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Posted by on Jun 6, 2012 | 3 comments

TONSTURM 07 | The Sound Of Water

New library released by TONSTURM, The Sound of Water.

With this soundpack you get a vast variety of deep, splashing, bubbling and bursting water sound effects recorded during extensive field recording sessions above and under the surface of water. The underwater sound effects of this library were captured with the mind blowing, high quality underwater stereo recording rig from Sonar Surround.

With TONSTURM 07 | The Sound Of Water you get 140 Soundfiles in Stereo, 24 Bit, 192 kHz. Over 4 GB of Data (@ 192 kHz) plus extra pitched down versions of the high resolution underwater recordings for convenience (additional 2,47 GB).

TONSTURM 07 is available for $99 (192kHz) or $84 (96kHz)

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Posted by on May 8, 2012 | 0 comments

SFX News 08.05.12

Signup at ProSoundEffects with trial code DESIGNINGSOUND2012 to activate your account with 5 free downloads.

The Recordist has released Autumn Rain.

A pristine collection of 50 24-Bit 96kHz rainfall sound effects from the forests and fields of North Idaho. Recorded primarily in the fall season of 2011 around my ranch and high up in the mountains. Other rain tracks were recorded early and late winter when the rainy season it peaking. A large portion of this library was recorded with the Sennheiser MKH-8040ST at XY-90 and XY-120 to capture the stunning detail of rain drops on leaves, wood and concrete.

BOOM has released Micro BOOM – Gun Handling.

Impressive and high quality gun shot sound effects are invaluable but they’re only half the battle. “Micro BOOM – GUN HANDLING” now gives you the perfect other half. 11 different firearms. Triggers, dry shots, safety switches, reloading, magazines and much more, delivered in the high BOOM Library quality standard with 96kHz, 24bit. A more than perfect addition to the BOOM GUNS Library. Click, click – BOOM!

Affordable Audio 4 Everyone released Lighthearted Magic. All proceeds above $5 go to

A must have for anyone looking to add some interesting sounds for their visual FX. Don’t let the name fool you, there is plenty of good stuff to mix together to build up to darker sounding elements. The Lighthearted MiniMagic library was made for building that fun loving disappear sound, or for adding a great feel to some spining particles around a character.

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Empty Sea has a sound library. They have one small release so far and there’s another one coming soon.

Coming soon, the full version of Sea Monsters.  This collection will showcase some of Empty Sea’s most original and best creatures.  Each sound will be recorded at 192k/24bit for optimum quality and maximum design potential

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Posted by on May 2, 2012 | 0 comments

The Recordist’s Devil Dog

Frank Bry has released a new library called The Devil Dog.

Introducing Dixie, a very special English Bull Terrier with an amazing vocal ability that is unlike anything I have every heard. She is special because she is deaf and cannot hear what comes out of her mouth. She is loved and cared for by some friends here in town and they graciously allowed me to come to their home and record her. The Devil Dog HD Pro SFX Library contains over 800 individual Zombie-like sound effects recorded at 24-Bit 192kHz presented on 60 tracks.

Dixie makes the best noises when she is asleep dreaming or very tired and does not want to be bothered. She was very excited when I arrived so they tried to calm her down a little bit to see if she would make some of the amazing “alien” noises they say she makes. The sounds she made when I was in the room were great but after a while I went outside for 5 minutes and left the gear with them and they were able to get her to make some really cool noises. I was able to leave the recording gear overnight and got some really amazing close up sleeping sounds.

I used a Sennheiser MKH-416 and a MKH-8040 with the filter module set on a small stand. This combination is very good for this type of animal recording as the hyped-up top end of the MKH-416 works perfect for the normal pitched intense growls and barks while the MKH-8040 sounds amazing when pitched way down with a nice smooth top end and a monstrous low end. There are multiple distances for variety and dozens of variations on most tracks. Dixie can make sounds ranging from soft and subtle to over the top loud and vicious. She can purr like a kitten and snarl like an attack dog. I have never heard any animal make these kinds of noises especially a dog. Dixie got to know me after a few days and maybe next time I see here she will let me record her in her dream state.

The Devil Dog is available now at The Recordist. 60 files (over 800 sounds), 744.9MB, $50 us.

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Posted by on Apr 24, 2012 | 0 comments

Hind Helicopter, New Library by Rabbit Ears Audio

Rabbit Ears Audio has released Hind Helicopter, a library of 77 files recorded at 24-Bit/96kHz.

One Soviet-era helicopter, four recordists, and plenty of fuel brings you REA_010 Hind. The Mi-24 Hind is a Soviet gunship that was introduced in 1969 and saw action in Afghanistan and throughout the Cold War. A few month back, I had the opportunity to record the Hind and assembled a team of of recordists to get ‘er done.

Sometimes when an opportunity presents itself, you just have to jump at it. This an animal of a helicopter that requires 26,000 lbs of thrust to get off the ground and pushes a ton of air. The helicopter’s large size and five blades give it a unique sound that is a combination of a “chirpy” whine and extreme low end.

Hind Helicopter is available at $129. More info: REA.

Below is a quick Q&A I had with Michael talking about this new release.

– What led you to create this library?

I was working at another gig and a friend of mine mentioned that he knew the owner of this particular helicopter and asked if I wanted to record it. At that point I didn’t know much about the Mi-24 and I started to do some research. Once I discovered how few of them were in the US and how little coverage there was, I jumped at the opportunity.

– What were the most interesting things of this helicopter regarding sound?

I can’t say that anything was boring. We learned very early on how powerful this machine was. It put out a tremendous amount of SPL and air-pressure. At various points throughout the shoot, each of the recordists were knocked down at least once from all the air that was being pushed. The blades are huge and the Hind has five of them, so it is truly a beast of a machine. I watched one recordist, Rob Byers, get flipped over twice during a take-off sequence because the Hind  passed a little too closely in his direction. We lost some good takes when we got a little too macho. During all of the pass-bys, I often found it hard to breathe from the amount of pressure hitting my body. Boy, was that fun!

We also spent half a day recording all of the doors, switches and electrical systems.  I really fell in love with that material during the editing process. Even the smallest switches have real weight to them.

– Could you tell us about the setup used and methods used for capturing those sounds?

For all of the pass-bys we wanted to capture a variety of perspectives and tonal elements so we went went out with a diverse collection of microphones. For all of the exteriors, we recorded with the following gear:

Exterior: Schoeps MK4, Sennheiser MKH 40, MKH 60, Sennheiser 8020, 8040, and 8050. Onboard: MKH 30/40. Interior Switches and Exterior Electrical Systems were recorded with a Schoeps MK4 + MK8 and a Sennheiser 8060. All tracked to Sound Devices 7-Series recorders.

The Schoeps really brought out the chirp of the helicopter where the Sennheiser 8000 series helped bring out the shear size and low end of the helicopter. Ultimately, the most important task at hand was recording as much coverage as we could with the fuel load we had. As you can imagine,  it is expensive to put the aircraft up, so you really have to maximize the potential for interesting recordings.

– How was the collaboration between the team of recordists?

I was happy to bring a crew of recordists that I knew very well and had worked with previously. All of the guys (Rob Byers, John Loranger, and Kelly Pieklo) have plenty of field experience.  Since I knew them well, spending a few days together was not going to be issue. We truly had a blast!  If one is going to do any sort of vehicle recording, having a group of recordists will help get the job done way more efficiently. We were able to spread ourselves across the airfield and cover the aircraft thoroughly.

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Posted by on Mar 20, 2012 | 2 comments

“Film Sound Effects”, New Library with Sounds from 1966

Sound editor/mixer Andrew Walker has launched Film Sound Effects, a huge vintage sound library distributed in a modern way, independent, digital. The library started in 1966 by re-recording mixer Gerry Humphreys (Ghandi, The Italian Job, Blade Runner) and sound recordist Peter Handford (Out Of Africa, Frenzy, Hope and Glory). It was recorded originally on tape, then transfered to DAT in the 90’s and finally digitized as 48khz/24-Bit, which is the version available online.

Catalogued in two leather bound folders and with over five thousand entries, it’s been used by sound editors on over three hundred movies.Sound effects were charged by how many feet of stock were used before eventually getting mixed into the final soundtrack.

With the introduction of non linear digital editing and the ease at which cd sound effect libraries could be accessed, the library soon gathered dust in Gerry’s office.

Now after a long time spent ingesting the library into a digital file format it represents a fantastic wealth of sounds that’s unique for the period it came from.

If you’re searching for authentic sound effects for feature films, television drama,documentaries or games you’ll find this library a rich source of new material and a valuable addition to your existing sound effects libraries.

The library is available in several categories, at different prices for each pack. More info at FSE. Now below is a quick q&a I had with Andrew talking about the new project.

How this idea of the digital version of FSE started out?

I had an audio post facility based at Twickenham Film Studios together with Dean Humphreys called Crossfade. Deanʼs father Gerry was the head of the sound department at Twickenham and when he passed away in 2006 we inherited a box full of DAT tapes that had been cleared out of his office. We didnʼt initially set out to make it a commercial library rather just transfer it and add it to our existing library but after it all got digitised we realised it would make a perfect vintage library.

Could you talk us about the process of data transfer from the DATs to digital files? How you dealt with metadata on that stage?

We were lucky to have the original catalogue that referenced to the DAT tapes, it was in essence the soundminer for that era, each effect had a unique FSE number with a detailed description and category cross referenced to the DAT roll it resided on.

Transferring was a three stage process,first digitizing in each tape in its entirety. Each effect had an ident which made the second task of editing the recording and naming each file straight forward. The final part was the most time consuming, using soundminer and having the original catalogue for cross reference, each FSE file had itʼs description and category typed word for word into the metadata fields and was done whenever we had a quiet moment between jobs.

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