Armand LaMontagne posing with a couple of his sculptures of Ted Williams.
Carl Piermarini (at camera) and Armand LaMontagne in Armand's studio during videotaping of the documentary.
Scoring the music for Carl Piermarini's documentary short on the sculptor Armand LaMontagne. You can see a shot of one of Armand's favorite subjects in the main monitor, the late Ted Williams. These photos were taken before the studio renovations and expansion. There's alot more elbow room now! .... And yes, that is a Mac Plus that you see on the old workbench. It's not my main computer anymore but it does still handle all the MIDI sequencing and still faithfully locks up via SMPTE code to all the other studio gear. You gotta love those Macs.
What you see is the Mac 7100 G3/300MHz, the Mac Plus, the Fostex RD-8 and the Fostex D-160v2 all electronically locked together, each doing what they do best. Any one of the units mentioned can act as the master machine, in this case I think it was the 7100 G3.
I love composing and doing sound design for video. Sometimes it's a very tedious process and your organizational skills are always being put to the test but in the end it's a very rewarding feeling to hear your work as it sweetens the visuals. What I strive for in all my sound design work is to be as subtle as I can when it comes to the presence of sound. In creating any sort of sound design, whether it's for video, multimedia or environmental soundscapes, you don't want one element to necessarily stand out and be conspicuous. There's always exceptions to the rule but when treated as a blend of textures within a given space, it's really easier to control the sound and support the story. When you do bring a sound effect right up front it's usually for a particular reason, such as to scare or shock the audience.
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This page last modified on January 17, 2003