Jordan Fehr and Damian Kastbauer have put out a wonderful sound library together of Buttons, Gear, Equipment and Ambiences. You may recognize Jordan from his work on such wonderful games as: Hotline Miami, Donkey Kong Country Returns, Super Meat Boy and Binding of Isaac. Damian is no stranger to Designing Sound and to the online audio community. He has worked as a Technical Sound Designer on fantastic titles such as: Uncharted 3, The Force Unleashed II, and Dead Space 3.
DS: Tell us a bit about the libraries and why you decided to record these specific subjects.
Jordan Fehr: I am often times called upon to work on projects with zero extra money for exploratory recording time like field recording or extensive Foley work, and so a lot of my recording is done during downtime to beef up my custom libraries for my own use. The libraries I have released so far under JFFX have been useful ingredients I knew anyone could use, or in the case of the restored industrial engines, a very unique source material that only a few people have access to. This new library began with me recording simply buttons and switches for UI and Foley to use in my video game work, and I will not pretend it had nothing to do with purchasing a Schoeps-MK4 which is able to achieve a detailed high-end for these tiny sounds. As I started thinking more about the usage of the sounds I was recording, I decided to turn the library into a sort of Foley grab-bag of sounds that would accompany a situation with a lot of buttons and switches. Take a spy story for example: lots of gear and equipment with detailed foley to help suck you into the character’s busy work. A lot of the thinking was geared towards video game work once Damian approached me with his part of the library because I knew that the mono machines were perfect for 3D actors in modern game editors, but that is not to say that these sounds aren’t perfect for linear media work as well.
I purchased my first field recorder in 2010. Ever since it’s become a vital tool in my sound design process. As a result, I now hear the world in a completely different context. I hear a palette of colors, textures, and techniques with which I can capture many weird and wonderful things. Sometimes I record for the sheer joy of it, out of appreciation for the sound itself. On other occasions I might have a purpose, whether for a project or to add something new to my library.
The act of field recording has taught me to appreciate the difference between ‘hearing’ (a subconscious process) and ‘listening’ (a conscious process). Julian Treasure (The Sound Agency, London) has given several great TED talks, webinars, and presentations on the subject of conscious listening. I’ve found his commentary to be inspired and completely relevant to my process as a sound designer and field recordist.
Blastwave FX has a new collection out called “Heroes & Villains”. It’s a “collection of 1,000 high definition sound effects to save the world… or destroy it! Created at the Detroit Chop Shop and personally designed by Ric Viers (author of The Sound Effects Bible and The Location Sound Bible), these sound effects will give any production a super-powerful soundtrack. This collection includes cityscapes, hideouts and laboratories ambiences, various weapons, impacts, crashes, explosions, vehicles, robots, super powers and tons more! Every sound effect was recorded in 24/96KHz and delivered as broadcast wave files complete with comprehensive metadata compatible with your favorite search engine. ”
Designing Sound and Blastwave FX are giving away a copy of “Heroes & Villains”. We will be giving it away to whomever can design the best superpower sound for “Captain Soul-Patch”. Create a sound based on the superpower: “Sonic Blastwave”. And post a link to the sound effect on the Blastwave FX Facebook fan page (http://on.fb.me/YKICBH) and Ric Viers will choose one lucky winner to receive a copy of “Heroes & Villains”! Submissions will be accepted until November 4, 2013 with a winner announced on November 5 2013. Read More
Allow me to share a story with you:
It was the weekend before the holiday break. Our horror film shoot had been going on for a few days, and as was typical of December at the base of Cape Cod, the weather was frigid and rapidly getting worse. With reports of an approaching winter storm, we frantically worked in the freezing cold to finish our exterior shots as quickly as possible. After moving inside the little house and getting the final shots of the day, my boom operator and I quieted everyone to perform the always-exciting task of collecting room tone.
Typically, room tone recordings are unremarkable things, but on this cold December night, hidden behind the whine of the set lighting, the creaks of an old settling house, the distant buzz of the electrical system, was a soft and rhythmic ringing. The two of us glanced around the room, making sure someone on the crew wasn’t fiddling with their keys, but even they had puzzled looks on their faces: They heard it, too. After a minute or so, we cut the recording and everyone started running around trying to find the source of the sound. It wasn’t until someone opened the front door that we realized what it was. Read More
We’ve got a location! We’ll be meeting at Alfie’s at 8:30PM Thursday night. Alfie’s can be found at 800 9th Ave. between 53rd and 54th. The nearest subway…
Tim Prebble recently launched the first in a series of field recording competitions via his blog – a neat coincidence given that here at Designing Sound we’ve dedicated…
Designing Sound readers in the vicinity of Edinburgh, Scotland should take note of the University of Edinburgh’s first symposium on sound, coming up on November 27th, 28th, and…
DS readers in and around Melbourne, Australia should check out the upcoming Sound Librarian Recording Workshop at Docklands Studio. This FREE, all-day event, headed by noted Sound Designer…