Photo credits: “French Flag in the Sky” by Guillaume Ulrich
If you are releasing a new SFX library and you would like it to be included in our recap, send us the details through our SFX Independence Submission Form (and yes, I know there are less than two weeks left in December, but don’t let that stop you).
“I can’t believe this year’s almost over!”
…you know they can believe it though. Unless the Gregorian calendar recently became their planner of choice, they knew 2016 was coming, regardless of their hyperbole. Yet even if they’ve invaded your ears a million times with this remark, they bring up a good point. We are on the final sprint to the new year, one that with a single, confusing day will assure our celebrations are properly aligned with the locations of our celestial counterparts. But let’s slow down for a moment and take a look back at November and the flock of useful SFX libraries our community produced.
Rooms by 3maze
Every so often, you enter a room with a stillness that seems to amplify each disturbance around you. It could be a buzzing fan slowly modulating as if the room might take off any second, or the flow of fluids and energized air within the bellies of the walls. Even the hum of a fluorescent light can feel like a pinpoint through the rush of hot air through the heating vents. As a collection of hypersensitive recordings, Rooms captures characteristics of the indoors that make you feel as if the building is breathing your air and digesting your livelihood.
(30 WAV files, 4.8 GB, 24bit/96kHz or 16bit/44.1kHz)
Electronic Drain for Kontakt 5 by SampleTraxx
Electronic Drain is a sound collection that explores the magnetic field. Its hisses and crinkles are lovely and pop out easily in a mix to subtlety hint the environment without dominating the context. Am I lurking through an abandoned spacecraft? Was I abducted and my brain violated with an implanted radio? Who is this Serbian man noting all the flickering bolts of lightening around my head? This library contains eleven Kontakt 5 instruments with processed and looped tracks for quick implementation into your electromagnetic world.
(11 Kontakt instruments with 1.1 GB of samples, 300 WAV files, 24bit/96kHz, requires paid version of Kontakt 5)
As sound designers, our jobs usually entail creating a vivid sonic world to accompany a narrative. But often, the nature of the worlds we are creating presents some unique challenges; there’s no doubt this was the case on ABZÛ, an upcoming underwater exploration game from Giant Squid Studios.
In a recent blog post, Giant Squid’s sound designer Steve Green delves into their approach to creating the sonic elements that would accompany and enhance this underwater world, with some special attention to how the audio would help create the narrative experience the team was looking for. Head over to the blog to read more!
Jimmy MacDonald holding the roll of bamboo that was used to create one of the sound layers for the devastating forest fire in Bambi.
It has been said that during times of national economic hardship, people look to entertainment for relief. Taking that with a grain of salt, Walt Disney couldn’t have revealed Mickey Mouse at a better time. Though on the verge of the Great Depression, and with the film industry making its swift yet awkward transition into synchronized sound, Walt Disney Studios released Steamboat Willie in 1928, securing animation on the cutting edge as a medium capable of expressive sound effects and coinciding scores.
In her blog post, Kate Finan of Boom Box Post, explains how the Big Three – Walt Disney, Hanna-Barbera and Warner Bros. – developed their signature sounds for a form of entertainment as undeveloped as its film stock. Through compatible relationships and mentorship, these legendary sound teams were able to transform the initial utterances of animation sound into a dialect where KOs naturally produce a flock of warblers and pointy objects always make a nice sharp “poing!”
Michael Raphael has been recording and releasing high res sound effect collections for sound designers and editors since 2010. His site Rabbit Ears Audio covers such diverse sonic ground as Hind Helicopters, train whistles, and typewriters. In a recent collaboration with Audio Director Rob Bridgett he has released a new library called Port of Call and they’ve kindly offered to give us some insight into its creation. Many thanks to Michael and Rob for this contribution.
In an appropriately seasonal blog post over at A Sound Effect, Asbjoern speaks to Saro Sahihi of SoundBits, a boutique SFX library and sound design company. Saro, who has released some excellent gore SFX libraries, goes in-depth on how to achieve some truly squishy, wrenching, and disgusting gore sounds for all your horror needs. He even touches on some other horror mainstays, like how to achieve a good jump-scare sound, or crafting dark ambiences.
Head over to A Sound Effect to check out the whole article!