“That little half a second of a really interesting gush.” “If you step into mud and then you slowly pull out of it, you can actually get those little textures,” said Henighan.
It doesn’t get all the artifacts and weird sounding.”īut like with all good foley work, the art is often in the performance. What that allows you to do is you can pitch stuff down and it holds up. “I used a couple of different high quality microphones that capture really good frequency ranges and I recorded at a high frequency range. Exiting his home studio, he put on an old pair of rubber boots and recorded himself walking in his backyard. To get just the right muddy footstep, Henighan took advantage of a particularly wet rainy season in Los Angeles. “Every single footstep was sort of two-fold, you had the heavy hits and the strong impact coupled with footsteps in mud and slime and slop to give it that extra gore, which obviously ties into when its tentacles come out.” The ultimate expression of this is the slimy, gooey Mind Flayer.
Henighan said one of the keys to starting on the show early is every season has a theme and subsequent sound vibe, and for Season 3 he clued in early that his sound design would be rooted in gore. So the job is to find sounds out there for when he’s walking around that have thickness and weight to them, but also play in the frequency spectrum that televisions, soundbars, and 5.1 systems at home can handle. We can’t always depend on the subwoofer to give you that impact. “We have to be cognizant of how these shows are aired. “I get the scripts and when the brothers are starting to get conceptual ideas together for what new monsters we’re going to have, or any sort of new sound-oriented element they want to work on, they just would send over clips or early JPEGs of artistic renders of potential ideas of what the monsters would look like.”įrom a technical standpoint he used “a good deal of compression and limiting on those sounds to make them feel big and thick,” Henighan explained. “We really tried to establish more of that film-oriented work flow, meaning a sound designer like myself would be involved early,” said Henighan.
In sound mind monsters series#
Throughout the season, the audience watched the gory monster evolve - forming from a collective of rats in Episode 1 and then growing until it is the mall-crushing monster you can see in the clip above.Ĭraig Henighan is one of the best sound designers and re-recording mixers working in feature films, and has been the heart of translating the Duffer Brothers’ vision into sound since the beginning of “Stranger Things.” One of the continued draws for Henighan to the project is that the Duffers have enabled him to approach the popular Netflix series like he would a movie. In the Season 3 finale (“Chapter Eight: The Battle of Starcourt”), the “Stranger Things” gang comes face to face with the Mind Flayer.
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