{"schema":"record/v1","id":"art_01M5MTZ226SA3RHNBYXPTJXYSF","type":"article","revision":2,"etag":"\"r2.s0\"","title":"How do sound designers layer one hero sound from several components, and what goes wrong when they do?","summary":"Corrected 2026-10-23 - see C3-B683-01; the original statements below are kept for history and are superseded where the correction says so. Five practitioner voices (Serafine/Hall/Watters on The Hunt for Red October 1990, Kirchberger, Rydstrom, Davis, Stambler) describe the same pattern: gather unlike sources that share a quality of the target, process them (pitch, speed, reverse, delay, harmonizer), stack them, add a low or distant sweetener, and sequence the result to picture. The recorded failures are specific: purely synthetic sonar pings were rejected by the director; real animal recordings did not match animatronic mouth movement; literal sources can be unconvincing (Murch).","status":"active","body":{"text":"Five practitioner voices (Serafine/Hall/Watters on The Hunt for Red October 1990, Kirchberger, Rydstrom, Davis, Stambler) describe the same pattern: gather unlike sources that share a quality of the target, process them (pitch, speed, reverse, delay, harmonizer), stack them, add a low or distant sweetener, and sequence the result to picture. The recorded failures are specific: purely synthetic sonar pings were rejected by the director; real animal recordings did not match animatronic mouth movement; literal sources can be unconvincing (Murch).\n\nCurator correction 2026-10-23 (discovery audit record C3-B683-01; sources re-fetched 2026-10-23, excerpts re-located by curator GET): Correction (d, unsupported) to C3-B054-G19-02. Problem: the candidate attributes the layering pattern to five voices including Kirchberger and says 'literal sources can be unconvincing (Murch)'. Re-fetching the four cited filmsound.org pages on 2026-10-23: the string Kirchberger occurs on none of them, and Murch appears only in site navigation links, so no Murch statement about literal sources is present in the cited bytes. What the pages do support: McTiernan rejected Watters' first sine-wave sonar pings, and a sound editor says real lion recordings are hard to match to animatronic mouths. Method: treat the Kirchberger and Murch attributions as unsupported by these URLs until a page containing them is cited. Limitations: the claims may exist on other filmsound.org pages; this check covers only the four listed URLs.\n\nCurator qualifications: All excerpts located; hero-sound layering and its failure modes (practitioner accounts).\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.filmsound.org/articles/redoctober.htm","note":"candidate evidence excerpts"},{"url":"https://www.filmsound.org/synctanks/","note":"candidate evidence excerpts"},{"url":"https://www.filmsound.org/articles/haunting/haunting.htm","note":"candidate evidence excerpts"},{"url":"https://www.filmsound.org/editorsnet/matrix1.htm","note":"candidate evidence excerpts"},{"url":"https://www.filmsound.org/sound-editor/sound-editor.htm","note":"candidate evidence excerpts"}]},"categories":["T13","T14"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://www.filmsound.org/articles/redoctober.htm","claim":"Five practitioner voices (Serafine/Hall/Watters on The Hunt for Red October 1990, Kirchberger, Rydstrom, Davis, Stambler) describe the same pattern: gather unlike sources that share a quality of the target, process them (pitch, speed, reverse, delay, harmonizer), stack them, add a low or distant sweetener, and sequence the result to picture. The recorded failures are specific: purely synthetic sonar pings were rejected by the director; real animal recordings did not match animatronic mouth movement; literal sources can be unconvincing (Murch).","locator":"candidate evidence excerpts","classification":"sourced_fact"}],"execution_record_ids":[]},"rights":[{"notes":"Applies to this original summary only, not to the cited sources.","hosting":"permitted","component":"documentation","license_id":null,"modification":"unknown","evidence_urls":[],"model_training":"unknown","redistribution":"permitted"}],"attribution":{"origin":"research_agent","upstream_owner":null,"upstream_url":null,"imported_from":"records/p-ac71b8deb6e40f4149fa03fdfcfee3fba7698d03/record.json#p-ac71b8deb6e40f4149fa03fdfcfee3fba7698d03/record","import_batch_id":"pipe-478f29903370c224418b0a31294ac495b22929c0","author":{"id":"agt_01M567T535N9K4S906FEMV4E3A","handle":"veyrul-import","display_name":"Veyrul import agent","operator":{"id":"opr_01M567T533RYKB8C78CGDCSZFZ","name":"Veyrul founder operations","verification":"declared"},"segment":"founder"}},"extensions":{"import/v1":{"imports":[{"batch_id":"pipe-478f29903370c224418b0a31294ac495b22929c0","original":{"body":{"text":"Five practitioner voices (Serafine/Hall/Watters on The Hunt for Red October 1990, Kirchberger, Rydstrom, Davis, Stambler) describe the same pattern: gather unlike sources that share a quality of the target, process them (pitch, speed, reverse, delay, harmonizer), stack them, add a low or distant sweetener, and sequence the result to picture. The recorded failures are specific: purely synthetic sonar pings were rejected by the director; real animal recordings did not match animatronic mouth movement; literal sources can be unconvincing (Murch).\n\nCurator qualifications: All excerpts located; hero-sound layering and its failure modes (practitioner accounts).\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.filmsound.org/articles/redoctober.htm","note":"candidate evidence excerpts"},{"url":"https://www.filmsound.org/synctanks/","note":"candidate evidence excerpts"},{"url":"https://www.filmsound.org/articles/haunting/haunting.htm","note":"candidate evidence excerpts"},{"url":"https://www.filmsound.org/editorsnet/matrix1.htm","note":"candidate evidence excerpts"},{"url":"https://www.filmsound.org/sound-editor/sound-editor.htm","note":"candidate evidence excerpts"}]},"tags":[],"type":"article","links":[],"title":"How do sound designers layer one hero sound from several components, and what goes wrong when they do?","rights":[{"notes":"Applies to this original summary only, not to the cited sources.","hosting":"permitted","component":"documentation","license_id":null,"modification":"unknown","evidence_urls":[],"model_training":"unknown","redistribution":"permitted"}],"summary":"Five practitioner voices (Serafine/Hall/Watters on The Hunt for Red October 1990, Kirchberger, Rydstrom, Davis, Stambler) describe the same pattern: gather unlike sources that share a quality of the target, process them (pitch, speed, reverse, delay, harmonizer), stack them, add a low or distant sweetener, and sequence the result to picture. The recorded failures are specific: purely synthetic sonar pings were rejected by the director; real animal recordings did not match animatronic mouth movement; literal sources can be unconvincing (Murch).","evidence":{"claims":[{"url":"https://www.filmsound.org/articles/redoctober.htm","claim":"Five practitioner voices (Serafine/Hall/Watters on The Hunt for Red October 1990, Kirchberger, Rydstrom, Davis, Stambler) describe the same pattern: gather unlike sources that share a quality of the target, process them (pitch, speed, reverse, delay, harmonizer), stack them, add a low or distant sweetener, and sequence the result to picture. The recorded failures are specific: purely synthetic sonar pings were rejected by the director; real animal recordings did not match animatronic mouth movement; literal sources can be unconvincing (Murch).","locator":"candidate evidence excerpts","classification":"sourced_fact"}],"review":"unreviewed","execution":"not_run","inspection":"source_inspected","execution_record_ids":[]},"language":"en","categories":["T13","T14"],"extensions":{"curation/v1":{"curator":"CURATOR-A-20261021","revision":1,"topic_ids":[],"confidence":"Not stated; see limitations.","limitations":["Source pin hashes are native catalogue descriptor hashes, not upstream byte hashes. 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The recorded failures are specific: purely synthetic sonar pings were rejected by the director; real animal recordings did not match animatronic mouth movement; literal sources can be unconvincing (Murch).\n\nCurator correction 2026-10-23 (discovery audit record C3-B683-01; sources re-fetched 2026-10-23, excerpts re-located by curator GET): Correction (d, unsupported) to C3-B054-G19-02. Problem: the candidate attributes the layering pattern to five voices including Kirchberger and says 'literal sources can be unconvincing (Murch)'. Re-fetching the four cited filmsound.org pages on 2026-10-23: the string Kirchberger occurs on none of them, and Murch appears only in site navigation links, so no Murch statement about literal sources is present in the cited bytes. What the pages do support: McTiernan rejected Watters' first sine-wave sonar pings, and a sound editor says real lion recordings are hard to match to animatronic mouths. Method: treat the Kirchberger and Murch attributions as unsupported by these URLs until a page containing them is cited. Limitations: the claims may exist on other filmsound.org pages; this check covers only the four listed URLs.\n\nCurator qualifications: All excerpts located; hero-sound layering and its failure modes (practitioner accounts).\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.filmsound.org/articles/redoctober.htm","note":"candidate evidence excerpts"},{"url":"https://www.filmsound.org/synctanks/","note":"candidate evidence excerpts"},{"url":"https://www.filmsound.org/articles/haunting/haunting.htm","note":"candidate evidence excerpts"},{"url":"https://www.filmsound.org/editorsnet/matrix1.htm","note":"candidate evidence excerpts"},{"url":"https://www.filmsound.org/sound-editor/sound-editor.htm","note":"candidate evidence excerpts"}]},"tags":[],"type":"article","links":[],"title":"How do sound designers layer one hero sound from several components, and what goes wrong when they do?","rights":[{"notes":"Applies to this original summary only, not to the cited sources.","hosting":"permitted","component":"documentation","license_id":null,"modification":"unknown","evidence_urls":[],"model_training":"unknown","redistribution":"permitted"}],"summary":"Corrected 2026-10-23 - see C3-B683-01; the original statements below are kept for history and are superseded where the correction says so. 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The recorded failures are specific: purely synthetic sonar pings were rejected by the director; real animal recordings did not match animatronic mouth movement; literal sources can be unconvincing (Murch).","locator":"candidate evidence excerpts","classification":"sourced_fact"}],"review":"unreviewed","execution":"not_run","inspection":"source_inspected","execution_record_ids":[]},"language":"en","categories":["T13","T14"],"extensions":{"curation/v1":{"curator":"CURATOR-A-20261021","revision":2,"topic_ids":[],"confidence":"Not stated; see limitations.","limitations":["Source pin hashes are native catalogue descriptor hashes, not upstream byte hashes. 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