Photo: © by Avosound
In our ninth and final installment about how SFX creators have pushed artistic and professional boundaries, we hear from Charles Maynes, Undertone Sound Library, Brandon Seyboth Audio, and The Sound Keeper.
What is your name, and who are your team members/co-creators?
Charles Maynes: Charles Maynes.
Undertone Sound Library @undertonempls: Tom Hambleton, owner of Undertone Sound Libraries (as well as Undertone Music, Inc.), and Travis Thorp and Chris Caesar, sound editors and sound librarians.
Brandon Seyboth Audio: My name is Brandon Seyboth (pronounced “SEE-bawth”). I don’t actually have any official team members, as I don’t know any sound designers, but I have to thank my very patient friends who are always willing to help me record stuff and are always on the lookout for cool sounds to tell me about—and who tolerate my endless ramblings about things that only matter to me.
The Sound Keeper @TheSoundKeeper: My name is Jeremy Rogers, and I run The Sound Keeper.
Guest contribution by the fine folks at TONSTURM
As the theme of this month is destruction we are really happy to be invited on Designing Sound to share our stories about the production and creation of our latest sound effect library:
TONSTURM | Massive Explosions:
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.
I recently had a chance to sit down with sound designer and sound FX recordist Charles Maynes and chat about his new “LA Underground” sound library, available from Rabbit Ears Audio. Inspired by the gritty and seedy Los Angeles shown in countless films, “LA Underground” is a 10 GB collection of ambiences from all over the city, from the industrial centers near the LA River to the heart of Downtown.
Designing Sound: How did this library come about?
Charles Maynes: I had been talking to Zach Seivers and Justin Davey over at Snap Sound, who I had met through Dave Yewdall. Basically, a conversation I had with them last summer was kind of the seed for the conversation I eventually had with Michael [Raphael]. They had been hired to do a film in New York, and they were going to go out on location and record a bunch of stuff in the city and at the practical locations, and they were like, “Hey, this is a really big projects for us, so we’re going to actually invest in some Schoeps mics and stuff.” They were debating whether to go M/S or X/Y.
Sound designer and recordist Charles Mayne has written a passionate and inspiring guest post for the A Sound Effect blog. He gives his thoughts on the key notions and ideas that affects sound design, and which have the greatest capacity to produce – in his words – great sound design.
Check out the article here and contribute to the debate.