About

Another Situation is the trading name of location sound recordist, sound designer and audio post production engineer Brad Sweetman. Based in South Cheshire and with connections to experts in various film/ art production disciplines, we are here to create great film and television for years to come. Brad has over 10 years experience in sound and audio, applying skills learned from his technical roots in studio music production and live sound to deliver high quality audio recording and production services whatever the Situation.

Philosophy

Every day, every adventure, every risky decision, chance encounter, green valley and scene of every shoot: is Another Situation. Here’s to looking for that next Situation, and being the ones that capture and retell it.

Our hearing is a hugely vital sense when it comes to immersing us into someone else’s depiction of a Situation. Just picture how much better a story is when spoken with a bit of dynamic range and a few impromptu mouth-made sound effects, than it is as words in monotone.


“Hearing is not like seeing. What is seen can be abolished by the eyelids, can be stopped by partitions or curtains, can be rendered immediately inaccessible by walls. What is heard knows neither eyelids, nor partitions, neither curtains, nor walls. Undelimitable, it is impossible to protect oneself from it. There is no acoustic Viewpoint. There is no terrace, no window, no keep, no citadel, no panoramic lookout of sound. Sound rushes in. It violates… and it is allied with the night.”

Pascal Quignard (1996) La Haine De La Musique

Subtle audio cues in the form of tiny delays or frequency variations transport us from our bedrooms to barbershops and anywhere beyond. Sound, tricks us into creating a world in our minds beyond what is visually and physically present. To me the magic of this audio art is that: what matters is not the recording that is heard, but the recording that is not.

The scene is set. A monastery 3,800m high into the Himalayas, carved into the cliffs and built of mud bricks, stones and wood. A monk far down a corridor jingles the rings on his khakkhara. But the sound is clean and close, it does not echo, it does not fit. It is the recording that is heard and it is the one that removes us from the world we were previously lost in.

The same happens for fictitious sounds, the sounds invented to cure our desire for that amazing thing on-screen to really exist. We do not see white goods whirring away with £35 mics taped to them. We see intergalactic starships, and believe for a moment in a new reality.