The Recordist has released two airplane sfx libraries:
Prop Planes 2 HD ($35.00 | 35 files at 96kHz/24-Bit)
It’s hard to believe a whole year has passed since the 5th Annual Sandpoint fly in and on August 13, 2011 I traveled to the Sandpoint Idaho Airport and recorded the 6th Annual Fly In. Included are 24-Bit 96K recordings presented as Broadcast WAV files with full Soundminer 4 Metadata of a variety of small modern and vintage aircraft on the ground and in the ripping through air. Included are high speed passes, take offs, landings and ground taxi bys. There is also a J5 Wright powered 1928 Stearman C3B starting its engine and taxiing down the tarmac that I was fortunate enough to get at the end of the show. The owner wanted the sound for his cell phone ring tone. I recorded the graceful aircraft as it was departing and flying by.
Beech 58P Aurplane HD ($75 | 78 files at 96kHz/24-Bit)
Presenting the Beechcraft Baron 58P propeller plane sound effects collection. The Beechcraft Baron is a light, twin-engined piston aircraft originally developed by Beech Aircraft Corporation and currently manufactured by the Hawker Beechcraft Corporation. The Baron is a variant of the Beechcraft Bonanza, and was first introduced in 1961. Since its inception, the Baron has always been near the top of the light airplane hierarchy. Expensive as it is to buy and to operate, the ‘next step up’ from a Baron is a very big one. Faster aircraft, with greater range and more load-carrying capability are generally turbine-powered and far more expensive.
Barons come in two basic types: the Baron 55 (short body) and Baron 58 (long body), with several subtypes. Introduced in 1970, the more powerful Baron 58 has club seating, double aft doors, and a gross weight of 5400–5500 lb (2450–2500 kg).
I had the opportunity to record much of this airplane and this collection is the result. Recorded at 24-bit 96kHz in stereo and mono this library contains 3 gigabytes of the many sounds this plane generates.
Also, Frank has published very informative posts on his blog talking about the recording sessions for these libraries. You can take a look at The Recordist blog.
New article of Mix Magazine dedicated to sound effects, featuring sound editors Harry Cohen, Christopher Assells and Jon Title.
From the clang of a sword to the roar of a monster to the rev of a car engine, Hollywood directors depend on sound designers and sound effects editors to craft the sonic elements that help add impact and interest, set the mood or ratchet up the terror of a scene. Working with Foley artists, re-recording mixers, composers and others, the creators of film sound effects have challenging jobs that require imagination, creativity and technical abilities, not to mention a great ear.
There are two primary job titles for those who create and edit effects—sound designer and sound effects editor—though the differences between the two job descriptions have become blurred over time, and both are essentially involved in effects creation.
To learn more about the techniques used to create effects for films, Mix spoke with three pros at Soundelux (Hollywood), all with sound designer and sound effects editor credits to their name. Harry Cohen has worked on such titles as Inglourious Basterds, Star Trek, Robin Hood, The Green Lantern and The Perfect Storm. Chris Assells has credits on films like Fright Night, The Green Hornet, Wall Street: Money Never Sleeps and Gladiator. Jon Title’s filmography includes Final Destination 5, Red, Blood Diamond and The Bourne Ultimatum.
Congratulations to SoundCloud user, Manuel, who won the popular vote for the Sound Scavenging Sound Design Challenge! He wins a copy of the Futzbox plug-in from McDSP (a sincere thank you to McDSP for sponsoring this challenge). Hopefully, there will be a forthcoming interview with Manuel as well.
As a reminder, the next Sound Design Challenge will start on September 15th. See you then.
Home Theater Forum has interviewed Matthew Wood about his work on the Blu-ray edition of Star Wars.
We met with Matthew Wood from Skywalker Sound to find out more about the sound mix and what was done to ready it for Blu-ray. He started working on the Blu-ray audio back in 2007. Here are excerpts from that presentation. It was very obvious that he has a lot of passion for these films. Please note that the questions came from multiple participants, including myself:
I’ve [Matthew Wood] been involved in the restoration and remastering of Episodes IV, V and VI since about 1996 when we started the special editions and all the way through the DVD releases now. I’ve actually brought all 6 movies that I got the print masters from Skywalker Sound so that we can listen to some scenes today. The cool thing about Blu-ray is the fact that when I play you these masters, it’s effectively as what’s on the disc, it’s the file copy that goes on the disc, we have an uncompressed master on the disc.
[Article by Ian Palmer]
Dreambase is the result of Alex and Mark’s (two ex-Dolby employees) desire to setup their own post-production sound facility and work in the more creative side of the film industry. Dreambase is located in the former GWR radio studios with two edit rooms and a VO Booth/ Foley Room between the two rooms.
I visited there last year simply to say hello and was surprised to learn that they were editing and mixing feature films using Logic. Inspired by the recent Mix article I thought I would write this article to find out why they are using the DAW instead of the industry standard Pro Tools.
Ian Palmer: You’re a relatively new studio. What made you choose the Apple/Logic platform?
Alex Hudd: Initially it was for cost reasons. I had used Pro Tools since 2000 for music recording but as a Mac user was aware of what Logic was capable of, and the extensive tools it possessed out of the box. The software is so intuitive and the audio library browser is well integrated with the package that track-lays for sound design and composition are very quick to rough out and start working on. Of course Logic’s strength is the ability to compose and this had also been very useful in some projects that I have composed music for. The recording take management in Logic is excellent for ADR sessions as it’s very easy to find the best lines from multiple takes, compare them and bounce out to a composite.
IP: What have been the advantages of such a decision?
AH: We saved money on the initial start-up costs which for a studio can be quite considerable, especially as we had overheads like rent to pay each month.
IP: Have there been any drawbacks?
AH: Lack of compatibility with studios running Pro Tools exclusively is a drawback but the projects we have worked on have been mostly ‘in-house’. At the end of the day we can bounce out any number of stems to take to another studio and import into their own systems but not being able to pass over automation or plug-ins is a disadvantage time- wise.
Editing is not as quick as with Pro Tools as Logic doesn’t posses the equivalent of a ‘Smart Tool’. Also the I/O setup is pretty basic so complex bus routing is not as easy as it is in Pro Tools. We use both Logic 9 and Pro Tools 9 at the studios depending on the project we are working on. And with OMF/AAF interchange it’s easy to exchange files between the two systems.
IP: What hardware are you using?
AH: We use an RME Fireface 800 as the main I/O which is used with Logic and Pro Tools, plus a Rosendahl Synchroniser. We use the Euphonix Artist Series as hardware controller with has excellent integration with both Logic and Pro Tools.