Sometimes you have to do a lot to change nothing. >. CHERKASHIN

Agency: Voskhod
Creative Director: Andrey Gubaydullin
Art Director: Anton Kotovski
Production Company: Radioaktive Films
Executive Producer: Darko Skulsky, Roman Kindrachuk
Producer: Sasha Bevka
Director: Marc Raymond Wilkins
Director of Photography: Dmitry Maximenko
Editor: Yuri Reznichenko
Sound Design: Petr E.C. Rice

Logic 9

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Hey Guys, How’s it sounding?

I just want to say that you should brace yourself for Logic 10/X because I just got Logic 9. Usually that’s what happens with Apple products and I. I usually buy the pre-current edition…not on purpose, but always because of the secrecy Apple shrouds behind.

I had to get Logic 9 because I am an East West Quantum Leap Symphonic Orchestra fan. I also like my sessions very organized and hardly any multi timbral sets; the automation is a hassle and I’d prefer to load settings from within Logic’s library (are you interested in aupresets for EWQLSO?)

I’m interested in your own way of loading an orchestra. Tell me about it if you’re into that at all. I’m a dork, and I love to wrap my head around Logic’s Environment.

By the way, get more RAM…I had no idea what I was missing when I thought 4 GB was enough.

Music on the cut

Well, you can have it at least two ways: 1: bars on the picture cut
Or
2: music which keeps you interested in a story.

Once I learned how to create tempo changes to match scene changes, I took it too far. I started mapping out entire scenes, cut by cut, which is not only unnecessary, but it is also plot/climax/and story-telling catastrophe. I just wanted to make it seem like this commercial was made from this music. The truth was, the commercial was cut to an edited piece of music with a few bars missing in between a cut. My job was to make a totally new piece of music using the electrons of the temp track. In the back of my mind, I was saying, “but the bars, where in hell will 2 bars come from when I need a buildup?”

The solution was simple, make it four bars by letting go of my other commitment to bars on the cut earlier. And, then I learned that often, we hate the music that is predictable.

I believe we pay much more attention to disorder because it takes more processing power to decode the information in front of us. Making music with tempo changes to match every cut will support storytelling, but it can also turn our brain pan into mush, stuffing a story into a 90 bpm then 110 when it could also be told at a steady 100 bpm, making us wait to decipher the consequent 12.5 frames (in PAL) or 15 frames in NTSC. Those extra frames before or after a cut, are what I call floating bar frames.

Floating Bar Frames are like little men inbetween your ears and brain pan, and they say, “wait, where are we going…ohh!…now I like that.”

Sure, Bars On The Cut make those little men dance to the beat of a drum, but they will never ask themselves ” but why are we dancing?”

20130103-234651.jpg

10 Course Acoustic Menu for “Multi-Sensory Dining”

What would fried apples and desert wine sound like?

Here’s an example:

Signed With Methodic Doubt

How’s it sounding?

Sounds great here. I licensed some music to Methodic Doubt Music in Los Angeles. It’s a dream come true. I’ve been chasing them down since they did the Transformers 3 trailer music about 2 years ago.

The chances are higher that you’ll be hearing more of my music soon!

Whoosh goes the dynamite,
Petr

Farrango – One Night (2012)

Hey, How’s it sounding?
I’m working on a new short film directed by Krishna Bhati. I’m learning how to compose thinner music. What I mean is, not every scene has to spell out how the audience should be feeling with a 70 piece orchestra. 18 violins and the right piano with the perfect musical sound design can be 10 times more powerful.

I’m learning too that simply starting from scratch after a listening break is the best solution for my writers-block.

This film is touching some key dramatic pillars; cheating, pregnancy and homosexuality. My wife is 18 weeks pregnant with our son. I’m dedicating the score to him.

‘Want’ or ‘Need’ and Loyalty

Hey, how’s it sounding?
I claim ‘Want’ is based on emotion; ‘Need’ is based on a rational decision. I want something because I don’t have it and because I would like the feeling I get when I do have it. I need something because there’s no other substitution; food, breathing, sleep, mobility, and knowledge fit this category of need.

The best commercials make the connection between ‘need’ and ‘want.’ I want something so bad that only that thing will give me breath. This generates optimal loyalty.

If sound is a transporter of emotion and knowledge, then it pays to invest in it.

When was the last time you bought a thing because you needed and wanted it? And do you remember the music during the commercial? Do you remember the feeling you got? Do you like the way the thing sounds? If you say yes, then I claim that you are a much more loyal consumer than one who buys just because of a rational decision.

I understand this is maybe not new information to most of you, but if you haven’t thought about it, then you want to talk to me; I need loyal customers and I want to make emotions…it’s what I’m made out of.

Whoosh goes the dynamite,
Petr

Creative Career

Hey, How’s it sounding?

I wanted to talk about my theory of Creativity:

The 5 Phases of Creativity

  1. Phase 1:  Meet people who teach the fundamentals of what you want to do. Learn the rules before you write your own.
  2. Phase 2:  Meet people who do what you want to do. Find your mentor.
  3. Phase 3:  Meet other people who touch what you make.
  4. Phase 4:  Meet people who need what you do. Find or create the need.
  5. Phase 5:  Teach it to others in Phase 1.

I’m currently in Phase 4, and that is a little easier from the first 3 phases. I still think there’s a need that I haven’t found or created yet. I love that it’s all up to me, but it’s scary.

Whoosh goes the dynamite,

Petr

Which came first, the briefing or the concept

Hey. How’s it sounding?
I’m thinking about briefings a lot. The danger with briefings can be that they outline the direction in such a way that makes it impossible to fulfill…but often times, just like with a casting in a modeling agency, the short blonde has “something special” which is not stated in the briefing at all.

That being said, there are ways to read a briefing, turn emotive words into musical theory, and churn out an audio brand. But the problem is that I can’t always reverse-justify why I chose these instruments, this melody, this rhythm, this timing of the voice, and this sound effect.

I’ll never try to sell snake oil to a brand, but I’m getting better at asking the right questions which fill in the spaces between the words in the briefing. After all, ‘modern’ and ‘uplifting’ can mean many different things.

I’m interested in meeting people who have the time to discuss their brand, like they would talk about their favorite sister who has the coolest 2 year old. Show me the pictures, videos, drawings, and tell me the funny things they say…now we’re making something which is much more than echoing a briefing; it’s finding a better, yet unfortunately more expensive way to communicate complicated ideas and emotions…by taking TIME with your brand.

Whoosh goes the dynamite,
Petr

What You Call “Luck”

Hey, how’s it sounding?

Since I was 10 years old in 1989, I had the dream to make music for film. 9 years later I composed my first film score with a four-track recorder and a Yamaha keyboard. 12 years later, I composed my first Ident for German television. 3 years later, a director hears my music and likes it. I myself forget my story and how hard it was for me, but here it is in black and white because you should know, if you hear my music on a commercial, I wasn’t just lucky…just like many artists who can’t do anything else, I starved for that luck.

8 years later I was accepted into the Berklee College of Music, but couldn’t afford it (that was before I thought student loan debt was okay). In 1997, I composed my first film score with a four track and a Yamaha keyboard.  Then, 9 years later (and after a significant life experience)  in 2006 I had the dream to be a sound designer after my first internship in Chicago. I was told to meet as many people as possible in this post production house. I did find 2 editors that I really respected, and I was their shadow as soon as I finished making coffee and changing broken light bulbs. I was only asked to stay 3 days a week, but I asked if I could come everyday of the week. I was young, VERY shy, and had a lot of drive, but I was just a peon.

2 years later, in 2008 I moved to Germany. I had another internship, but this time I was paid! I wasn’t working in the Audio Department, but I was just a few doors down, and I was in the studios for the voice recordings for Red Bull videos online. Since I was a Native English speaker, I was an asset. I also smoked…guess who else smoked? The resident Sound Designer and Composer, Oliver Faig. I spent some time asking him important questions. 6 months later my internship ended, and thus my contract. I was offered a job at an advertising agency in Munich, getting paid a lot more money than I ever had and it was unlimited contract, but the German government told my future employer that I must be paid more money and I can not work over-time….so, that job went kaputt. I was jobless for 3 months. I studied German some more and I emailed the sound designer and begged him often enough to get a cup of coffee with him. I got the cup of coffee, and a little bit later I got an offer. A year later I met Nigel Holland, the award winning sound designer for Batman Begins, Braveheart, and Resident Evil. I bugged him until the right time came when he needed an extra pair of hands. I got to design room tone for “Urban Explorer” directed by Andy Fetscher. Don’t know what room tone is? It’s what you hear if nothing in a scene is happening. Sounds boring maybe, I loved it and learned a lot. A big thank you to Nigel and Oliver.

In 2009, I was 30 years old. That was when I composed my first Ident during Christmas for Sky Germany. In 2010, I married my best friend. In 2011, my contract expired, so I went through a very tedious process to become a freelancer in Germany. In 2011, I had just 2 projects. It was a very depressing time, but it was also a game changer! I have never met so many people in my life…putting myself in uncomfortable situations where I must speak a language which is not my own. I grew a lot.

So, now, it’s 2012…I’m almost 33. 23 years after listening to the Danny Elfman Batman soundtrack, I am pitching for commercials. So, if you hear my dream coming true, it wasn’t because of luck. It was because I put myself out in the most uncomfortable situations, made some music that I love, made very little or no money at all, and married the best person in the world for me. I was lucky that my wife is paid well enough that we could even afford to live with my limited income. But she’s not lucky, she works her ass off too.

So, it wasn’t luck, but I did have an Oliver Faig and a Nigel Holland, and a wonderful wife to thank. Find your Oliver and Nigel, and jump over all the hurdles if you really want something.

Whoosh goes the dynamite,

Petr

Meaning and Worth in 2 Channels

3 Seconds is worth HOW much?

Hey guys and gals, How’s it sounding?

It’s too bad that there is often such a discrepancy between the Graphic Design budget and the Audio budget in corporate design projects. I understand it because it sure is easier to say “it just doesn’t look real” or “the font is wrong.” But there are only a handful of people who can say “the tone of the clap sounds like a slap” or “why don’t you try a diminished 13 chord there.”

The example above is the stereo mixdown of a small audio logo I produced. It was 5 tracks of separate sounds; each picked because of the briefing I received. One of them was a whoosh I designed in a sampler using a recording of a 100-square meter computer server room, but pitched down 200% with a smooth attack and lots of hall. Another was a synth with the right resonance envelope which gave it a sexy, smart feeling. But, in this mixdown, you don’t see much except 3 peaks in 3 seconds.

If this sound was played on a tv commercial which was airing worldwide, it could ‘cost’ about €51,000 ($68,000). If it just played in Germany, it could ‘cost’ about €9,000 ($12,000). In America only, €18,000 ($24,000). And that is just for the production and buyout…we’re not even talking about the strategy and consulting ‘costs’.

But how valuable is it? Well, it isn’t actually a cost, it’s an investment. What are you investing in when you pay a Graphic Designer to make the ‘M’ look like a french fry? You’re not just buying a service, you’re investing in a defined message which speaks to a consumer at such a deep level that they feel a feeling just by looking at it. I suggest the same happens with Sound Designers and Audio Branders. What’s even better is, you don’t have to look at a sound to hear it. It comes from all directions;  whether you like it or not.

Whoosh goes the dynamite,

Petr

The Truth Behind Advertising

This is so funny, but so sadly true. I am considering being THIS honest the next time I offer a pitch.

I have so much to say here, but do not want to damage any future contacts I have with ad agencies. I will say, we could all be a little more honest about our motives, or double-check them at least. I love working in television and film; sound designers are the best liars in the world. I can make a soggy cereal sound crispy. I can make it cold when it was shot in a Texas Summer. I can give a character a breath when in the first script, before the final cut, he was supposed to be dead. But when it comes to evaluating my work based on a 1-page briefing with the words “modern” “apple” and “ending on an up note”, it’s tough.

I enjoy working with clients who have a better suggestion, not with clients who simply criticize…there’s no creativity behind criticizing.

I learned that I should offer fewer layouts; enhancing my own opinion of my work. If I think I’m a hack, then everyone else will too.

Whoosh goes the dynamite.

Petr

Melting Film, a sound designers playground

Sam Speckley is this Sound Designer’s name.

Just listen to the ripping tape, the resonating bowls (could be a dishwasher rack “ping”), bubbling water, the reverse metal/wood-bending whooshes and other great bending moving sounds. The glass shattering is a little too identifiable. I’d love to have a try at it.

Thanks to Bobby Solomon for posting his blog, introducing me to Sam.

Whoosh goes the dynamite,

Petr

How Does Your Brand Act When Nobody Is Looking?

It’s not just about putting cool music behind a commercial; it’s about conceptualizing a strategy for exactly how your brand or product communicates a message aurally. And, it’s not a “buy me because I’m a good thing” message either.

I don’t have a Masters in Marketing, but I understand emotions, sound, and music; especially how sound affects our emotions and expectations.

I ask you, “What is your message?” and “How would your brand or product act if it thought no one was looking?”

Is it serious or is it funny? Is it traditional or is it interested in the latest? Is it methodical or is it passionate? Is it friendly or is it a hard worker? And so on and so on.

Updated Website

I’ve got a new look. My alter-ego, RE:AW, designed it. With just Photoshop + iWeb, I was able to post it easily with my 1&1 account.

www.petrecrice.com

Enjoy.

Whoosh goes the dynamite,

Petr

 

Retail Music Complaint (names were changed to protect their identity)

My name is Petr Rice. I am passionate about Audio Branding. I am a listener, composer, and sound designer for television and film. More importantly for X&/()%, I am a dutiful husband who shops with his wife from time to time.

My wife and I were in 2 X&/()% retail stores a few weekends ago in Augsburg and Ingolstadt Germany. It was the end of our vacation time together; she works often 12-hour days as a kindergarden supervisor of 12 employees, 70 children, and 150 busy/complaining parents….she needed something more classy than jeans to wear to work.

In both locations, my wife and I left the store after less than 5 minutes. What bothered us was the music. In Augsburg, there was hip hop music playing. In Ingolstadt, the store had many many shoppers inside, we were stressed moving around all the other shoppers, and in addition to that stress, the music was fast-paced house music. We looked at each other from a short distance, pointed to the ceiling where the speakers were hidden, and made funny faces, then left the stores hand-in-hand, without a shopping bag.

 At both locations, I wanted to ask who is in charge of music selection for the retail stores, but I didn’t want to leave my wife waiting alone outside. I’d like to hear their opinion about why they license the music they do. I don’t want to say that they are wrong for their opinions, but maybe there isn’t even such a person in charge of X&/()% Branded Music Licensing. If there is, I’m sure they would tell me that music is very important, that it affects the purchasing behavior of the customer in a subconscious way, that music can fit (or not fit)  the X&/()% brand image and appeal (or not appeal) to its audience, and that if it is the right music, it will create a strong bond between the retail experience and X&/()% Brand Loyalty; keeping them coming back because of the way the store smelt or sounded and because of what they expect of the X&/()% brand.

 I’d like to know who I can talk to so I could have an honest listen to their objectives, because maybe I’ve misunderstood what X&/()% is about. Can you direct me to the right person?

 If the music licensing is centrally chosen and distributed, I’d like to challenge their conception; if it is not central, then I challenge X&/()% to find the best way to put the best-fitting music in its retail stores. It would be a fun audio branding strategy to develop, and, more importantly, X&/()% retail stores will see a return on that investment because well-branded music keeps shoppers like my wife and I in the store longer, it relaxes us when there are many other shoppers in the same store, and it multiplies the emotional bond to the X&/()% brand.

 We don’t buy X&/()% just because it is a good product or because the stores are always visually appealing, we buy it because of the way it makes us feel…X&/()% makes my wife feel important, elegant, and responsible–all with class. These X&/()%r branded  feelings (feelings rather than rationality are 70% more important in brand decisions and loyalty), did not, in my opinion, match with hip hop or house music. But, like I said, I would like to know the reasons behind the music selection.

With Kind Regards,

Petr Rice

EXPANSION TEAM

CARTER BUTLER & ALEX MOULTON

Ask yourself: What came first, the music or the video? Either way, I want to buy whatever they are selling because of the music.

whoosh goes the dynamite,

petr

Spell Christmas Without Stress

What is the deal? I think it’s just our once a year realization that points to all of our wishes which were not fulfilled underneath all of the expectations we put on ourselves and hear from others.

Stress is, generally speaking, an improper balance or conflict of internal will vs. external expectations or what we call ‘responsibilities’ when we’re grown-ups.

Whoosh goes the Christmas cheer, if you’re not careful.

Getting Work

Getting work as a freelancer is very much like asking a girl out for the first time. You don’t cut to the chase and walk up asking a stranger to kiss you or go to bed with you. Not unless you’re already a rock star; in this case you wouldn’t be reading this. You would focus on getting their attention, getting a few glances, then maybe you get them to laugh; all while looking your best. being a freelancer is the same.

I had the chance to talk with a VP yesterday…something I admit I am terrible at.  I also realized that even though I am no VP, I could still have a productive conversation with one, and even learn a few things. Imagine that, learning something from a VP.

This is what I learned.

1. Before calling, create 3 questions with enough sidepoints to last no longer than 15 minutes, their time is limited. These questions are not personal questions about what they do outside of work. (This is a very important difference between courtship and cold-calling.) They could be personal in nature, for example, “What would you do in this…”

2. Although it may seem informal, nothing is informal for a VP…even in a creative industry. Dress up, even if you’re on the phone; it will keep you professional.

3. Be direct, but never under any circumstance, ask for work. Just be wantable.

4. Thank them for their time, and say so then and again later in a short email.

Whoosh goes the dynamite,

Petr

How To Be The Next Big Thing

I think it’s just a matter of time, place and chance. I’m reading The Black Swan by Nassim Taleb and The Tipping Point right now. These are both two self-help books for entrepreneuers. ;)

I firmly believe in chance and I also believe in microdecisions. If you surround your thoughts of your dream, you will make microdecisions which bring you closer to making the dream come true. Microdecisions also work in the negative direction; if you many times think you’re never going to succeed, you will eventually not succeed. In short, you are or will be what you think are.

The interesting thing is, the more I concentrate on my future, the more I am unhappy of my current state….so, what do I do? I lie to myself, and pretend as if I am already where I want to be…just long enough to dust myself off and keep making music and cool sounds.

Whoosh goes the dynamite,
Petr

Crowd-sourcing Design

Hey, How’s it sounding?

Yesterday I read an article by Frankie James, Ph.D. and Diana Siwiak (then grad research student); at GM in Palo Alto, CA. It was from 2009, so I was a little late, but the principles have not changed.

DESIGNING INTERIOR AUDIO CUES FOR HYBRID AND ELECTRIC VEHICLE.pdf

It was a well-thought paper with a clear objective; to study and clarify how sounds in any vehicle give information to its driver. Then, it reignited my mission, to design and crowd-source the work to be done. Crowd-sourcing is becoming more and more prevalent. Don’t know what I am talking about?

Nokia crowd-sourced a competition for the next Nokia ringtone. Month later, there were 20,000 entries! Timo Vuorensola, the director of Iron Sky (2012), crowd-sourced many space-ship design tasks, anyone could donate to fund the film, and therefore could be an extra in the film. In a way, Apple and any other company with an API kit gives you all the tools to design great apps; this is also a form of crowd-sourcing. What is so special about crowd-sourcing?

Crowd-sourcing creates a crowd of people with a similar passion and unites them to create something bigger or better because the crowd is investing in the brand, and the return is much bigger than holding a product in their hands. The return (for the company) is fanatic brand loyalty and confidence, the return for the “investor” is a feeling of participation and credit in a world which makes each consumer feel like they are so small and inconsiderate—-look at what’s happening in the news!

My idea, crowd-sourcing the interface and electric engine sounds to GM, FORD, PORSCHE, CITROËN, VW drivers/Sound Designers & Composers. So, I started a SoundCloud dropbox for Sound Designers & Composers to do just that. It’s almost like a BandsFORBrands concept; I assimilate myself with brand X, so I would like to design a UserExperience for brand X.

Here, drivers/anyone can also comment on what they like and do not like by clicking in the waveform timeline window and typing a message. Information can also be reported, such as number of online “shares” or “likes”. This is also where the future authorities could evaluate the sounds based on regulations. I suggest uploading 1 wav/mp3 with 6 sections separated by 1 second silence (6 gears, including reverse) and a final section for other system sounds or shifting sounds. If a brand likes what they hear, they may contact the designer. I also ask fellow sound designers to not just make cool sounds, but try to imagine what the world will sound like if 3 million are heard at the same time; the sounds AND the engines should be healthy for the pedestrian AND environment.

Whoosh goes the dynamite,

Petr

10%

Hey,

How’s it sounding?  First, I want to introduce you to Johnny Ripper.

My whole life I’ve thought I was strange. Sometimes I’ve purposely acted strange because I just needed an out of ordinary experience (or thought you needed one). The ordinary bores me. You know what a savant is; a reminder that we ordinary people are only using 10% of our brain. I’m not exactly saying that I want to be smarter, I just want to do something out of the ordinary (but something useful, not just dressing up as a bear and walking down the street.) The problem with being out of the ordinary is that often times there is not yet a need for an X…so I have to spend some time explaining why you would love X. Sure, I can make music, but who “needs” music besides advertisers? All I want to do is make things which people can experience a feeling or lose themselves in; fiction books with QR codes to multimedia content, sound for film, or that perfect music for a thought, thing, or moment. But, again, that’s ordinary…what is the new way to experience what todays is called a “book”, “film”, or “music”?

Who else would like to see a movie trailer like this?

Whoosh goes the dynamite.

Petr

Action Method

This sounds familiar; every project is based on many individual steps/decisions. The Behance Network introduced me to The Action Method. Check it out! It’s not just a piece of paper, it’s a philosophy of action when faced with overwhelming projects. Using the app on my iPod Touch too. You can even delegate Action Steps using the free online project manager!

How To Act Around Famous People

1. Keep your distance.
2. Don’t make up a nickname for them, or yourself.
3. Keep eye contact, but don’t forget to blink.
4. Do not ask them to do something for you “real quick”.
5. Remember that they are people too…they basically just get paid a lot more often.
6. Don’t “love” them for a film/book/song which they never “done.”
7. Think of something clever to say instead of quoting a line from their movie/book/song….unless it is really really clever usage.
8. Don’t tell them you’re a fan, that just feeds their anxiety.
9. No phone numbers, unless they are in a reality show…then you can, but only if you are also famous.
10. Don’t agree with everything they say; they have better bullshit detectors than you do.

I think this was just a writing experiment…

Petr

Happier Music

I’ve been known to compose darker, epically intimidating music…so, now I’m trying to sound more friendly.

Demo Fielding

Hey guys,
Want tips on how to send your demo, and what to do? Read Simon Li’s blog. Simon Li is a demo fielder at Universal Music in London. Pay close attention to what he says. Read his blog before you send a demo!

I’ve always heard the idea that an artist is an artist because they have created a niche. But I haven’t spent any energy trying to carve that out for myself. I’ve been busy learning the details of other artists’ work. I have some great tools to sound professional, but how do I sound unique? I have a few ideas up my figurative sleeve, and I’m looking forward to playing them.

Whoosh goes the dynamite,
Petr

Massala a black comedy

Postproduction for Massala is finished! A special thanks to Kaskeline, the director Krishna Bhati and the cutter Mathias Niepenzwerg for putting up with me, but making my work better.

30 days after getting the rough cut, Eloi Ragot  finished composing the music a few days before the mix.

Keep your eyes and ears open.

Whoosh goes the dynamite,

Petr

Pick 2 & The Pride Pin

The Project Problem

So. How’s it sounding?

This is the dilemma. If you haven’t heard it before, here’s the deal. You can have 2, but you can not have all 3. For example, you can have something “Good” and “Fast” but it will not be cheap. You can have something “Fast” and “Cheap” but it will not be good. Got it? I learned that from Corey Coken, a crazy mixer/sound designer over at http://www.noise-floor.com/.

However, after talking with some others, it’s looking like nobody even cares about “Good” anymore; the clients just want Fast and Cheap. They have a high tolerance of sticking themselves with the “Good” pin. A specialized professional can give you “Good”, but only if it’s worth it. Specialization is becoming less important but more abundant. I imagine if you look at the unemployment categories that at least 30% of the unemployed are over-specialized.

So, My theory (and I’m no specialized theorist, but I have a minor in Philosophy) is the following: get creative, and learn how to do more…like Photoshop, if you’re a writer, for example. :)

Speaking of the over-specialized market, I’m looking in the creative branch. Any of you 36 readers need a creative? I really don’t want to work in retail in a minijob for €400/month, but that’s another blog about the “Pride” pin.

Whoosh goes the Pride,

Petr

Funemployment

Yes, it’s true. I’m looking for work. You should check out http://www.nataliedee.com/

Film Music Cue Tutorial No. 1

Now hear this.

It’s one thing to hear your own voice when you’re talking, but it’s another story when you’re try to teach something.

Please ask questions if I skipped an important explanation.

Whoosh goes the dynamite,

Petr

Russian Unicorn, Bad Lip-reading

http://badlipreading.tumblr.com/post/12047299166

I have to say, this guy is a genius. He takes videos and re-records the words, or remixes/re-lyricizes Michael Buble songs.  You have to admit, you wonder how the heck he does it. If he ever does a video interview, you know we’ll be all over that…doing our own badlipreading

I read an article in The Rolling Stones. It turns out he’s from Texas, but he’s still anonymous.

Whoosh goes the dynamite,

Petr

I’m a closet designer, graphic designer…

Here’s my logo for this blog. I’m starting to think I am a secret photoshop designer. Actually, at this point I’d take any gig.

Whoosh goes the dynamite,

Petr

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