It has been a little while since the last SFX Independence post. So many new sfx libraries have come to our attention during that time that this roundup comes in two parts, designed to make it more digestible. Part 2 will follow later in the week.
Our aim is to provide readers information about the best and most innovative independent sound effects library available, so if you’d like your recently-released library to be considered for inclusion in the next roundup, all you need to do is fill in the Independent SFX Library submission form.
Tim Nielsen – Yellowstone
The Yellowstone SFX Library comprises 120 stereo tracks, recorded at 96/24 by supervising sound editor and sound designer Tim Nielsen. This 8GB pack of sounds from the Yellowstone geothermal volcano in Wyoming, USA, includes giant geysers, bubbling mud pots, fumaroles, hot springs, water streams and more.
Recorded using a SoundDevices 722, using Schoeps MS rig (CMC6 XT extended frequency bodies with an MK41/MK8 Capsule setup) and a Telinga Stereo Parabolic microphone.
Released: August 2014
Tim Nielsen on IMDB
After the rousing success of our meetup at last year’s show in New York (seriously, it was great!), we’ve decided to do it again this year!
So, come join us for food and drinks at Tom’s Urban on Thursday, October 9th, at 8:30 PM. Both Shaun and I will be there and we look forward to meeting all of you!
More info and how to RSVP after the jump.
Guest Contribution by Frank Bry
In this article I will reveal my secrets and techniques to recording decent thunder and lightning. Many, many years and sleepless nights have gone into perfecting the art of recording the thunderstorm and I will finally share. But first, I want to share a little history and tell you how I developed these secrets and techniques. It was not so easy at first and here’s the story I’m still alive to tell. Part 1: Live and Learn. (more…)
A few months ago I came across a Twitter post made by Stephan Schütze (a recent Designing Sound contributor) that continues to resonate with me (no pun intended) and I wanted to share it with anyone in the sound design community that has yet to hear these sounds.
As a side note, Stephan’s tweet was unrelated to his Designing Sound contribution (which can be found here) that he wrote for our monthly theme dedicated to Vehicles.
The original Twitter post was for an article entitled:
NASA Probes Record Sounds In Space – And It’s Terrifying.
I was immediately enthralled as soon as I heard the sounds. Opposed to my previous beliefs, outer space actually does produce sound, and the sounds are quite remarkable.
Image by Stewart Butterfield, used under a Creative Commons license. Click image to view source.
When we say “space”, people generally think of two things: outer space, or a bounded area that something fits into. It’s a safe bet that most people in the sound community immediately think of the latter. So often we focus on the characteristics of a space…how far a sound carries, reflections and reverberation time, etc. Certainly that helps us define a space, but…for the most part…only on a technical level. What really defines a space, is what occupies it. There’s no denying that production designers and location scouts in film, or level designers and artists in games, have a strong role in creating a space, but we in the sonic branch of our respective mediums have the unique ability to refine…or even redefine…those spaces they create. Sometimes, we’re even given the opportunity to create spaces where they cannot. What I want us to consider in light of that, is how we approach the creation of that space.
If you made it to the Designing Sound mixer we held during the AES conference in New York last year, you may have met Neil Benezra. Neil is a Brooklyn based sound designer and mixer, and he’s just shown up on the cover of the latest issue of CineMontage (the Motion Picture Editor’s Guild Journal). We’re always happy to see members of our community being recognized. Why not go give it a read? ;)
GameSoundCon, gearing up for their 10th conference, which will take place October 7-8 at the Millennium Biltmore Hotel in Los Angeles, have made two recent news announcements.
Game Audio Workers Survey
First up, the results of the GamesSoundCon and Games Audio Network and Guild (GANG) joint survey that looked at working in the game audio industry are out. Whilst the results give cause for optimism with regards to general pay for composers, sound designers and audio developers, less encouraging news emerged, with the fact that women remain under-represented in the industry accounting for around 5% of survey respondents. A PDF of the full survey results, where respondents were also invited to comment on things such as work environment and contract terms, are available form the GamesSoundCon website.
$100 off entry to GameSoundCon14 and a chance to win EastWest CCC2
GamesSoundCon and EastWest have teamed up for a sound design contest that offers multiple winners a $100 entry discount to October’s GamesSoundCon AND automatic entry into a draw to win a copy of EastWest Complete Composers Collection 2. More of a social media treasure hunt, for a chance to win contestants are asked to follow the contest link, provide an email address, and then use the power of social media to earn points that unlock the discount code and give entry into the draw. All the tasks are pretty straightforward, so don’t let that put you off!
Game Audio Network Guild
The Distillery Podcast’s latest is an interview with sound designer Ivo Ivanov of Glitchmachines.
Blastwave FX are at it again with another contest which they announced last week. This one is about making a zombie soundscape:
- Create a sound design clip of a soundscape or scene of something you think you would hear during the zombie apocalypse.
- The sound design clip must be no longer than 60 seconds. No exceptions.
- Upload the sound design clip to the Blastwave FX Facebook page. Be sure to tag yourself and Blastwave FX in the post. The clip must be posted on the Blastwave FX Facebook page. Emailed or messaged submissions will be disqualified.
- The sound design clip may contain original sound effects, but must include at least one sound effect from the Zombie Apocalypse Sound Effects Library from Blastwave FX. Free samples from this library are available at the bottom of this page. If you own the Zombie Apocalypse Sound Effects Library, you may use any sound effect from the collection that you wish. Note, the Zombie Apocalypse Sound Effects Library is on sale throughout the contest for only $66.
- The contest submissions will be judged by Matt Busch, Celldweller, Blue Stahli and Ric Viers.
Check out the contest page for the full rules and description here. Hurry though, the deadline is October 24!
There is a cool crowdsource library getting organized over at Audible Worlds. Site runner Mike Niederquell’s explanation says it best:
The goal of this library is to capture 3-5 minutes of crowds or walla from your local region. It’s best if the conversations in the recordings are unintelligible, which is why we are using the term “walla” to describe this project. We realize it’s probably unrealistic for most people to have access to a group of performers to capture proper walla, so recording large groups of people in a public area is also being accepted.
Everyone is allowed to contribute and your contribution awards you everyone else’s submitted recordings which from the looks of it will be a *lot* of people! The Submission window is Oct 1, 2014 to Oct 20th, 2014 so there isn’t much time left! Go check it out along with the rest of Audible Worlds. Its a great resource.