Podcast Summary: Twenty Thousand Hertz – "The Sound of… BLUEY!!!"

Introduction

In the October 9, 2024 episode of Twenty Thousand Hertz, host Dallas Taylor delves into the intricate world of sound design behind one of the world's most beloved children's shows, Bluey. Known for its heartwarming narratives and engaging characters, Bluey has captivated audiences globally. This episode explores how sound plays a pivotal role in bringing the animated series to life, featuring insights from the show's sound designer, Dan Brum.

Overview of Bluey

Bluey is an Australian animated series that has gained international acclaim since its debut in 2018. Broadcasting in 160 countries and dubbed into 20 languages, the show has become a staple for parents and children alike. As Dallas Taylor mentions, by 2023, Bluey ranked as the second most streamed show in the United States and held the 14th position on IMDb’s highest-rated TV shows of all time[^02:10].

The series revolves around Bandit and Chilli, two dog parents, and their energetic children, Bluey and Bingo. Each episode, typically around seven minutes long, showcases the family's imaginative adventures, often embedding subtle moral lessons without being overtly didactic. The show's appeal lies in its realistic portrayal of parenthood, where parents juggle endless games and activities while maintaining a loving and supportive environment[^02:13].

Interview with Dan Brum: Crafting the Sounds of Bluey

Dan Brum, the sound designer and mixer for Bluey, shares his journey and the challenges faced during the show's inception. As the sole sound person for the first season, Brum had the monumental task of gathering, crafting, and mixing all sounds to complement the animation and dialogue[^04:00].

The Guerrilla Beginnings

Brum recounts the humble beginnings of Bluey as a "guerrilla operation" with a low budget and a team of fresh animators[^03:42]. The project's nascent stages were fraught with uncertainty, leaving Brum to independently manage sound design amidst personal and professional pressures. Reflecting on this period, he admits, "season one was hard," highlighting the intense workload and the personal toll it took, including battling stress-induced alopecia[^04:28].

Originality in Sound Design

Contrary to the common reliance on pre-recorded sounds, Brum emphasized creating original audio elements to ensure the show's authenticity[^04:36]. He ventured into Brisbane's suburbs, recording ambient sounds like bird chirps and creek noises to embed a genuine auditory landscape into the series[^05:06]. This dedication to originality is evident in scenes where nature sounds persist even indoors, maintaining the show's connection to its Australian setting[^05:50].

Challenges and Creative Solutions

Recording specific sounds required inventive approaches. For instance, capturing the sound of a supermarket trolley colliding with aisles led Brum to physically replicate the scene in a real store, often risking confrontation with store management[^09:21]. Similarly, obtaining the authentic noise of a Brisbane council bus involved spontaneous recording sessions, sometimes resulting in unintended humorous situations[^07:14].

Brum also navigated the delicate balance of realism and children's perception. In episodes featuring formidable characters like dragons, he layered intimidating footsteps with toy squeaks to maintain a sense of comic relief, ensuring the sounds were impactful yet not fear-inducing[^16:54]. This nuanced approach extended to filtering audio frequencies, applying low pass filters to soften harsh sounds and create a more rounded auditory experience[^16:54].

Key Episodes Highlighting Sound Design

1. Magic Xylophone: Brum considers this the turning point where Bluey’s sound truly resonated with the episode's narrative[^12:42]. The episode features moments like Bingo adjusting a hose to prevent Dad from spraying her, where subtle sound cues enhance the storytelling without overwhelming the dialogue[^12:42].

2. Sleepy Time: This emotionally charged episode exemplifies the culmination of meticulous sound and music integration. With minimal dialogue, the episode relies heavily on ambient and orchestral sounds to convey Bingo's journey through dreams and her longing for independence[^26:46]. Brum describes working on this episode as a profound experience, where the music and sound design seamlessly blended to support the narrative's emotional depth[^27:34].

The Role of Music in Bluey

Composer Joff Bush plays a critical role in shaping the show’s musical landscape. The theme song, characterized by its playful pauses, has intrigued audiences and commentators alike. Bush revealed that the pauses follow a specific pattern: the first rest is three beats long, each subsequent rest decreases by one beat, culminating without a rest at "Bluey"[^23:27]. This precise timing contributes to the show's rhythmic and engaging introduction[^23:04].

In Magic Xylophone, Bush adapts classical pieces like "Infernal Gallop" to match the episode's vibrant energy, illustrating how music underscores the storyline's emotional beats[^24:25]. Brum emphasizes that the music is integral to the viewing experience, stating, "The music is just meant to hug you basically for the whole episode"[^25:14].

Conclusion

The Twenty Thousand Hertz episode on Bluey offers a comprehensive exploration of the show's sound design and musical composition. Through Dan Brum’s dedicated efforts and Joff Bush’s evocative music, Bluey achieves a rich auditory experience that complements its visual storytelling. This meticulous craftsmanship not only enhances the show's appeal but also underscores the importance of sound in animated narratives.

Notable Quotes

• Dallas Taylor ([00:39]): "This show has made me laugh out loud and sob uncontrollably more times than I can count."

• Child ([00:51]): "Kind of like an ordinary, not ordinary family who like go on big adventures, except not too big."

• Dan Brum ([02:44]): "Parenting is a very unique adventure."

• Dan Brum ([04:36]): "I tried to record my own sounds because I wanted this show to feel original and I wanted it to feel natural and warm and organic."

• Dan Brum ([12:31]): "Magic Xylophone was the first real episode, I think, where I was really happy with how the sound communicated with the episode."

• Dan Brum ([16:54]): "Bandit is a big, heavy, stomping male adult... Bingo was a tiny little four year old girl."

• Dan Brum ([25:14]): "The music is just meant to hug you basically for the whole episode."

References

[^02:10]: Dallas Taylor discusses Bluey's popularity metrics. [^02:13]: Description of Bluey's portrayal of parenthood. [^03:42]: Dan Brum explains the show's early production challenges. [^04:00]: Dan Brum outlines his responsibilities as the sole sound designer. [^04:28]: Brum reflects on the personal toll of the project's initial phase. [^04:36]: Emphasis on creating original sounds for authenticity. [^05:06]: Recording ambient sounds in Brisbane. [^07:14]: Capturing the sound of a local council bus. [^09:21]: Brum shares the experience of recording in a supermarket. [^12:42]: Discussion on the "Magic Xylophone" episode. [^16:54]: Balancing realism with children's perception in sound design. [^23:27]: Explanation of the theme song's pause pattern. [^24:25]: Adapting classical music to match episode energy. [^25:14]: Importance of music in shaping the viewing experience. [^26:46]: Overview of the "Sleepy Time" episode. [^27:34]: Emotional impact of integrating music and sound in "Sleepy Time".