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Posted by on Apr 28, 2014 | 1 comment

SoundMorph Release Intervention

SoundMorph celebrate their 1st anniversary with the announcement of their newest release Intervention.

Intervention is the most complete and researched SWAT sound effects library ever made, featuring 26 weapons recorded by Hollywood’s premier weapons recordist, Charles Maynes.

We’ve compiled a collection of the most frequently used weapons by American SWAT units, offering you a complete sound set to work on modern films, television or games.

We’ve even included the source recordings for you to design your own gunshots, and plenty of additional foley, utilities, boots, explosives, gun handling and gear body movements, making this the most developed soundpack library in its genre.

All files are 24bit/96khz stereo files, meticulously embedded with Soundminer & Basehead metadata, including:
26 weapons commonly used by US SWAT teams
Suppressed and burst variations for most weapons
Shot variations for dry, open exterior, interior and urban locations
4 source layers for each weapon, allowing you to design your own shots
14 gun foley weapon sets including reloads, magazine inserts and cocking
SWAT body gear movements
Utilities like night vision goggles, batons, battering rams and more
Large explosives and explosive sweeteners
Designed gun handling files for gun movements

Charles Maynes’ work includes Spider-Man, Tom Clancy’s Ghost Recon: Future Soldier and Resident Evil 5, and he is regarded as one of the go-to people in Hollywood and games for weapons recording.

Intervention also contains gun foley recorded by another Hollywood sound pro, Matthew E. Taylor.

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Posted by on Apr 25, 2014 | 1 comment

SoundWorks Collection : The Sound of Transcendence

SoundWorks Collection have just released The Sound Of Transcendence an exclusive sound profile with the sound team behind Director Wally Pfister’s debut film Transcendence.

Featured interviews include Director Wally Pfister, Supervising Sound Editor Mark Mangini, Re-recording Mixer Terry Porter, Re-recording Mixer Jeremy Peirson, Dialogue and ADR Supervisor Byron Wilson, and Music Editor Erich Stratmann.

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Posted by on Apr 21, 2014 | 0 comments

Glitchmachines release Quadrant

Glitchmachines - Quadrant
Quadrant is a new modular sound generator and effects processing plugin geared towards experimental sound design. It features a broad selection of modules, connectable through a graphical patching system, allowing for a very wide and customizable range of sounds and effects. The plugin can be used to generate textures, or as an effects processor, providing a number of different ways to create uniquely futuristic sounds.

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Posted by on Apr 14, 2014 | 2 comments

MASTER CLASS: Skip Lievsay, Academy Award-Winner for Best Sound Mixing on GRAVITY

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Bit short notice but if you’re in NYC on April 19 there is a pretty cool master class happening:

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“On Saturday, April 19th, come join us at the Media Center to watch the Academy Award winning film GRAVITY with master sound designer, Skip Lievsay.  We’ll have lunch together and Skip will walk you through his experience working on GRAVITY.  Skip Lievsay has an outstanding history of collaborating with major American filmmakers such as Martin Scorsese, Spike Lee, the Coen Brothers, and John Sayles. “

You can check out the details and register here.

“Skip Lievsay has an outstanding history of collaborating with major American filmmakers such as Martin Scorsese, Spike Lee, the Coen Brothers, and John Sayles.  He served as sound editor for the Coen brothers on Blood Simple(1984) and was their sound editor supervisor on Raising Arizona (1987), Miller’s Crossing (1990), and Barton Fink (1991).  The frequent Coen brothers’ collaborator received two Academy Award nominations for Best Sound Mixing and Best Sound Editing for his work on NoCountry For Old Men (2007) and was nominated in the same categories for True Grit (2011).  For Spike Lee, he provided sound design for Do the Right Thing (1989), Mo’ Better Blues (1990), and Jungle Fever (1991). Lievsay began an extensive collaboration with Martin Scorsese on After Hours (1985), continuing through The Age of Innocence (1993). For John Sayles, he worked on Matewan (1987) and City of Hope (1991).”

 

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Posted by on Apr 7, 2014 | 3 comments

Sonic Movement

An interesting investigation into how cars ‘should’ sound.

While our cities are in continuous visual and tactile evolution, our sonic landscape is primitive and disordered. With the dawn of silent electric vehicles comes a need for pedestrian warning sounds. This represents an opportunity to reflect upon the noise of our streets today and fantasize on what the future of our cities could sound like.

Semcon, in a unique collaboration between its Design and Acoustics divisions, with pioneering music/art duo Holly Herndon and Mat Dryhurst, invite you to experience the project initially premiered as an installation during Frankfurt Motorshow 2013.

The result of this innovative fusion, SONIC MOVEMENT imagines a new paradigm in the audible character of the city.

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Posted by on Apr 5, 2014 | 0 comments

“How to Record Waves” on Quiet Planet

Gordon Hempton has a new article up on his Quiet Planet website talking about recording waves.

Find a beach exposed to the open ocean (high-energy) with a large tidal change (higher latitudes) at least several miles from the nearest frequently used road (wilderness) that slopes sharply, so at low tide you encounter diverse substrates (sand, gravel, cobblestones).

Head here to read the full article.

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Posted by on Apr 2, 2014 | 0 comments

In Conversation – Interview with Coll Anderson

Andy Wooding has a new interview with one of our former Featured Sound Designers, Coll Anderson, up over on FilmDoctor.co.uk.

I don’t know if there’s a difference. They both involve a certain level of verisimilitude and so you can’t really say there’s a difference. People will say ‘documentaries are real and fictitious films are about telling stories’ but documentaries are really about telling stories and fictional films often want to feel super real. So there’s a huge cross over between them. When you insert a camera into a situation, that situation is no longer real. It changes. It changes the dynamic. There’s a square box capturing it. We go to great lengths to show ‘oh the truth of the square box’ but it’s not true.

Head here to read the full interview.

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Posted by on Apr 2, 2014 | 0 comments

Mixing for Factual Formats – Interview with Bob Bronow

If you’ve ever wondered what it takes to put together a compelling soundtrack for factual television, Bob Bronow’s interview over at A Sound Effect makes worthy reading. The Emmy Award winning sound designer and re-recording mixer reflects on his workflow creating the sound for reality series The Deadliest Catch, and discusses the particular challenges of working within the factual genre.

Check out Bob’s interview here.

asoundeffect.com

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Posted by on Apr 1, 2014 | 0 comments

SFX Round Up – April 2014

It’s April, and you’d be a fool if you didn’t check out this past month’s freshly released sound libraries. From quiet forests, ocean sounds, and country ambience, to war-torn future soundscapes and the introduction of a new company to the sound design community, plus a BIG contest announcement, Designing Sound’s monthly round up has you covered.

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Posted by on Mar 31, 2014 | 0 comments

The Hybrid Animal Sound Design Competition

The Hybrid Animal Sound Design Competition

No matter how deep your interest in animal husbandry may be, you’re probably never going to figure out what the spawn of a camel and a mollusk might sound like. Or will you? Interested sound designers still have a little more than a week left to enter the Hybrid Animal Sound Design Competition, where the creation from scratch of a brand new animal call could net a share of $6,000 worth of prizes from Pro Sound Effects, Avid, iZotope, Rode, and Ric Viers. The deadline for entries is Tuesday, April 8th. Check out the rules, restrictions, and other details over at the Pro Sound Effects Blog.

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