Bernardo Villela over at The Wilmington Movie Examiner has taken a look at what he considers to be the 10 best voice actors of all-time:
10. Lorenzo Music (frequently credited as L. Music)
Music will have mostly television credits but most are significant. He is most well known for being the one and only voice of Garfield for years, sadly he passed before the film version and Bill Murray stepped into the irreplaceable part. His other credits include Peter Venkman on The Real Ghost Busters and Tummi Gummi on The Adventures of the Gummi Bears. He broke into voice work as Additional Voices on Hannah-Barbara’s The Jetsons.
9. Maurice LaMarche
He is perhaps most well-known as being the voice of The Brain, however, Maurice LaMarche has a much more flexible voice than most people realize playing stints as several characters including: George Wilson on Dennis the Menace, Chief Quimby on Inspector Gadget and recently on a straight-to-DVD film Inspector Gadget, Popeye, Egon Spengler on The Real Ghost Busters, Dizzy Devil, Scuttle on the TV show of The Little Mermaid, Orson Welles in Ed Wood, Jeremy Hawke on The Critic, Pepe Le Pew in Space Jam, video game incarnations of Yosemite Sam and Wile E. Coyote; Alec Baldwin in Team America: World Police, not to mention many narrator gigs, more than 200 credits total.
Sophia Tong over at the Gamespot Sound Byte blog has a fine video interview up with ‘Dragon Age: Origins’ composer Inon Zur.
From Power Rangers to Digimon, and Fallout 3 to Dragon Age: Origins, award-winning composer Inon Zur has worked on video games, movie trailers, television, anime, and film. With more than 40 video games already under his belt, he is currently working on the music for Fallout: New Vegas as well as several other unannounced projects.
An orchestra conductor faces the ultimate leadership challenge: creating perfect harmony without saying a word. In this charming talk, Itay Talgam demonstrates the unique styles of six great 20th-century conductors, illustrating crucial lessons for all leaders.
There’s an interesting read over in The Independent’s science section on the audio in horror films:
It is probably the most scary scene in cinematic history. The shower curtain is drawn back and actress Janet Leigh lets out a spine-chilling scream that warps into a frenzied cacophony of staccato music as she confronts an unseen, dagger-wielding madman.
When Alfred Hitchcock put the soundtrack to his 1960 masterpiece Psycho he was almost certainly unaware that the discordant musical notes he was adding to the disturbing shower scene were in fact based on the sort of non-harmonic sounds used in the distress calls of wild animals.
Scientists have found that many of the emotionally-evocative moments in some of the most popular films are enhanced with a sound score that exploits the human brain’s natural aversion to the “non-linear” sounds widely used in the animal kingdom to express fear and distress.
John Schafer over at the Soundcheck talkshow has an interesting podcast up about the return of the advertising jingle:
Advertising jingles used to play a crucial role in drumming up sales, but with time they became hokey and hopelessly outdated.
Now, they’re making a surprising comeback. Stuart Elliott, the advertising columnist for The New York Times, discusses the recent trend. And pianist and composer Roy Eaton tells us about his days as a jingle writer.
Over at the Gamespot Sound Byte blog, Sophia Tong has posted a great interview with Starcraft 2 audio director Russell Brower:
GS: In terms of sound design, how did you approach Starcraft II to get the right sound for the game?
RB: Well, we built upon the soundscape that was established in Starcraft, so we do consider the sound for Starcraft II evolutionary rather than revolutionary. So that meant continued use of mechanical sounds. We recorded an endless number of small contraptions. There were large machines; there are sounds made from electronics and synthesizers; and of course with the zerg, there were a lot of fairly gross sounds that came from our various concoctions of flour, water, salt, and goop…and a lot of unmentionable stuff that made our studio a challenge to clean up afterward.
Posted by Asbjoern Andersen, Epic Sound 
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