0:00

Hey listeners, usually

0:02

on 20,000 Hertz I tell you stories

0:04

about sound, but this time I want

0:07

to hear your stories. If you

0:09

have a personal story that you'd like to share with

0:11

us about something revolving around sound

0:13

or music, I'd like for you to tell me in your

0:15

own voice. Your story can be quirky,

0:18

funny, sad, nostalgic, you

0:20

name it. No need to edit or polish

0:22

your recordings before sending. If you

0:25

do this, we might just use it in an upcoming

0:27

episode. There are two ways to send

0:29

us your story.

0:29

First, the easiest way is

0:32

to visit the web address hi.20k.org. Second,

0:36

for those of you who'd like to record it yourself

0:38

in your own way, you can send us the WAV

0:40

file any way you choose to the email

0:43

address hi.20k.org. However,

0:46

please don't edit or put any processing

0:48

on your recording. We'll do that for you. I

0:51

just want you

0:52

to be you. Thanks.

0:57

This episode is sponsored by Pro

0:59

Sound Effects, a sound effects library that

1:02

I use all the time in my job as

1:04

a sound designer. With Pro Sound Effects,

1:06

you can find over 1 million amazing

1:08

sound effects by some of the world's greatest

1:11

sound designers. And that includes the

1:13

guest on today's show, Mark Mangini. In

1:15

the middle and at the end of the show, you'll hear

1:17

more about why Pro Sound Effects is so

1:20

useful and why Mark chose it as the

1:22

home for his personal sound library. Now,

1:25

just to be clear, we made this episode the

1:27

exact same way we always do. We

1:29

had full creative control and Mark let me

1:31

ask him whatever I wanted.

1:33

Here we go.

1:40

You're listening to 20,000 Hertz. This

1:44

is a scene from Dune that takes place in the

1:47

open desert. In

1:49

it, the Emperor's soldiers have just

1:51

attacked a character named Kynes. As

1:54

they go to finish her off, Kynes starts

1:56

pounding her fist on the ground.

1:59

The

2:02

soldier raises his blade, but

2:05

suddenly the sand underneath them falls

2:07

away as a giant, monstrous

2:09

worm opens its mouth and swallows

2:11

them all.

2:19

And I couldn't find a sound effect for it,

2:22

and as is often the case, the easiest way to do it is

2:24

to do it yourself. That sound designer

2:26

Mark Mangini explaining the moment to a

2:28

fellow sound designer. So I took a

2:30

little lavalier, maybe

2:32

like the one I have on, and I dropped

2:34

the lavalier down in my mouth, and

2:37

I just did this. I'm

2:40

like, quiet.

2:41

From there, all it took was a little processing

2:44

to get this.

2:52

Creative decisions like these have made Mark

2:55

one of the most successful sound designers ever.

2:58

He started his career working at Hanna-Barbera

3:00

on classic cartoons like Scooby-Doo and

3:02

The Flintstones. Since

3:05

then, he's been credited on over 150 movies,

3:08

including Indiana Jones, Aladdin,

3:10

Space Jam, Anchorman, Blade

3:12

Runner 2049, Dune, and tons more. To

3:16

date, he's won two Oscars and has been

3:19

nominated a total of six times. He's

3:21

worked with superstar directors like Steven

3:23

Spielberg, Denis Villeneuve, and J.J. Abrams.

3:27

In other words, he's an absolute sound design

3:29

legend. But as amazing as he

3:32

is as a sound designer, what Mark really

3:34

is is a storyteller. So

3:36

we picked six of our favorite unforgettable moments

3:38

from Mark's career to learn the stories behind

3:41

how they were made. Let's get into

3:43

it.

3:45

Here's movie number one. See if you can guess

3:47

it. And most important, no

3:49

matter how much they beg, never,

3:52

never let them eat after

3:55

midnight.

3:57

For anyone who's never seen Grandma, Gremlins,

4:00

you're missing out on a stone cold classic.

4:03

Gremlins, they'll be expecting

4:05

you.

4:09

Gremlins is a quintessential 80's movie

4:11

that's all about these adorable creatures called

4:14

Mogwai's.

4:21

But there's a catch. If you get water on them,

4:24

they multiply. And if you feed them after midnight,

4:26

they turn into evil gremlins. The

4:30

lead Mogwai is named Gizmo. Gizmo's

4:34

voice was created by Howie Mandel. You

4:36

might remember him as the host of Deal

4:39

or No Deal. But he was also the voice

4:41

of Bobby in the 90's kids cartoon

4:43

Bobby's World.

4:44

Which

4:47

is pretty similar to his voice for Gizmo.

4:56

But the evil gremlin sounds were crafted by

4:59

Mark Mangini alongside voice artist

5:01

Mark Dotson.

5:12

That's Jabba the Hutt's pet creature in Return of the

5:14

Jedi.

5:17

So I brought him in

5:20

for an audition and Mark

5:22

ended up having this maniacal laugh

5:24

that I used everywhere. In fact, it

5:26

is his laugh from the audition

5:28

tape that is the signature laugh that

5:31

you hear when there's a gremlin up on

5:33

a signal light and he switches it

5:35

from green to red and the truck crashes

5:37

and you hear this.

5:43

Once he had these vocalizations recorded, he

5:45

combined them with animal sounds. I

5:47

recorded a couple of really bizarre

5:50

sounding pit bulls and they

5:52

make this guttural growling sound.

5:57

I would send those sounds to

5:59

Mark. so that it always felt like a seamless

6:02

blend, not like, oh, that was an animal, and

6:04

oh, there's a human voice. We

6:07

could have gone all animal, but

6:12

I felt as though if we could make

6:15

the gremlins recognizable

6:17

enough that a child would want

6:19

to try to make a gremlin cackle, that

6:22

would be a big success.

6:31

Sound number two comes from a movie that's

6:34

so 90s it hurts. I'll give

6:36

you a sec to see if you can guess it. Ha ha ha, yeah!

6:39

And he's got a chance at a set with a whole 50

6:42

billion pair of ears out there. Poppin'

6:45

D-Man! Um,

6:49

I... Unbelievable!

6:54

The fifth element has tons of great sound design,

6:57

from the whoosh of Bruce Willis's taxi... Look

7:00

out! Go, Liv!

7:03

...to the crackling ball of fire hurtling

7:06

towards Earth.

7:11

And then there's the ZF-1 gun, which

7:13

is an insanely complicated sci-fi weapon

7:16

that looks like a cross between a Nerf blaster

7:18

and a robotic armadillo. It's used

7:20

by the bad guy named Zorg. He's an evil

7:23

scientist played by Gary Oldman with

7:25

a rad 90s haircut. Your time

7:27

for revenge is at hand. Voila!

7:30

The ZF-1.

7:40

We had two goals in

7:43

mind in creating the sound for it. One

7:46

was that it should sound

7:48

like a precision machine, so

7:51

all the moving parts should sound

7:54

precise and motorized

7:57

and metallic, because it's a plastic

7:59

prop.

8:00

The ZF1 has a bunch of different functions.

8:03

Here's Zorg explaining it to some gnarly looking

8:05

aliens. Rocket launcher,

8:09

a famous net launcher, he

8:12

always did some flank throwing.

8:17

And for the grand finale,

8:19

the all new ISCUE system.

8:26

But Mark's favorite ZF1 sound

8:28

was a bit more traditional. It was the sort

8:31

of machine gun effect that I wanted to make

8:33

sound the most threatening. And

8:35

the solution was simply not just

8:37

to make a rapid fire

8:40

sound like you'd get from an M16 or

8:43

something like that, but to

8:45

make it sound like it had some kind of

8:47

assistive mechanism like a motor. So

8:49

we added a traditional

8:52

kitchen blender. To

8:55

give it this high

8:56

frequency whine that

8:58

made it more powerful and made it feel

9:00

like it was feeding bullets in

9:03

an extraordinarily rapid fashion.

9:11

There was something about that high frequency cutting

9:13

sound that made it feel more dangerous.

9:19

Sound number three comes from a sequel to a classic

9:21

sci-fi movie. It's also one of the

9:23

two movies Mark has won an Oscar for. Officer

9:27

K D6-3.7, let's begin. Ready? Yes,

9:32

sir. Reset

9:34

your baseline. In blood black,

9:36

nothingness began to spin. In

9:41

Blade Runner 2049, there's one scene

9:43

where Ryan Gosling walks through the dystopian

9:45

ruins of Las Vegas.

9:52

The sky is orange and he's totally

9:54

alone, surrounded by broken statues

9:56

and abandoned buildings. Meanwhile,

9:59

all we can see is the dark sky.

9:59

here are thousands and thousands

10:02

of bees. The

10:05

scene is built entirely

10:08

from brand new recordings that we

10:10

had made. I wanted you to feel

10:12

creeped out by being that close to

10:14

that kind of sound, because many people are

10:17

instinctually frightened by bees. And

10:20

this can be a real trigger sound for some,

10:22

so I wanted it to be the most expressive

10:25

version of bees you'd ever heard before. So

10:27

we had microphones inside

10:29

the hive to get those close-up sounds of

10:32

the bees even landing on the microphones.

10:35

And then at the other end of the spectrum, we

10:37

put an 8-channel surround

10:40

sound microphone outside of the beehive,

10:42

and you would occasionally get a bee

10:45

flying right by one

10:48

of the microphones. You would get these beautiful...

10:52

You'd get this incredible Doppler shift at

10:55

close range, and we took those

10:58

little bits

10:58

and flew them around

11:01

the room and flew them around the audience and put

11:03

them in the overheads, and you got something

11:05

really experiential. As

11:11

for why the movie makers chose bees for

11:13

that scene, Mark believes it ties into

11:15

the theme of natural versus artificial

11:17

life. It poses the question

11:20

to the audience, what constitutes

11:22

human life? Because our story

11:24

revolves around a character who are not even

11:26

sure if he is a replicant. A replicant

11:29

is a bio-engineered

11:30

robot that looks and acts exactly like

11:32

a human. It stops for a moment

11:34

and allows you, the audience, to think

11:37

about, is he a replicant, and what

11:39

is the difference between a bee, an

11:41

organic creature,

11:43

and him? I think those are lovely

11:46

rhetorical questions to ask.

11:51

We've already covered three incredible

11:53

movies, but we're only halfway through.

11:56

Some of Mark's wildest stories came from a famous

11:58

sci-fi franchise...

11:59

another Oscar-winning sequel, and

12:02

a Disney classic. You could feel

12:04

and taste and hear the spit and the

12:06

gnashing of the teeth. That's coming

12:09

up after the break.

12:14

If you've been listening to 20,000 Hertz for a

12:16

while, you might remember this

12:18

whole thing started as a passion project out

12:21

of my sound design studio, DeFacto Sound.

12:23

Over there, we mix and sound design all kinds

12:26

of things, including ads, trailers,

12:28

documentaries, and even some feature films.

12:31

Now, a huge part of what we do at DeFacto

12:33

Sound depends on the quality of the sounds

12:35

that we use, because sound designing a scene

12:38

is a lot like cooking a meal. Each

12:40

individual sound is an ingredient, and

12:42

if you don't start with quality ingredients,

12:44

then whatever you're making just isn't

12:46

gonna stand out. That's why an amazing

12:48

sound library like Pro Sound Effects is

12:51

so crucial. For instance, if you're

12:53

a YouTuber, you've probably seen videos

12:55

with low-quality sound effects that just

12:57

feel kind of amateur. But

13:01

with Pro Sound Effects, you can find all

13:03

the ear-grabbing sounds you want, from this...

13:07

to this. If

13:09

you're a podcaster and you want to create a scene

13:11

with a lush cityscape, Pro Sound Effects

13:14

has all the sounds you need. And

13:16

if you're a sound designer working on trailers, you

13:18

can find impactful sounds like this... or

13:22

this.

13:24

Pro Sound Effects has over a million sounds

13:26

in the cloud, so you'll have an audio goldmine

13:29

at your fingertips. They also have an

13:31

app called SoundCue, which integrates beautifully

13:34

with all of the popular video and audio apps.

13:36

To try Pro Sound Effects yourself and

13:38

get your first five sounds for free, visit

13:41

prosoundeffects.com slash 20K, because

13:44

the right sound can make or break a project.

13:46

So don't settle for overused sounds

13:49

that are just good enough. That's prosoundeffects.com

13:52

slash 20K. Finally,

13:54

stick around until the end of the episode

13:56

to hear why Mark Mangini decided to add

13:59

his personal sound archive.

13:59

to the Pro Sound Effects platform.

14:07

Congratulations to Blue Martin for correctly

14:09

guessing last episode's mystery sound. Squeaking

14:14

Those are the iconic squeaky

14:17

footsteps of SpongeBob SquarePants. The

14:19

sound design team created those using a high

14:22

balloon squeak and a

14:24

low balloon creak

14:27

which alternate from left to right.

14:30

Sound designer Jeff Hutchins created Squidward's

14:32

squishy steps just by making a funny sound

14:35

with his mouth. And

14:37

here's this episode's mystery sound. You're

14:40

dead, jolly man. If

14:43

you know that sound, submit your guess at

14:45

the web address mystery.20k.org Anyone

14:49

who guesses it right will be entered to win a super

14:51

soft 20,000 Hz t-shirt. In

14:54

case you're not our lucky winner this week, you can

14:56

buy your own 20k t-shirt at shop.20k.org

15:07

Mark Mangini is one of the most prolific sound

15:09

designers out there and we're counting down

15:12

six of our favorite sonic moments from

15:14

his career.

15:17

Sound number four comes from an animated

15:19

movie that was partly inspired by Shakespeare's

15:21

Hamlet. He

15:24

was born to rule. This will all be

15:26

mine? Everything the light touches.

15:29

But a shadow lies over the kingdom.

15:32

I will be king. Run

15:36

away and never return.

15:40

When Mark got the job on The Lion King, he

15:43

knew exactly which animal recordings to turn

15:45

to.

15:46

The Lion King roars are

15:49

from the series of recordings I made of

15:51

lions and tigers and pumas and other

15:53

big cats for the Steven

15:55

Spielberg, Tobe Hooper film Poltergeist.

15:58

In Poltergeist, there's a guy

15:59

a ghost called the Closet Beast that makes

16:02

freaky roaring sounds. No!

16:05

No! No! No!

16:08

No! Since it looked kind of feline

16:11

to me in the first place, I went out and

16:13

began recording wild animals,

16:15

and I had a unique opportunity to get

16:18

within inches of the animals, almost

16:20

like you could feel and taste and hear

16:22

the spit and the gnashing of the teeth.

16:29

For the Lion King, Mark decided to reuse

16:32

these recordings because they felt so intimate.

16:35

But the sound team also mixed in noises that

16:37

were performed by voice actor Frank Welker.

16:40

Here's Frank in a sound booth recording lion sounds

16:42

for the movie.

16:51

And here's a clip from the film where Mufasa

16:53

fights the hyenas.

17:06

And that's the end of the story. Except

17:09

it's not, because there's another place

17:11

where you've definitely heard Mark's recordings

17:13

of big cats.

17:14

For that, we need to insert a rewind sound

17:16

effect and head back to the 1920s.

17:25

At the time, MGM was one of the

17:27

biggest movie studios around, and

17:30

famously, they had a sonic logo that

17:32

featured a roaring lion. Here's

17:34

the first one with sound from 1928. This

17:37

roar was made by a lion named Jackie.

17:42

Six years later, in 1934, Jackie

17:45

was replaced by another lion named Tanner.

17:51

Over the next 50 years, the lion that you see on

17:53

screen was swapped out a few times, but

17:55

they

17:55

kept using Tanner's roar.

18:01

But that's not the version we hear today, because

18:04

in the early 1980s… After

18:07

I had finished those recordings

18:09

and completed the Closet

18:12

Beast for Poltergeist, we were

18:14

heading towards Final Mix and MGM

18:17

sent us the old recording.

18:21

And I thought, we are high fidelity and

18:23

we're starting our movie with the radiest

18:26

sound in the universe. And, you know,

18:28

a little light bulb went off. Ding!

18:30

Hey, I have lions! And

18:33

I was quite nervous about this. I thought,

18:36

is this sacrilege replacing

18:38

the logo with new sound and not

18:40

going with tradition? So Mark

18:42

started working on a high fidelity version of

18:44

the MGM Lion Roar, but he

18:47

soon made a discovery. Though you

18:49

see the lion mouth open

18:51

wide, once I learned what that

18:54

sound really is, it sounds

18:56

more like a yawn than it does

18:58

the King of the Jungle. It's more like a… Not

19:02

a… Like

19:04

that. And I thought, something's

19:07

wrong here. As

19:11

I went through my recordings, I just kept

19:13

falling back on the tiger recordings,

19:15

which had so much more venom

19:18

in them.

19:23

When Steven Spielberg came into

19:25

here playback, I had to do a disclaimer quickly.

19:27

You know, Steven, this is like, no, we're not supposed

19:29

to, MGM, 100 years of history. But

19:32

our movie is high fidelity and he heard it and he

19:34

loved it. And so did MGM and I would

19:36

end up mastering it and giving it

19:38

to MGM. Here's that updated

19:40

version.

19:48

In the late 90s, Mark was asked to update

19:50

the logo again for the studio's 75th

19:52

anniversary. And that's the one we still

19:54

hear today.

20:03

Sound number five comes from the other movie

20:05

Mark 1 and Oscar for. It's also the

20:07

fourth film in a long-running franchise.

20:10

In this wasteland, I

20:12

am the one who runs for both the

20:14

living and the dead. A

20:18

man reduced to a single instinct.

20:24

Survive.

20:26

The film was Mad Max Fury Road,

20:29

and one of the most important sounds in it was a

20:31

vehicle called the War Rig. It's

20:33

a huge armored tanker truck that gets stolen

20:35

from the bad guys by the main characters.

20:40

As Mark was familiarizing himself with the movie,

20:43

he realized that the War Rig had even more

20:45

screen time than the main actors did. And

20:48

as such, I saw the War

20:50

Rig as a character and deserved

20:52

the same kind of character preparation

20:55

and embodiment that an actor

20:58

would give a character. I'm always

21:00

looking for references outside

21:03

of what you're seeing on screen, and I thought

21:06

of Moby Dick. Moby Dick is about

21:08

the obsessive quest of a character named Captain

21:10

Ahab, who is seeking revenge

21:12

against a murderous whale. And I thought,

21:15

well, you know what? There's so

21:17

many references here, visual and literal.

21:20

Morton Joe is Ahab. That's

21:22

the main villain. He kind of looks like the lead

21:25

singer from an 80s hair metal band, but

21:27

with crazy tubes sticking out of his mouth. He's

21:30

obsessed with the white whale, the

21:32

War Rig, and he's determined

21:34

to chase it through the sea, the

21:36

desert, and kill it and

21:39

put an end to it. So from

21:40

there, I thought, oh boy, that's a rich

21:42

vein to mine. Let's think

21:45

of the War Rig as a character.

21:48

Let's anthropomorphize it with

21:51

organic attributes. For

21:53

example, Mark used tiger growls for

21:55

the scene where the War Rig is being assembled.

22:06

The chase scenes used both tiger and

22:08

bear sounds.

22:15

This idea of adding animal sounds to a vehicle

22:18

was also used in Raiders of the Lost Ark. On

22:20

that film, Mark was one of the sound effects editors.

22:23

When Indy takes over the truck in the truck

22:25

chase, you can hear lions and

22:27

tigers roaring every time he revs the

22:29

engine.

22:36

And so too did we embody

22:39

the War Rig with these animal sounds

22:41

to make it come more

22:43

to life, to make it feel like

22:46

a character creature in the movie and

22:48

not just a prop. When

22:53

we get to the end of the film and the

22:56

War Rig meets its demise,

22:59

in slow motion we see the truck

23:01

roll over on itself and crash

23:04

and tumble.

23:05

Here's that scene. See if you can guess what animals

23:07

they used. We

23:17

slowed down bear cries

23:21

and whale cries to

23:24

embody it with death sounds.

23:36

Alright,

23:39

so on to our last film. Picking

23:41

just six was really tough, but

23:43

see if you can guess what this one is.

23:47

Fascinating.

23:51

Star

23:55

Trek just wouldn't be the same without its incredible

23:58

sound design, and Mark has worked on it.

23:59

on a bunch of these films. But the thing he

24:02

remembers most from the franchise isn't

24:04

a sound. It's actually a song.

24:06

Paramount Studios had signed

24:09

a deal where Capitol

24:11

Records would supply any

24:14

and all source music for

24:16

Star Trek IV, anything that was music

24:18

outside of the score.

24:20

But Leonard Nimoy, who plays Spock

24:23

and also directed the film, wasn't happy

24:25

about this. And Leonard was complaining

24:28

to us often about how

24:30

awful the choices were. It was all

24:32

like smooth jazz

24:35

and things that were completely inappropriate.

24:38

There's one particular scene where the music really

24:40

didn't work. Captain Kirk and Spock

24:42

are riding a bus, and there's a punk playing

24:44

loud music on a boombox.

24:46

But here's the problem.

24:49

Punks don't usually listen to smooth jazz.

24:52

Capitol had no one

24:54

on their roster that made music like this.

24:56

The punk in the bus scene was actually played

24:59

by Leonard Nimoy's assistant, a

25:01

young man named Kirk Thatcher. Not

25:03

to be confused with Captain Kirk.

25:05

When

25:05

they just couldn't find any good punk music,

25:08

Kirk had an idea.

25:11

Kirk called me and said, let's

25:13

put something in front of Leonard. You play

25:15

guitar. And he sent me the lyrics. And

25:18

he said, write something, and we got to do it

25:20

by Sunday. And this was Friday.

25:23

And I looked at the lyrics, and I

25:25

wrote the song in about 15 minutes. It's

25:28

only two or three chords, called

25:30

Kirk In. And we did it in a couple

25:32

of takes live in about 20 minutes

25:35

and called Leonard that Sunday afternoon.

25:38

And he came to the studio and played it for him. He

25:40

said, I love it. We're going to put it in the

25:42

movie. The song is called I

25:44

Hate You.

25:47

Because I hate you. And I'd

25:50

be right to. And I

25:53

can't wait to get to you.

25:55

In fact, Nimoy liked the song

25:57

so much that he wanted to make a music video

25:59

for it. They still had the bridge

26:01

of the enterprise on a soundstage

26:03

at Paramount, and we were going to do a music

26:07

video until Legal weighed

26:09

in and said, we weren't allowed to do that because

26:12

of the contracts that Paramount

26:14

had with Capitol Records. And we just

26:16

missed our big shot at stardom.

26:21

And then the coda to all of this is

26:24

that, because that is such a beloved scene,

26:26

this last season of Star

26:28

Trek Picard, they reprise

26:31

that scene. Forty years later, they brought

26:33

Kirk back as an aging punk. And

26:36

we rewrote the song and it's now called

26:38

I Still Hate You. Hey.

26:43

Hey. You might stop

26:45

in that noise. Yeah,

26:49

okay. Fine.

26:52

I just like that song. Sorry.

26:55

Kirk can do anything. He's truly a Renaissance

26:57

man.

27:00

Thirty-five years later, and nothing much

27:02

is changed. Those in charge of living lives,

27:04

the rest of the world derakes. I

27:07

still hate you. Can't wait

27:09

to admit the rage you. Cause

27:12

I still hate all of

27:15

you. Twenty

27:28

Thousand Hertz is produced out of the sound design studios

27:31

of De facto Sound. This episode

27:33

was written and produced by Andrew Anderson. It

27:36

was story edited by Casey Emerlin.

27:38

It was sound designed and mixed by Jai Berger,

27:41

Joel Boyder, and Brandon Pratt. Thanks

27:44

to Mark Mangini for sharing his amazing

27:46

sonic stories with us. And also,

27:48

thanks to Mike James Gallagher from In-Depth

27:50

Sound Design for sharing that clip of Mark

27:52

talking about Dune. And subscribe to In-Depth

27:55

Sound Design on YouTube and Instagram.

27:57

Finally, a

27:58

big thanks to ProSoundEffect. for making

28:00

this episode possible. Visit prosoundeffects.com

28:03

to learn more. I'm Dallas Taylor.

28:06

Thanks for listening.

28:15

Thanks again to Pro Sound Effects

28:17

for sponsoring this episode. Pro Sound Effects

28:20

is an incredible repository with over

28:22

a million sounds to choose from. Today,

28:24

you got to hear from Mark Mangini, a

28:26

brilliant sound designer who I really admire.

28:29

I was curious, though, about why Mark chose

28:31

to put his personal sound library on Pro

28:33

Sound Effects. Here's Mark. It

28:36

begins with their team. They

28:39

did an excellent job of

28:42

remastering these sounds to maintain

28:45

their

28:45

inherent fidelity and

28:48

the essence of the sounds without denuding

28:50

them in any way. They simply put

28:52

them in a package that was the right

28:55

package for a commercial

28:57

sound library. With Pro

28:59

Sound Effects, you can use the same sounds

29:01

that Hollywood legends like Mark use every

29:03

day. I feel like there's so

29:06

much joy in my library,

29:08

and it speaks to a 48-year career of recording

29:10

sound, and

29:13

I now feel tickled

29:15

that others will revel,

29:17

perhaps, in using those sounds in their

29:19

films and knowing that they

29:22

have this incredible legacy. You

29:24

could very quickly look at my

29:26

library and say, oh, those

29:28

are the sounds that he recorded for Star Trek,

29:31

The Voyage Home, because you'd see

29:33

whale sounds and aircraft

29:35

carrier sounds, and

29:37

it was fun to simply go through the

29:39

catalog and remember them. To

29:42

explore these sounds yourself, visit prosoundeffects.com

29:45

slash 20K and get your first five

29:47

sounds free. That's prosoundeffects.com

29:50

slash 20K.

29:54

A quick reminder that we'd like to make a

29:56

listener stories episode.

29:59

in the future. But to do that,

30:02

we need you to tell us your own personal

30:04

sound stories. It can be happy, sad,

30:07

nostalgic, quirky, funny,

30:09

or whatever. We're looking for raw,

30:11

authentic audio, so please don't write

30:13

or edit or process it. I just want

30:16

you to be you. The quickest way

30:18

is to simply go to the web address hi.20k.org.

30:22

Then, just tap the record button. For

30:25

those of you who'd like to record it yourself, however

30:27

you like, you can send your recording to the email

30:29

address

30:29

hi.20k.org. I

30:32

can't wait to hear your stories, so please

30:34

don't be shy.

30:35

Just be you. Thanks.