If you haven't heard the work of Tim Gedemer and Charles Deenen, then you simply haven't been paying attention. Whether it's film trailers, cutting-edge games or anything in between, SourceSound has put a distinctive stamp on mixes you hear again and again. They graciously agreed to spend a little time with us to answer a few questions. Here's what they said:
Tell us about your facility
Our company is called Source Sound, and we’re located in Los Angeles, California where we have 6 studios. We have a number of full-time staff, and expand on an as-needed basis. Our primary focus is Feature Trailers and Game Trailers, but this year we’ve also seen tremendous growth in the game cinematic realm. We’re also a key provider for Atmos sound design work, high action commercials and more.
Source Sound owner Tim Gedemer focuses mainly on the feature trailer side, while Charles Deenen’ focus is on the Game trailer & Cinematic side. Our amazing staff helps out with each project, challenge after challenge.
To accommodate the work expansion, we’ve added an Avid S6 based mix-room with Adam monitoring, which was setup to accommodate the efficiency and accuracy needed for game cinematic mixing, and online trailer mixing.
What part of the mixing process do you focus on?
On the feature trailer side, we focus on literally every aspect, ensuring that the aspects which go to the mix stage are all sounding as good as can be. This goes from ensuring that we add sound design where needed, making sure the dialog is clean, and enhance music to achieve the biggest punch necessary.
Tell us about some of your best-known work
In the 20+ years we’ve been doing this, there’s naturally been a lot of work we’ve been involved with. We work on 150+ trailers per year. Some of the best known work possibly is the work that gets pushed to the foreground of the media; Fast & the Furious movies, Need for Speed Games. Trailers for Mad Max, Gravity, 300, Man of Steel etc. Music videos for Jay Z, Beyonce, Britney Spears etc. Commercials for BMW, Audi etc.
Where have you been using PhoenixVerb Surround?
We’ve used PhoenixVerb (and R2) on literally every game project as of late. From the defined spaces on “Call of Duty Advanced Warfare” to the outdoor reverbs on “The Crew”, to the lush halls and outdoor spaces for “Halo: Masterchief Collection”. It’s become one our of go-to reverbs as it’s quick to dial in and get great results. Some of the feedback we recently got was that dialog sounded “so good, and so well placed in the environment”. I credit this to Phoenixverb whose seamless changes over time make it possible.Phoenixverb has become a permanent staple in our Mix templates.
Phoenixverb Surround is one of the only reverbs for us that ensure swe don’t get too much “the same” in all speakers, and creates an awesome wide stereo field once downfolded to LtRt. Some of the IR based reverbs often start to sound too similar, throughout (and in some cases turn “narrow” when downfolded). The control one has over the placement of the reverb with Phoenix Surround is awesome, and again, can be changed in real-time seamlessly which is important for us .