The original idea for Sound Punch records was to release a back-log of recorded material Philip Brophy had been producing for films, videos and installations since the early 90s. It was not until he conducted experiments in Dolby Surround and Dolby Digital (for his own gore feature Body Melt, Marie Craven's award-winning short Maidenhead and Vincent Giarrusso's feature Mallboy) that he considered the potential for releasing his work in Dolby Surround on CD. This interest in multi-channel sound mixing pushed Philip to formally start the Sound Punch label at the end of 1999. Sound Punch has since functioned as Philip's avenue of documenting, archiving and releasing his own film scores, live 're-scored' presentations, plus various solo and collaborative musical projects.Sound Punch banner © 2006
The CDs released on Sound Punch collectively typify Philip's bent on music production, composition and performance. Neither overtly 'experimental' nor outrightly commercial', they mostly connect to his audiovisual explorations in films, installations and other sites/events. Cinema is generally referenced either in the music, the conceptualization of the projects, or sometimes simply as a point of departure of oblique reference. Many of these musical projects connect to his published writing on film sound/music.
CDs have traditionally been released in stereo, but there is no reason why Dolby Surround information cannot be encoded onto CD. The beautiful simplicity of the Dolby Surround system is the way it is matrix-encoded. This means that if you listen to a Dolby Surround recording through a stereo amp and speakers, you get all the information in stereo. But if you play that same recording through a Dolby decoding amplifier connected to additional speakers, you get that same information spatialized in way that replicates how you would hear the recording in a cinema. In technical terms: the Sound Punch CDs bearing the Dolby Surround logo have been mixed into the Dolby Surround or Pro Logic matrix. This means that from a surround sound amplifier, separate sound information is sent discretely to the following speakers of a surround sound system:
1. the front left speaker;
2. the front right speaker;
3. the front centre speaker;
4. the sub woofer speaker; and
5. simultaneously through the rear left and rear right speakers, combined as a single mono sound.
Essentially, that's 5 tracks of information in place of the standard 2 tracks one gets with stereo playback. This is not to say that ‘more is better', but rather that one can use these 5 tracks as spatial locations so as to shift the sound through wide playback space. Handled effectively, an immersive experience is generated - sometimes gratuitously trippy, but sometimes well-suited to the more off-kilter sonic explorations typical of the Sound Punch label.Sound Punch banner © 2006