David Sonnenschein's story can shed some light on how different experiences
meld into a synergy toward sound design. He began studying clarinet at eight
years old, performing in symphony orchestras and chamber groups, then took up
the flute with the conscious choice to not read music, but to jam, developing
his ear's sensitivity and spontaneity.
As a neurobiology undergraduate at UC San Diego, his interests in physiology,
psychology and dreams were united by research in a sleep laboratory.
Fascinated by the mind-body interface, he published several studies relating
brainwaves to mental states and biorhythms, and developed insight into the
physiological and perceptual processes that serve as foundations for the
creation of sound design.
Sonnenschein's musical exploration continued when he lived in Indonesia and
Thailand, listening, collecting and playing the local instruments made of
bamboo, palm fronds and gourds. Returning to the U.S. to direct the
award-winning short "Little Red Riding Hood: A Balinese-Oregon Adaptation",
he mirrored the form of the Balinese mask dance, playing bamboo instruments
with his clarinet and flute, and composing a non-verbal sound track by
associating each character with a theme and instrument.
In the MFA program at USC Cinema School he found a healthy atmosphere to
continue exploring sound design, inspired by guest lecturers like master
sound designer Walter Murch. His thesis film "The Owl's Flight" utilized
sounds of Pre-Columbian ceramic instruments, animal calls, Tijuana
marketplace atmosphere and a variety of fire effects. By constructing the
right sonic mood for a story about a Mexican Indian shaman and the battle
over a sacred healing mask, he garnered the Verna Fields Trophy for Best
Sound by the Motion Picture Sound Editors.
While living in Rio de Janeiro, Sonnenschein directed his first feature
"Super Xuxa", a Wizard of Oz-like fantasy starring the popular kids TV show
host Xuxa Meneghel. This gave him the opportunity to introduce an impactful
sound design concept to an industry which in the past had not paid much
attention to audio quality. He produced five more features and collaborated
with several Brazilian producers and directors to develop their soundtracks,
while administering sound design workshops throughout Brazil and Cuba.
Finding a gap in the literature regarding the narrative use of the sound
track and recognizing the uniqueness of his own sound design methodology,
Sonnenschein was inspired to write the book "SOUND DESIGN."
Besides teaching and consulting on sound design for dramatic film,
Sonnenschein has formed Sonic Strategies to create cutting-edge audio for
interactive media and develop effective tools for sound healing.