In a recent blog post over at Boom Box Post, company co-owner Kate Finan discusses here recent experiments — and successes — in using contact microphones for underwater recording. It’s a great examination of some of the alternatives available for the (sometimes expensive) commercially available hydrophones on the market.
Looking for a new sound design tool? Short on cash? If so, you may be in luck. The Pro Audio Files is giving away three copies of Iris 2! But better act fast on this one. Entries must be in by 5/22. Head here to enter!
As part of our continuing goal of promoting greater cross-discipline learning with media editing site Art of the Guillotine (Aotg.com), we’d like to bring your attention to their recent article Audio Levels and Metering: Pt. 1. While the article is largely focused at educating editors on good level and metering practices in non-linear editors, there’s some valuable information in the article, and it’s a great refresher on metering approaches even if you’re well versed on the subject. It also features a great side-by-side comparison video of four common meter types. Check it out here!
In a recent video, SoundWorks Collection speaks to Sound Designer (and Designing Sound Contributing Editor) Peter Albrechtsen and Sound Rerecording Mixer Lars Ginzel about their work on the Danish film “The Idealist”. In the video, they discuss their uniquely sonic approach to the film, which concerns a journalist who exposes the biggest political scandal in Danish history. They also discuss the film’s use of Dolby Atmos and the opportunities it afforded them.
In a new sound profile video (and on a new website!) SoundWorks Collection speaks with Supervising Sound Editor and Sound Designer Christopher Boyes of Skywalker Sound about his work on Avengers: Age of Ultron. Check out SoundWorks’s new look, and this fantastic video, here.
the only down side is the clean up
Sound design is fun, and sometimes…on the good days…it can get messy. Really messy. There aren’t a lot of jobs where you get the opportunity to engage in acts of constructive destruction (can we even really say that’s a thing?), but sound design is one of those where, occasionally, the practitioner gets to loosen the leash on the reptilian side of the brain a little and delight in the simple joys of tearing something apart.
…all in the name of art, of course!
So that’s our theme this month. Destruction. What stories of hack, bash, slash and smash do you have to share?
As we recently reiterated, this site is by the community, for the community. We always encourage contributions from the community. It’s impossible to track down all of the potential stories and thoughts that might be out there. Please don’t wait for us to come to you. Whether it fits this month’s theme, next month’s (Failure) or is a topic unto its own…contact shaun [at] this website to get the ball rolling!
In a recent post on the blog over at A Sound Effect, Asbjoern Andersen interviews long-time animation sound pro Jeff Shiffman of Boom Box Post. They discuss Jeff’s workflow and approach to sound design, as well as the specific challenges and successes he had working on numerous animated shows. Take a look at the interview here.
Let us know about recent independent sfx library releases by using the SFX Independence Submission Form.
Announcing one of their largest libraries ever, Matter Mayhem from SoundMorph is all about debris and destruction. Created in collaboration with Frederic Devanlay (Sinematic, Solar Sky) and Cedric Denooz (Future Weapons), it contains over 1,500 sounds rendered as 24bit/96khz .WAV files, including:
- Bomb Blasts
- Blow Ups – Stone, Pebble, Metal, Wood
- Debris – Stone, Wood, Glass, Plastic
- Scaffold Impacts
Matter Mayhem is in Presale until April 28, 2014. Once purchased, it will be immediately available for download in your User Account. Check the website for full details.
In his newest blog post, Paul Virostek of Creative Field Recording examines an interesting question: If we’re able to recolorize black and white films, can we do the same with audio? The article discusses unique techniques and tools like visual microphones, which transcend regular audio restoration and offer the possibility of creating audio that would have been present in the original visuals. Check out the post here.
Registration details have been announced for the third annual Games Music Connect, which will take place on Tuesday 14 September, at the Purcell Rooms in London. 2014′s edition featured composer Olivier Deriviere (Assassin’s Creed IV: Cry Freedom) and Audiokinetic’s Simon Ashby, among many others. Whilst speakers have not yet been announced, this year’s event looks set to focus heavily on the emerging creative and technical practices surrounding Virtual Reality (VR).
Tickets cost £130.00. Early bird price £90.00 (until 31 May 2015).