Adding to the increasing number of way to Rock and Roll with Independent Sound Libraries is this newly minted collection from Samuel Justice.
Rocks – Debris & Impacts
The Rocks, Smashes and Debris Library (SMJ-01) is a is a collection of 440 sounds of various rock smashes, impacts, debris and drop sounds. 4 recording sessions including 2 days at an abandoned quarry makes for a fantastic library full of rich sounds. The rock types used were chalk, brick, sandstone, concrete and flint.
-All files were recorded 96KHZ/24BIT and have retained that quality throughout editing and mastering.
-All files are normalised to -1dBFS.
-Files were run through slight compression and noise reduction, but that was the only edit to the sounds. A minority of them have an EQ adjustment, aside from that most the recordings are very similar to the original.
-Descriptive MetaData in Bwav format allows you to drag and drop into your librarian of choice and use right away.
You can check out examples here:
Frank Bry has introduced a new SoundBox line at The Recordist, featuring single sfx recordings available individually.
Introducing SoundBox Singles, high quality standard and high definition sound effects in a single Broadcast WAV file with full Metadata embedded. SoundBox Singles are unique and difficult to record sounds presented as one or multiple takes in one sound file. Many of these sounds come from being at the right place at the right time, a chance encounter with an animal or a loosely planned fiasco here on my ranch.
The plan is to release 10 to 15 new sounds a month. I will do my best to always get fresh, one of a kind material on the site. Some of these will be older 24-Bit/48K but most will be 24-Bit/96K and 192K.
The pricing is based upon the type of sound, how many takes in the file, and the length. The files will sell from between $5.00 and $10.00. Some may go up to $15.00 but only in special cases. The goal here is to offer some of my sound effects that I can’t place in my larger libraries… and they are lonely. I hope some of them can find a home on your hard drive.
There are ten sounds available for download now. For more info visit The Recordist.
After eight films over a 10-year span, the epic adventure of Harry Potter and his circle of wizard friends will close the last chapter of this celebrated series with Harry Potter and the Deathly Hallows – Part 2.
Director David Yates returns to direct his fourth Harry Potter film and returns with his talented sound team including Re-recording mixers Stuart Hilliker and Mike Dawson, Supervising Music Editor Gerard McCann, Supervising Sound Editor James Mather, and Sound Designer Dom Gibbs. Expecto Patronum!
July’s issue of AudioMedia features several articles on game audio, including:
- Martin Stig Andersen on the sound of “Limbo”
- Richard Wentk talks with Valve’s audio team about the sound of “Portal 2″
- Phil Kovats – Sound Matters
- Niklas Hed on the sound and music of “Angry Birds”
- Level Up – Loudness Standards for Games (feat Garry Taylor, Scott Selfon and Rob Bridgett)
- Taking The Middle Ground – Brett Paterson of Firelight Technologies talks about the new look of FMOD
AudioMedia – July 2011
[Written by Axel Rohrbach]
It may sound very easy and clear, but working in a team has a lot of faces to look at (figuratively). I know a lot of audio guys in very different situations. Reaching from “one-man-shows” offering everything related to a specific topic (which could be as wide as “multimedia”) to large pre-production companies doing sound design for movies only, you can find anything in between and around it. The positive and negative aspects listed below can potentially occur, but neither the positive nor the negative issues are there in all companies. I see guys in all of those situations who are totally happy and satisfied in their role and guys who hate being in a specific scenery.
1. Working alone: there are a lot of Sound Designers working freelance from home or a one man studio. This can definitely be perfect for some people – it is not for me. You can organize your time in any way you like (besides sticking up to deadlines and milestones), you have fewer distractions and you are as free as one can be in your evolvement. On the other hand you have to spend more time in doing non-audio-related things like finding jobs or taking care of the studio rooms, insurances etc. Getting feedback from others is more difficult and might be less concrete. This feedback may not only be how your sounds work or how your sound quality is, but also how you communicate with people, how you can maximize your efficiency or anything else you can think of.
2. Working in a small team (two or three guys): this can work perfectly, you have more conversations, more inspiration and your co-workers may become your best buddies. I think there might be the chance that once you have a good working routine, nothing will change for the future. Also, if something goes wrong personally there is no-one more or less impartially involved to get things back on track. I saw a lot of small teams, founded by two friends, which crashed only two years after the start.
3. Being a contract Sound Designer in a big facility takes off a lot of organizational things from you, which lets you focus on your job. In most cases you don’t even have to care about your equipment, everything is there, everything runs – the sound effects library has been installed by a librarian, the network is maintained by an onsite system administrator, jobs are right on your desktop together with schedules every morning, you just have to process them. The downside is that you may be restricted in your freedom. It is not easy to get new equipment; it has to run through a bunch of instancesuntil it finally is ordered. It is not easy to say “My working results are better if I work from 2pm to 11pm, so I prefer having a free morning in the sun and come to work later”. Because of the size of the company, there is quite a lot of great conversation and helpful feedback the whole day. I’ve seen many employees who are not able to look beyond the company’s nose, unable to find jobs / clients on their own because they have never had to, used to expensive equipment, unable to think of what is really necessary for their own work. This results in spending way too much when they start working freelance, or if they start their own company one day.
The human voice can evoke so much meaning and emotion. Therefore, it is an invaluable vehicle for expressing the mood of a location. As a result, this month’s theme is one of my favourite types of sound effect for creating interesting and evocative soundscapes.
This theme lies somewhere between ‘exterior crowd’ fx and crowd ADR. It is not general chat or crowd sounds. It is more specific than that, and should only consist of one or a few people. It is not crowd ADR, it is more distant and worldized than that. The voices need to be raised, if not shouting, in order to carry over this distance.
These type of recordings are perfect for poking through between dialogue to give a scene character. Using distant voices in this way is a really effective way of controlling the vibe of an environment – making it seem anything from intimidating or welcoming to posh or slummy.
A couple arguing in a courtyard; a drunk shouting in an alleyway; noisy scaffolders: a baby’s cries heard from an open window; or a few people talking loudly and laughing in the park – these are the sort of sounds I’m after.
You can ask your own questions to this month special guest Axel Rohrbach. Just leave a comment or send your question(s) to miguel [at] designingsound [dot] org.
Tim Prebble has announced the first remix competition of HISS and a ROAR:
After playing with the sounds in the Tortured Piano library over the last few weeks, I’ve become fascinated as to the ways these sounds can be processed, altered & recontextualised… But I am even more so interested in what other people might do with the sounds…. So I’ve just released the FREE version of the Tortured Piano library (45 x 16BIT 44.1KHZ Stereo .WAV sounds 58MB) and am hereby launching the first HISSandaROAR remix competition!
There will be three winners and each winner will receive a free copy of the full 192kHz 7GB Tortured Piano library. I have no idea what criteria I’ll use when listening and choosing, because I am totally open to what might be created…. Surprise me!
Details at musicofsound
As I mentioned in the winner announcement for June’s Challenge, I’ve got some info to share regarding our little competitions.
First off, let me get the least interesting bit of news out of the way. In the course of running these for nearly a year now, it’s become apparent to me that I can’t keep up the once a month schedule (at least, not the way I’d like to). This thing on top of regular work and other responsibilities associated with general life just aren’t working too well together. I don’t want to stop doing it either though, so we’re moving it to an every other month schedule starting with July’s upcoming challenge. So, the next challenge after July will take place in September. This will give me more time to dedicate to the development of each challenge; to make sure they’re interesting and worth your time.
Now for the more interesting news: (more…)
The Recordist has released Mangled Metal, a collection of 715 sound effects, including metal rips, tears, dents, scrapes, folds, slides, rubs, impacts, crashes, drops and more.
Being a pack-rat runs in the family so I instinctively saved all kinds of metal like my old roof, appliances, stoves, containers, steel bars, pipes, barrels, etc. Recorded with a variety of microphones and recorders, and over many years, this collection captures many styles and qualities only metal can produce.
Most of the library was recorded at 24-Bit 96kHz but also includes the latest sounds recorded with the Sennheiser MKH-8040ST microphone at 24-Bit 192kHz. These wav files are presented individually at 96kHz and as multiple take 192kHz tracks. Be sure to pitch down the 192kHz metal strains and crashes and experiment with extreme processing. These files will hold their own. Most of all, have fun designing your next maniacal metal sound effect.
Mangled Metal SFX Library is available now at $75. Complete file list here (PDF).
Now the turn is for Frank, who tell us how was the making of this new library:
Where Do I Begin?
I spent a lot of time with my Grandfather when I was growing up. He was a scruffy old man that liked to keep EVERYTHING. I guess it rubbed off on me and I tend to save stuff that other people think is crazy. Some of the things I like to keep around are metal objects. Large, small, rusty, you name it I’ve got it stored around somewhere. The stove that I recorded is one of those things. I used it for years and then when it was moved to my ranch it fell off the truck and got beat up. It still worked but it was dented and warped. Perfect for sound effects recording!