The most creatively unique aspect of this show is the inclusion by default of a live foley artist. This role was so substantial that we were unsure we would be able to implement it into the show until we found a person skilled enough to essentially take on a lead role in the production. Once I knew we were planning on moving forward with live foley, I decided that we were going to go all the way with it. Using both prerecorded and live SFX, we were able to completely build the world and present it in a way that anchored the audience to a more familiar and less abstract Bikini Bottom. The most difficult job of the foley artist was to follow several character’s footsteps with SFX. The main challenge was the timing and control of the footstep sounds themselves. I solved this by using a Nintendo Pro Switch Controller keymapped to Ableton Live, which allowed for the use of familiar and low-latency controls. These footsteps, more so than anything else in the realm of our execution of live foley, helped to provide contrast from the more humanized appearance of the world and characters. Additionally, the various squeaks and squishes that follow SpongeBob throughout the show help to emphasize his sponginess, helping to anchor the personification of his character. These squish sound effects also serve a few additional roles; they emphasize when his attention is peaked, they help to emphasize dramatic beats throughout, and in certain situations, show his surprise in response to a new revelation in the plot.
In addition to live foley, this show also features 66 additional SFX, most of which were used multiple times. These effects ranged from transitionary bubbles and swipes, to the ground-shaking rumbles and explosions, to immersive voice-over and winds. These were created by using a variety of available stock SFX and combining and editing them to fit the show in a more original way. The most exciting of these were by far the various rumbles, avalanches, eruptions, and winds that occur both in the background and prominently throughout the show. These served both to compliment the action on stage and lighting, but also to build suspense or fill moments of relative silence towards the cinematic climax. Another interesting concept I decided to explore was the inclusion of certain SFX that followed certain characters or groups when necessary. Some of the most notable include a booming zap to accompany the lighting shift during Plankton and Karen’s scenes and interjections, playful bubbles for the sardines that panned depending on their direction of movement, Mr. Krabs’ cash register sound, Patricks’s bounce, Sandy’s chops, Pearl’s booming footsteps, and several more. However, it wasn’t just what SFX played when, but how and where they were played from that really enhanced the performance. I made use of almost every speaker available to me to create a layered and depth-aware environment that allowed the audience to feel involved and at home when necessary, but drew focus to the stage during more intimate and less intense moments. For example, I played all of the pre-recorded foley SFX through speakers upstage of the action to enhance the illusion of the character SFX and footsteps. The majority of environmental SFX were played through the FOH system, and I chose to play some in full surround, to create an omnipotent and central effect. These included the French Narrator voiceover, several avalanche adjacent SFX, as well as an ambient clock-tick and wave crashes that accompanied select scenes when appropriate.
All of these elements worked together in combination with my extensive use of DCA mixing and live vocal effects to create an extremely unique and immersive show that complimented almost perfectly the performances of the actors. My main goal with my design was to, as I stated, anchor our more abstract presentation of the world of Bikini Bottom to the cartoon, a goal that I feel was achieved by every aspect of my design.
