Podcast Summary: Fred Armisen on “100 Sound Effects”
The New Yorker Radio Hour
Date: September 2, 2025
Host: David Remnick
Episode Guests: Fred Armisen, Michael Shulman
Overview
This episode delves into Fred Armisen’s fascination with sound, exploring the creation of his unique new album, “100 Sound Effects.” The conversation with New Yorker writer Michael Shulman moves between Armisen’s comedic roots, musical background, and hands-on demonstrations of field recording — all woven together with anecdotes about how sound shapes his artistry and everyday experience.
Key Discussion Points & Insights
1. Fred Armisen’s Relationship With Sound
- Comedic Voice Work: Armisen, known for his sound and accent impressions, gives quick tour of accents (“Pittsburgh…Baltimore…Virginia”) (00:20–00:34).
- SNL’s L.A. Sketch: Reference to the recurring Saturday Night Live sketch about the way people in LA give directions, showcasing how local sound shapes comedy (00:34–00:49).
2. The Genesis of “100 Sound Effects”
- Motivation: Armisen laments the decline of classic sound effects albums, remembering Halloween records from his youth; wanted to create a modern, artistically-driven version (01:41–01:49).
“I feel like they just used to exist more…There’d be a Halloween one…You just see them everywhere. …What would a new version of it be like?” — Fred Armisen (01:49)
- Method: Chose to record in a professional studio, emphasizing deliberate recreation and composition over simple field recording (01:49–02:53).
“…Instead of just, you know, taking out my phone…let me go to a recording studio and really do it.” — Fred Armisen (02:05)
3. Listening Intentions and Album Purpose
- How It’s Meant to Be Heard: Armisen envisions people sharing snippets with friends for novelty and joy, rather than focused, start-to-finish listening (03:01–03:21).
“I picture someone playing it for their friend. …Not going through the whole thing, but just playing little parts of it.” — Fred Armisen (03:05)
- Nostalgia and Practicality: References the tactile fun of owning quirky, non-musical records — a collector’s item as much as practical tool (03:21–03:28).
4. Childhood Influences and Early Sound Memories
- Haunted Halloween Records and Toys: Owned Halloween records and G.I. Joe “singles” heavy on adventure sounds (03:28–04:12).
“I remember ghoul sounds…and I guess they’d be used for haunted mansion amusement…” — Fred Armisen (03:36)
- Lost Art of Sound Effect Albums: Affirms that sound effects records are “a lost art form” (04:21).
5. Structure of the Album & Recording Techniques
- Scenario-Based Tracks: Many sounds are vignettes — guitar tuning mishaps, musical in-jokes, daily life scenarios (04:37–05:19).
“I wanted to do someone tuning a guitar, and it’s in tune, except for when they strum it, it’s out of tune.” — Fred Armisen (04:45)
- Musical Experience: Career as a drummer (Trench Mouth) means he’s always tuned into “sound checks” and the background noise of bands (05:30–05:48).
6. International and “Field” Recording Adventures
- European Domestic Sounds: Unique sounds captured while working in Ireland, such as European appliances (kitchen machines, doors), highlighting how every region has its own acoustic signature (06:13–07:00).
“Their dryers are just very different to ours…There’s usually one unit that does the same thing. It’s way at the end.” — Fred Armisen (06:28)
- Uncanny Beeps and Machine Noises: Recounts an unresolved mystery involving a cryptic dryer beep in Ireland (07:04–07:51).
“That was like an alien landing. That was really unsettling.” — Michael Shulman (07:51)
7. Cultural and Personal Associations With Sound
- Long Island Upbringing: Remembers the jingle of deli and pizza shop doors as quintessential Long Island (08:09–08:33).
- Family and Accent Sensitivity: As a child of German and Venezuelan parents (with time spent in Brazil), noticed how New Yorkers had a distinctive way of speaking, making him extra attuned to accent and speech (09:19–09:55).
“There was a lot of sort of relearning of how people talk…because of my life, it was easier to notice that people sounded different.” — Fred Armisen (09:25)
8. Sounds of Childhood Abroad (Brazil)
- Street Music & Brazilian Drums: Recounts the soundscape of samba schools in Copacabana, the difference in television audio, and kids mimicking American English (09:55–11:02).
“The sound of drums. TV sounded really different. And the Brazilian kids…would mimic us.” — Fred Armisen (09:58)
9. The Unique Soundscape of SNL
- Signature Ambient Noises: Armisen fixates on a specific hiss that precedes the SNL cold open—an audio cue that’s impossible to replicate elsewhere (11:07–11:49).
“There’s like this hiss right at the cold open…and it’s only SNL where you’re like, they’re about to start…” — Fred Armisen (11:15)
10. Field Recording Demonstration: New York Outings
- Capturing Daily City Sounds: Shulman and Armisen try collecting ATM beeps, the shuffle through a deli cooler, and spontaneous crowd audio (14:36–15:28).
- Horse and Carriage Audio Quest:
- Attempt to record an elusive “clop” sound from a Central Park horse and carriage; politely rebuffed by the driver (16:10–17:13).
- Creativity in the field: Use sunglasses cases and gear to “fake” horse hoof sounds on a wooden railing, improvising when “real” sound won’t do (17:19–18:30).
“Let’s say we had like, a directive that we had to get clopping noises—that we’re not allowed back unless we get something. So let’s fool our boss.” — Fred Armisen (17:29)
- At one point, Armisen perfectly matches the rhythm of a passing real horse (18:30–18:41).
“That was amazing because right as you were doing that…an actual horse and carriage went by and you just mimicked the exact rhythm.” — Michael Shulman (18:30)
Notable Quotes and Memorable Moments
- Fred Armisen on Inspiration:
“What would a new version of [a sound effects record] be like?” (01:49)
- Fred Armisen Reflects on Novelty and Functionality:
“It looks good in the record collection…here’s a sound effects record that actually came out more recently.” (03:08)
- On Sensitivity to Sound:
“It’s like a major part of my life and maybe my career…what got me there is, like, more about sound.” (08:51)
- Armisen on SNL’s ‘Cold Open’ Hiss:
“There’s this, like—psshh—and it’s only SNL where you’re like, they’re about to start the cold open…” (11:15)
- Improvised Horse “Clopping”:
“Let’s say we had a directive that we had to get clopping noises…So let’s fool our boss, so to speak.” (17:29)
Key Timestamps
- 00:20–00:34: Fred Armisen’s American accents demonstration
- 01:49–02:53: Genesis and studio methodology for “100 Sound Effects”
- 03:05–03:21: How he pictures listeners interacting with the album
- 06:13–07:51: Field recording in Ireland; mysterious dryer beeps
- 09:19–09:55: Family background and developing sensitivity to speech sounds
- 11:07–11:49: The unique sound of SNL’s cold open
- 14:36–18:41: Field recording adventure in New York; horse “clop” improvisation
Tone & Style
Fred Armisen’s approach is playful, improvisational, and tinged with dry humor. Michael Shulman provides the straight-man counterpoint, gently steering the conversation and sharing in the fun. The fieldwork segments capture the joy of process and spontaneity, echoing the album’s spirit.
Conclusion
A vivid exploration of how sound shapes memory, performance, and everyday life, this episode genuinely showcases Fred Armisen’s creative vision for “100 Sound Effects.” The playful interplay between sound artistry, nostalgia, and improvisational comedy makes for an engaging listen — and offers curious insights for anyone fascinated by the sounds that define our worlds.