Thinking In Sound: Distinct Sound Design Moments with Alan deGraaf

With 25 years as one of Toronto’s most sought-after re-recording mixer on major feature film and TV projects, Alan deGraaf has made his mark in the industry. Prior to joining Company 3, he was with the companies Technicolor and Formosa. He has brought his refined creative abilities and technical mastery to  projects including Guillermo del Toro’s series The Strain for the FX Network; Naomi Watts thriller The Desperate Hour for Roadside Attractions; MGM/Amblin production Billy the Kid for Epix and the international hit American Gods for Amazon Studios.

A native of the Toronto area, Alan received his diploma from Fanshawe College in London, Ontario, having become proficient with the processes involved in becoming a mixer for music artists, but as he learned more about post-production sound for film and television, he discovered he loved that even more, and had a great aptitude for the work. He started down that path working in the Foley department of a boutique studio for feature film work, where he learned the fine points of sound mixing and worked his way into a mixer role for four very productive years. He then moved on to take on the role of re-recording mixer at Technicolor and Formosa until joining Company 3 in the summer of 2022.

A music lover to this day, Alan still finds time occasionally to jam with his band.

LBB> When you're working on a new brief or project, what's your typical starting point? How do you break it down and how do you like to generate your ideas or response?

Alan> My first step on a new project is a sound spotting session. This is where the show creators convey their ideas to the sound editors, music composers, and re-recording mixers. The picture editors, who have already spent some time creating a 'guide' soundtrack, are also usually involved. After this, the editors will choose the sounds, edit the dialogue tracks, and the composers will create the music score. Once the ways are ready to mix, the mixers will complete a premix of the sound effects and dialogue, generally working alone. In the final mix stage, the mixers will work together, balancing all the tracks, to create the final soundtrack as the audience will eventually hear on TV or in a movie theatre. The last stage is to play back the final mixed product to the show creators to gather their input and notes. Our goal is to present the sound as the show creators intended.

LBB> Music and sound are in some ways the most collaborative and interactive forms of creativity - what are your thoughts on this? Do you prefer to work solo or with a team – and what are some of your most memorable professional collaborations?

Alan> We always work with a team of music composers and sound editors, and during the mixing process, we generally work in a team of two. One mixer usually handles the dialogue and music tracks; the other takes the sound effects and foley effects. Our supervising sound editors also usually join us during the final mix process. I enjoy working with different teams as opposed to the same people. It's always a learning experience to see how other people approach their craft. 

LBB> What's the most satisfying part of your job and why?

Alan> The most satisfying part would have to be when we play back the completed mix after we have finished an episode or movie. This is where we hear the project in a run as the audience would watch it and see and listen to it all come together. We can get a better understanding of what works and what doesn't. The reason it's satisfying is that we, as mixers, have helped to tell the story and make it sound great.

LBB> As the advertising industry changes, how do you think the role of music and sound is changing with it?

Alan> Technology has to be the most significant change in how we work now. Our software allows for thousands of tracks, whether music, sound effects, or dialogue. Where we used to be limited to way fewer tracks, our music composers and sound editors can deliver endless ideas and options for us to create the final soundtrack.  

LBB> Who are your musical or audio heroes and why? And when it comes to your particular field, whether sound design or composing, are there any particular ideas or pioneers you go back to frequently or who really influence your thinking about your work?

Alan> Everyone in the audio field watches tv and movies very differently from the general population. I always listen to see what other shows have done, especially during distinct sound design moments. We all have favourite movies or shows that sound particularly good to us that we may reference in our work or at least use to inspire us.

LBB> When you're working on something that isn't directly sound design or music (let's say going through client briefs or answering emails) - are you the sort of person who needs music and noise in the background, or is that completely distracting? What are your thoughts on 'background' sound and music as you work?

Alan> I am a huge fan, so the music is almost always in the background. There are many times, though, that I want to avoid watching more tv or being surrounded by loud sounds. However, that's more likely when I finish my mixing day. 

LBB> The quality of the listening experience and the context in that audiences listen to music/sound has changed over the years. There's the switch from analogue to digital, and now we seem to be divided between bad-ass surround-sound immersive experiences and on-the-go, low-quality sound (often the audio is competing with a million other distractions) - how does that factor into how you approach your work?

Alan> It's a massive factor in how we approach a new project, especially as many streamers request Dolby Atmos for most of their shows. The mixers can now localise or 'pan' sounds around the room. The biggest challenges with this are the additional time needed to create the final mix and the need to be aware of how a mix will 'fold down' into a stereo listening environment. There are so many different platforms to watch content that we must create a mix suitable to a full-blown multi-speaker listening environment down to a cell phone or tablet user listening on small internal speakers or earbuds. Dolby has done a fabulous job of helping us with this fold-down process, but ensuring it sounds good on any medium is our job.

LBB> Do you have a collection of music/sounds, and what shape does it take (are you a vinyl nerd, do you have hard drives full of random bird sounds, are you a hyper-organised Spotify-er…)?

Alan> Outside of the music and sound world, what sort of art or topics excite you, and do you ever relate that back to music (e.g., history buffs who love music that can help you travel through time, gamers who love interactive sound design… I mean it really could be anything!!)

LBB> Let's talk travel! It's often cited as one of the most creatively inspiring things you can do - I'd love to know the most exciting or inspiring experiences you've had regarding sound and music on your travels.

Alan> Where ever I travel, I listen to how different cities or countries sound. A town in the country will sound drastically different from a busy city. 

Regarding music, my favourite cities have been New Orleans and Nashville. The music is such a big part of how both these cities sound. Nothing compares to hearing a lively crowd listening to a band through an open window on a hot summer night.

LBB> As we age, our ears change physically, and our tastes evolve too, and life changes mean we don't get to engage in our passions in the same intensity as in our youth - how has your relationship with sound and music changed over the years?

Alan> I have been fortunate to have worked for over 30 years now as a sound professional. I have seen drastic changes in the technology and the tools we use over the years, but in the end, it is a story we are trying to tell. That's what movies and tv shows are all about. My approach to achieving this continues to evolve every day.