I have written blogs recently that talked about the power of music. But there are many ways to attract the attention of an audience through sound, but not actually use music, per se. By “sound”, I mean sound that is different from music. It could be aural effects or sound design elements as opposed to thematic or melodic music.
For many radio producers, finding the right sound that creates three-dimensionality and adds the appropriate amount energy and emphasis, without causing the production to turn into a big blended, directionless mess, is one of the most difficult things they have to do.
I have the pleasure of being associated with Radium Sound, which is a service owned and created by Russell Nash, a Jedi Master in sound, if ever there was one. Radium Sound, in almost every conceivable way, explores the effect sound can have on the mind.
Russell is direct about Radium Sound, “Radium Sound is the most dangerous radio (or television) production library on earth.” Each month Russell captures and publishes 180 new sonic elements, giving even the most obsessive producer an enormous constellation of elements from which to choose. To my ears, these sound elements are on the cutting edge of what is fresh and contemporary.
So what makes Radium Sound unique? For Russell, the answer is two-fold. First, the goal of these sonic elements is mind control. The radio or television producer can use these elements to control his audience, to direct their attention, their focus and their imagination. They are powerful tools for focusing a message and building an audience.
But there is more. Behind these elements is a complete cosmology. Says Russell, “Radium is the most toxic sound element library on earth. Created in a galaxy 88 light-years away and stolen from the Radium broadcast empire and transmitted to earth by an encrypted downlink.” This work is from another galaxy, another world. Serving as the technical means for this assertion is proprietary software and sequencers that Russell personally developed and maintains. These tools allow him to create a controlled chaos of sound, which producers can access to build their unique productions.
Russell’s commitment to functionality extends far beyond the remarkable technology he has developed. Each of Radium’s elements have been created so the frequencies they contain will not sonically interfere with the human voice. He notches out a certain frequency spectrum, so, the voiceover can be utilized more effectively in the mix with the elements and not get in the way of the sounds behind it.
Radium Sounds represents the very best in sonic expression: a world of opportunity from a galaxy 88 light-years away.