I mean it's another piece of the language that everybody knows. ... and my personal favorite because it starred Mel Blanc, Captain Caveman.Mark: Walt and Roy and Ub Iwerks themselves would be the sound effects guy in their live orchestral recording sessions for those early Steamboat Willies.In the early days before there was multi-track recording or mixing, you had to perform the sound effects live with the orchestra in one straight pass. Mark: I don't very often get to talk about my early days… and cartoons.Mark: I've worked on 142 live-action films. So I grabbed a bunch of people around the office, and we recorded ourselves gagging in lots of different ways...Heather: An odd combination that you might not expect and I did not invent this… animals and engines is a really great one. Another sort of unique distinction is that you have the option to create sound first, and then have animation be done to what you did. Yet we still hear that falling sound effect in modern cartoons like Teen Titans [SFX], here it is in Justice League Action [SFX], and here it is even in Family Guy [SFX]. I started as a track reader, which is a subset of sound editing where you're charged with transcribing the recordings of the voices, so that the animators know when to open and close the mouths of the characters [SFX: cartoon dialogue]. So, we had to find different vocals for each of the horses.Heather: A lot of times people will come in with their show and say, "I don't want to use those old Hanna Barbera sounds, I want to do something completely different." A collection of almost all the canyon fall gags happening to Wile E. Coyote from the classic eraThe Canyon Fall Gag in "Tired and Feathered" (and most of the Larriva 11)The 2nd Canyon Fall Gag in "Fastest with The Mostest"The Final Canyon Fall Gag in "Fastest with the Mostest"The Canyon Fall Gag as featured in "Hopalong Casualty"The second and final canyon fall gag at the end of "Hot-Rod and Reel! And they would always be used as the science fiction components, if I had a spaceship or a flying saucer in an episode that's what I'd use the electronic sounds for, because that felt futuristic to me.Mark: If you can't find it, you do it with your voice. For example, in Beauty and the Beast Belle's dad was this inventor and he had built that funny ax chopping machine. For a few moments he hangs suspended in midair, apparently even gaining a little traction before he plunges to the ground. It's just the actors who are recorded, and I get to start with a blank slate. That's what made him so amazing, and when you listen to those Looney Tunes shorts, there isn't a lot of cartoon sound in those. You're recording a picture and they're recording the audio at the same time wherever the actors are. So, in a way it gives you permission to break the laws of what sound you should hear when you see something. But even in 1976, I was turning into an elitist, I suppose. So if they're on a street you have cars going by. Is going to be a realistic show like Spirit, or is it going to be really cartoony like Fairly Odd Parents?It's just not stop cartoon, cartoon, cartoon, whereas something like Spirit it feels more like you're making a movie with horses out in the fields with the girls…Heather: We got a whole new horse library, because in that show there's three characters who are horses. They really make it sound more real.Heather: One of the stranger things I've actually recorded and done myself for a sound effect is we had a bit in Robot and Monster where everyone was in a crowded restaurant. You've done it again: 34k: Gad, I'm such a genius: 30k: Well, back to the old drawing board (Wile E.) 26k: Genius. Wile E. Coyote and the Road Runner are a duo of cartoon characters from the Looney Tunes and Merrie Melodies series of cartoons.In each episode, the cunning, insidious and constantly hungry Coyote repeatedly attempts to catch and subsequently eat the Road Runner, a fast-running ground bird, but is never successful. That was a sound that we made before animation.Mark: That's just pure design. You could manipulate them in any one of a number of ways, very quickly [SFX] or very slowly [SFX].Mark: Once we divorced ourselves from the need to record live to picture, Treg had this fundamental understanding of how to de-contextualize a sound, how to take the sound of your finger in a coke bottle and make that the sound of the Road Runner tongue flip. And sound design I think is a huge part of the process for animation because there's no sound except the talking, so you get to do that backgrounds and the sound effects, and the foley, and I think it all combines to really bring the animation to life.Mark: So now, there's so many tools that anyone can get their hands on. Mark: The beauty and the joy of cartoon animation is that the characters do not have to obey the laws of physics.