-ray
Documentary from the Star Wars Complete Saga Blu-ray release. https://www.facebook.com/mranderson00001collection
WALL·E (2008) In the distant future, a small waste-collecting robot inadvertently embarks on a space journey that will ultimately decide the fate of mankind.
The Beginning is a documentary on the making of Star Wars: Episode I The Phantom Menace, originally produced for the film's DVD release. It covers the entire production of The Phantom Menace, from preproduction to casting to visual effects, editing, and theatrical release. The Beginning starts with early production work on the film, as George Lucas (returning to the director's chair for the first time since Star Wars: Episode IV A New Hope) and Lucasfilm plan how they will bring his vision to the screen. Jake Lloyd auditions for the part of Anakin Skywalker and is eventually cast in the role, joining Natalie Portman (Padmé), Ewan McGregor (Obi-Wan Kenobi) and Liam Neeson (Qui-Gon Jinn). Lucas leads several meetings with ILM, including visual effects supervisor John Knoll, in an effort to f...
A rare account of John Williams composing and recording the historic score for The Empire Strikes Back, with the London Symphony Orchestra. This BBC special, aired just days before Episode V premiered, also chronicles John Williams's illustrious career up to that point, with scenes from Jaws, Close Encounters of the Third Kind, Superman and many others. Originally aired on May 18, 1980, on BBC. Chapters: 00:00 - Intro / Production crew / A New Hope 06:05 - EMPIRE: spotting sessions 07:15 - "How to Steal a Million" (1966) 11:45 - "A Guide for the Married Man" (1967) 13:08 - EMPIRE: spotting sessions (cont.) 15:40 - EMPIRE: kiss scene comparison 18:48 - "Images" (1972) 21:40 - "Jane Eyre" (1970) 24:59 - EMPIRE: sound fx (with Ben Burtt) 29:00 - "The Towering Inferno" (1974) 31:32 - John ...
Behind-the-Scenes with King Kong (in San Francisco, California!) in the 1996 IMAX movie directed by Ben Burtt entitled Special Effects: Anything Can Happen, featuring stop-motion animation created by the late great David Allen (special effects artist). Created by PBS station WGBH in Boston, Massachusetts, as part of the NOVA l PBS program. Only available on VHS!!!
An Interview with Sound Designer Ben Burtt taken from The Star Wars Trilogy Definitive Collection Laserdisc Boxset, released 1993.
Ben Burtt, sound designer of the Star Wars films, details how he created the iconic sound of lightsabers in this vintage interview. The lightsaber hum is one of Burtt's favorite sounds, he says. Inspired by Ralph McQuarrie's concept paintings featuring lightsabers, Burtt said he could "hear the sound in his head." At the time, he was still a graduate student at USC and was working as a projectionist. The old projector had an interlocked motor which, when idle, made a "wonderful humming sound." Burtt recorded it, and it became the basis of the lightsaber sound. But it wasn't enough -- he needed a buzzing sound, and he actually found it by accident. Walking by television set with a live microphone, the microphone picked up the transmission from the unit and produced a buzz. Burtt loved it, ...
Ben Burtt, sound designer of the Star Wars films, discusses gathering and creating the sound of the saga's stunning explosions. "The sound of explosions has always been a great passion for me," Burtt says. During the making of the Star Wars films, he spent a lot of time recording explosions and weapons, always trying to get "the maximum visceral effect out of the event." But recording real explosions is difficult. They're loud, sudden, short, and usually don't have the full body of sound that one would expect. To create convincing explosions for film, Burtt has gathered various sounds: he visited military bases where he recorded tanks, missiles impacting, and has even lost microphones to explosions. He is still, however, searching for "the ultimate explosion."
Ben Burtt, sound designer of the Star Wars films, details how he created the sound design of the original trilogy in this vintage interview. In a film such as Star Wars, Burtt explains, the soundtrack is completely fabricated in a studio. Only about 15 to 20% of dialogue was recorded on-set; everything else was recorded later, including sound effects from footsteps to cloth rustle to exploding Death Stars. Everything that goes into a final soundtrack requires organization, eventually becoming an encyclopedia of sound. Sound designers collect sound and catalog it. "I think I have 6,000 tapes," Burtt says, consisting of everything from animal growls to jet engines. Thus, part of being a sound designer is "being a librarian."
In this featurette from the Lucasfilm video archives, sound designer Ben Burtt discusses the evolution of Darth Vader's iconic, ominous breathing. In the original script, Darth Vader was described as a "strange dark being, in some kind of a life-support system." As a result, Burtt originally created many sounds for Vader: his heart audibly beating, gears turning as he moved, and more. This turned out to be too much, however, and was scaled back to just his mechanical lungs -- which became a classic movie sound effect, and remains a defining feature of the Dark Lord of the Sith.
Ben Burtt, legendary sound designer of the Star Wars films, talks about creating Chewbacca's voice in this vintage interview. The first voice that Burtt worked on in Star Wars was Chewbacca's, but in the script, there was little direction as to what a Wookiee would sound like. It had to be alien and an intelligent language, but not recognizable. In one of Burtt's first meetings with George Lucas, the director suggested that bears might be suitable. For a year, Burtt collected the grunts and roars of bears, along with the sounds of walruses, lions, and many other animals. By extracting little bits from each recording, Burtt could identify sounds based on emotions -- anger, affection, etc. He cut those together in a way that could match how the character's mouth moved, as well as convey fe...
In this vintage interview, sound designer Ben Burtt discusses creating the sound of AT-AT walkers in The Empire Strikes Back. Walkers were fun to work on for Burtt because "they were big mechanical beasts," and were a nice break from working on voices. Burtt felt that the challenge was to give them, through sound, a sense of mass and weight -- in reality, AT-ATs were just miniatures animated on a small stage. The sound of the AT-ATs moving came from a metal stamping machine, something akin to a "big chopping block" for steel, recorded in a factory. Burtt took the sounds and made them rhythmic to convey walking. For its knee joints, Burtt took a dumpster door and recorded it opening and closing.
How were R2-D2's beeps and boops created? Sound designer Ben Burtt talks all things astromech in this vintage interview. R2-D2 was the most difficult non-human character to develop a voice for, Burtt says. He was a machine that was going to talk, act, and work opposite well-known actors. But he didn't have a face or speak English. Initial voice tests for Artoo seemed to lack "a human quality." After some trial and error, Burtt began imitating the sounds an infant might make, and he found that it worked: R2-D2 could convey emotion without speaking words. Thus, the idea was to combine mechanical and human sounds, and Burtt combined his voice with electronic sounds via a keyboard. It helped him understand how Artoo could inflect and, ultimately, deliver a performance.
Skywalker Sound's Ben Burtt, sound designer of the Star Wars films, discusses the different roles required in creating and mixing audio for films and how that changed with Star Wars. Historically, there had typically three jobs in sound on a film: production recordist (on-set, with a microphone, recording dialogue and sound as they occur during shooting), sound editor (goes out and records sounds, edits them, and adds them to the film), and the sound mixer (blends all the sound together for the final film mix). Sound designer is a position and title that Burtt essentially created for himself with the first Star Wars film, as he combined elements of all three aeforementioned jobs into one. Ultimately, Burtt coordinated everything that was heard in the final soundtrack of the film.
Ben Burtt, sound designer of the Star Wars films, details how he created the iconic sound of lightsabers in this vintage interview. The lightsaber hum is one of Burtt's favorite sounds, he says. Inspired by Ralph McQuarrie's concept paintings featuring lightsabers, Burtt said he could "hear the sound in his head." At the time, he was still a graduate student at USC and was working as a projectionist. The old projector had an interlocked motor which, when idle, made a "wonderful humming sound." Burtt recorded it, and it became the basis of the lightsaber sound. But it wasn't enough -- he needed a buzzing sound, and he actually found it by accident. Walking by television set with a live microphone, the microphone picked up the transmission from the unit and produced a buzz. Burtt loved it, ...
Very interesting 10-minute television special on sound effect wizard Ben Burtt. *** "Meet Pat Welsh: the voice of E.T." 07:34 *** (Original upload: https://www.youtube.com/watch?v=20uVkEwZMRg)
An Interview with Sound Designer Ben Burtt taken from The Star Wars Trilogy Definitive Collection Laserdisc Boxset, released 1993.
Ben Burtt, sound designer of the Star Wars films, details how he created the sound design of the original trilogy in this vintage interview. In a film such as Star Wars, Burtt explains, the soundtrack is completely fabricated in a studio. Only about 15 to 20% of dialogue was recorded on-set; everything else was recorded later, including sound effects from footsteps to cloth rustle to exploding Death Stars. Everything that goes into a final soundtrack requires organization, eventually becoming an encyclopedia of sound. Sound designers collect sound and catalog it. "I think I have 6,000 tapes," Burtt says, consisting of everything from animal growls to jet engines. Thus, part of being a sound designer is "being a librarian."
Skywalker Sound's Ben Burtt, sound designer of the Star Wars films, discusses the different roles required in creating and mixing audio for films and how that changed with Star Wars. Historically, there had typically three jobs in sound on a film: production recordist (on-set, with a microphone, recording dialogue and sound as they occur during shooting), sound editor (goes out and records sounds, edits them, and adds them to the film), and the sound mixer (blends all the sound together for the final film mix). Sound designer is a position and title that Burtt essentially created for himself with the first Star Wars film, as he combined elements of all three aeforementioned jobs into one. Ultimately, Burtt coordinated everything that was heard in the final soundtrack of the film.
Featurette on the sound design of Star Wars Episode II: Attack of the Clones.
Also watch: "Fantastic 10-minute SFX documentary w/ Sound Designer Ben Burtt on Star Wars, Indy, E.T. & more!" https://www.youtube.com/watch?v=mWiuKNPqkko The 'comical' sounds that make the Millennium Falcon's hyperdrive malfunction, as demonstrated by Star Wars sound designer Ben Burtt in this 1980 clip.
Super 8's Supervising Sound Designer Ben Burtt tells us the background and abilities he finds to be most important for an aspiring sound designer or cinema professional. Hear his work in Super 8 on Blu-ray with Dolby TrueHD 7.1 lossless audio. Learn more about Dolby TrueHD at http://bit.ly/HqyWRt
An Interview with Sound Designer Ben Burtt taken from The Star Wars Trilogy Definitive Collection Laserdisc Boxset, released 1993.
Sound Effects master and multiple Oscar winner, Ben Burtt shares some amazing stories about Star Wars and other films he has worked on.
Featurette on the sound design of Star Wars Episode II: Attack of the Clones.
Denis Muren of ILM and Ben Burtt of Skywalker Sound discuss their work on the Indiana Jones movies and prepping them for Blu-ray
Documentary from the Star Wars Complete Saga Blu-ray release. https://www.facebook.com/mranderson00001collection
WALL·E (2008) In the distant future, a small waste-collecting robot inadvertently embarks on a space journey that will ultimately decide the fate of mankind.
The Beginning is a documentary on the making of Star Wars: Episode I The Phantom Menace, originally produced for the film's DVD release. It covers the entire production of The Phantom Menace, from preproduction to casting to visual effects, editing, and theatrical release. The Beginning starts with early production work on the film, as George Lucas (returning to the director's chair for the first time since Star Wars: Episode IV A New Hope) and Lucasfilm plan how they will bring his vision to the screen. Jake Lloyd auditions for the part of Anakin Skywalker and is eventually cast in the role, joining Natalie Portman (Padmé), Ewan McGregor (Obi-Wan Kenobi) and Liam Neeson (Qui-Gon Jinn). Lucas leads several meetings with ILM, including visual effects supervisor John Knoll, in an effort to f...
A rare account of John Williams composing and recording the historic score for The Empire Strikes Back, with the London Symphony Orchestra. This BBC special, aired just days before Episode V premiered, also chronicles John Williams's illustrious career up to that point, with scenes from Jaws, Close Encounters of the Third Kind, Superman and many others. Originally aired on May 18, 1980, on BBC. Chapters: 00:00 - Intro / Production crew / A New Hope 06:05 - EMPIRE: spotting sessions 07:15 - "How to Steal a Million" (1966) 11:45 - "A Guide for the Married Man" (1967) 13:08 - EMPIRE: spotting sessions (cont.) 15:40 - EMPIRE: kiss scene comparison 18:48 - "Images" (1972) 21:40 - "Jane Eyre" (1970) 24:59 - EMPIRE: sound fx (with Ben Burtt) 29:00 - "The Towering Inferno" (1974) 31:32 - John ...
Behind-the-Scenes with King Kong (in San Francisco, California!) in the 1996 IMAX movie directed by Ben Burtt entitled Special Effects: Anything Can Happen, featuring stop-motion animation created by the late great David Allen (special effects artist). Created by PBS station WGBH in Boston, Massachusetts, as part of the NOVA l PBS program. Only available on VHS!!!