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A veteran of almost 20 years in the film industry, Scott Martin Gershin has worked as Sound Supervisor / Sound Designer on such high-profile films as Chronicles of Riddick, Underworld 2, Herbie Fully Loaded, Team America, American Beauty, Blade 2, Shrek, Tarzan, Pocahontas, Braveheart, The Doors, and JFK. Recognized with a distinguished alumni award from Berklee College of Music, he has supervised and designed projects nominated for many of the most prestigious awards in the industry, including Oscar, Emmy, British Academy, Golden Reel and TEC awards.
Scott, who resides at Soundelux in Los Angeles, spoke with us about his use of Waves plugins:
“Waves plugins have been a major part of my Soundesign arsenal. When I am delivering hundreds of tracks of Soundesign & edited tracks to a mix stage, I need to be able to shape, stretch, contort my elements so they play in concert not only with each other but with the dialogue and music, creating a sonic tapestry to pull the emotional heart strings of the audience. Whether it’s an E-ticket ride, shake the room, and duck & cover sounds swarming around you, or the creation of a subtle realistic vista where every sound stands alone and conjures up childhood memories, Waves plugins help turn my aural visions into sonic realities.”
“I have used almost all of the Waves plugins one time or another. I use L1 to give a little edge to some of my elements, C4 to create shape, punch & control, and RenBass for low end extension & wop to rock the room. I use the full line of Renaissance products to create color, while the Transform bundle is useful for mangling sounds. I like the sonic choice feature on SoundShifter which slightly changes the way it shifts pitch; it’s helpful when designing different sounds for different purposes. The Linear Phase EQ and the Masters bundle have been wonderful for cleaning up my location recordings, and the L2 is helpful on mixes where I don’t want to introduce color.”
“All in all, I keep finding new ways to use my Waves plugins.” |
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