Categories Menu

Posted by on Nov 11, 2014 | 0 comments

SFX Independence – November 2014

If you create independent sound effects libraries and would like us to consider your recently-released library for inclusion in a future roundup, use the SFX Independence Submission Form to tell us all about it.

Tovusound – India Ambience / CityBeeps Cologne

Tovusound have made available two ambience packs that will transport you to the heart of Europe and South Asia.

The India Ambience sample library contains the sounds of big cities, nature, people and vehicles. Featuring 178 sounds recorded in 96 kHZ / 24-bit ORTF Stereo, India Ambience should prove a welcome addition to sound editors, sound designers and audio producers needing to fill in backgrounds or transitions with sounds from the region.

CityBeeps Cologne is a set of the city centre, parks, churches, the Rhine shore, the subway, the trains, and wonderful animal world of Cologne. Featuring 113 sounds recorded in 24-bit / 96kHz ORTF Stereo.

Released: October 2014
Price: India Ambience – €89.00 / CityBeeps Cologne – €59.00

Tovusound homepage
India Ambience product page
CityBeeps Cologne product page

Heavy Metal Impacts – HISSandaROAR

HISSandaROAR return with over 1900 metal impact sounds. From empty grain silos to rubbish skips and metal gates, this library pack offers not just practical ready-made sound effects, but also plenty of room for experimenting to create your own stingers.

Each sound captured with MKH8040 ORTF stereo, MKH8050 and AKG D112 microphones at 24-bit/192kH, and the library itself weighs in at a whopping 32GB. Check out this behind the scenes video to get a glimpse of how the library came together.

Released: October 2014
Price: USD $179.00

HISSandaROAR homepage
Heavy Metal Impacts product page

Water Movements – Sonic Salute

Want to be able to match the sound of footsteps going through water, with a more distant perspective? Or maybe you want to cut seamlessly between near and far? Water Movements sfx library may just be your rescue!

Recorded by a quiet Swedish lake, in late summer of 2014, the Water Movements fx library, is filled with splashes, drips, walking/running, moving, small water creature simulations, and more. All recorded with a close up mono mic, and a set of distant mics, set at 3-9 meters away from the source.

Released: November 2014
Price: $25.00

Sonic Salute homepage
Water Movements product page

unEarthly Ambience – James Dean

unEarthly Ambience is 27 designed background ambiences that have been created from original field recordings and modular synthesiser recordings. The result is a mixture of organic textures, thick industrial machine rooms, and futuristic sci-fi atmospheres.

unEarthly Ambience product page

Released: September 2014
Price: $20

Hurricane Winds – Sonic Salute

Another new one from Sonic Salute, Hurricane Winds contains both interior and exterior perspectives, and has been culled some of the biggest and most violent winds hitting the Danish coastal area over the past three years. For authenticity’s sake, the sounds are presented ‘as is’ with no edits or cuts.

The Hurricane Winds library contains 38 tracks all recorded at 96KHz /24-bit and features:

- 21 tracks of hurricane/storm recordings from Yachting, and commercial harbor. Wind screaming as it fly’s through rigging, wires, masts
- 6 tracks of hurricane/storm in the city. Trees moving, wind howling, small debris passing.
- 2 tracks of a storm in the forest. Trees creaking, as wind moves through tree tops.
- 9 tracks of interior recordings. Roof moving, draft from windows. Small debris hitting window.

Check the product page for full details.

Sonic Salute homepage
Hurricane Winds product page

Released: October 2014
Price: $25.00

Bloody Nightmare – SoundMorph

Bloody Nightmare is a modern horror cinematic library aimed at the most cutting edge bone chilling productions out there. Whether you work in sound design, as a composer, trailer editor or as an electronic musician, Bloody Nightmare is a valuable new wave of Horror sounds that will surely cause visceral moments of terror and dread!

Bloody Nightmare features 550+ sounds and 4.4GB of 96khz / 24-bit of horror impacts, glitches, stingers, nightmare pulses, breaths and whispers and stutters, choppers and cuts, to name but a few. All embedded with Soundminer & Basehead metadata.

SoundMorph homepage
Bloody Nightmare product page

Released: October 2014
Price: $99.00

Just Gore / Just Impacts SoundBits

Soundbits’ Just Impacts Bundle offers three collections in one, giving a total of 960 files of hits, impacts and smashes.

The ‘Just Impacts – Simple’ provides a construction kit of sounds for further processing and manipulation, whilst the ‘Just Impacts – Processed’ and ‘Just Impacts – Designed’ are perfect as mix-ready sounds for quick fx laying.

Each collection is available to purchase separately. However, there is a 30% discount on the bundle. Normal ‘Impacts’ bundle price: EUR 105.00. Discounted price is EUR 73.50 until the end of November.

Just Gore is 496 files containing over 820 bone-breaking, blood-soaking and flesh-slicing sound effects. This construction kit contains all the sounds of gore you need for your horror – with extra chainsaw on the side!

Soundbits homepage
Just Impacts product page (bundle)
http://soundbits.de/product/just-gore/” target=”_blank”>Just Gore product page

Released: October 2014
Price: EUR 73.50 (Impacts Bundle), EUR 45.00 (Just Gore)

Interact – noisecreations

Interact is a royalty free collection that provides interface, menu and HUD sound effects, specifically aimed at game audio professionals. Interact collection contains: Alarms, Selections, Notifications, Glitches, Transitions

Noise creations homepage
Interact product page

Released: October 2014
Price: £6.00

Los Angeles: Feel The Street – Stavrosound

Steve Papagiannis returns with another library of metropolitan cityscape backgrounds. At almost five hours, Los Angeles: Feel The Street is a full-bodied and rich attempt at capturing the city traffic, street level and diffuse sounds of a congestion-laden city. Presented as 34 96KHz/24-bit BWAV files.

Stavorsound homepage
Los Angeles: Feel The Street product page

Released: October 2014
Price: $49.00

Sound of Italy – Roberto Serra

Sound of Italy is an italian sound effects library for films, commercial, musics, games and other multimedia applications. Organised into ten principal categories, Sound of Italy is a collection of all manner of sounds with a distinctly Italian flavour .

Cars, ambiences, cooking and Folk music are but a few of libraries available to purchase separately, or as one Complete collection. Check the website for full licensing information.

Sound of Italy product page

Released: October 2014
Price: Individual libraries range from €25-€30. The complete collection is €230.00

Trot & Gallop – Foley Collection

Foley Collection – a traditional foley audio library based on Kontakt patches – has a new addition to it’s Foley Collection. Trot & Gallop has been added to the Total Foley collection pack, which is available from the Foley Collection website.

foleycollection.com

Released: October 2014
Price: €549.00 for the FC999 Total Foley Collection. Other packs and bundles are available.

Read More

Posted by on Aug 29, 2014 | 0 comments

An Acousmatic Invitation

Blind Man's Buff, by Eugene Pierre Francois Giraud

Blind Man’s Buff, by Eugene Pierre Francois Giraud

An epiphany

Silence! Be quiet! Because listening is active, because the birds have already left but their sound still reverberates. Silent all ears that listen, stunned by the noise that is gone but still relishes. The soundtrack? Our life! That one of changes, transition, mutation and mysteries, that one able to peer into the recesses of the deepest realities, responsible for questioning the apparent manifestations of the abstract and the concrete to go into unexpected territories of consciousness. These are the realities of sound phenomena, the challenges of searching for a continuous vibration, a pure sonic experience.

Let the mind travel around 2.500 years ago: we’re here in the Pythagorean School, waiting for the teacher to lead us into the most unlikely truths of the cosmic harmony. Our eyes are eager, the heart rumbles and a curtain, the veil of listening, can be seen on the horizon. Suddenly, a voice is heard, the teaching begins. The eyes, yet expectant, cry for the face of the talking master, who is not (and will not) on the retina. The curtain is still there and is the only visual reference for the sounds being heard. The voices possibly emerge from the cloisters of the mind or perhaps from the same shadows in the curtain, where the teacher continues his mission.

Silence! Be quiet! Because the sound is active, the akousma has emerged and the sonic code is already running through the mazes of the passions and the cusps of thinking. Slowly and without seeing, the oral reality becomes symphony, opening the doors to an intimate universe, the acousmatic. The teaching behind the curtain now makes sense and invisibility brings a message to the cochlea that is impatient because of its blindness. Over time it gets calmed, the world of sound is clear and the government of tongue and thought becomes possible, and with them also the desires and the scars of those memories that despite of being absent, still hit the listener’s soul.

And so, behind the curtain, sitting in silence, the initiation begins.

Read More

Posted by on Aug 27, 2014 | 4 comments

Practical Exercises for Critical Listening

Exercising listening in a public outdoor space.

Exercising listening in a public outdoor space.

Sound designers by nature have an inherent curiosity towards sound. We explore the way sounds work every time we approach a project. With each new opportunity to design a sound, we ask ourselves questions such as: What object/event produced the sound(s)? Where is the sound source located in relation to the listener, and just as importantly, how does (or how will) the sound impact an audience’s emotional state when heard?

It goes without saying that the sheer act of producing our own sonic work, and by critically listening to and dissecting the works of others (as Berrak Nil Boya explored and extrapolated on in her recent post) will inherently make us stronger and better critical listeners. Though along with these practices, it is invaluable to also step away from evaluating completed, produced works and critically listen to some alternate sound sources, and in some potentially new ways; just like exercising a muscle, the more angles you can target your critical listening “muscle”, the stronger and more well-rounded it becomes.

The question then must be, other than by evaluating an already existing game or film’s audio as it was intended, how, and what, can we listen to in order to hone our listening abilities?

This post looks to add to this conversation by offering a few exercises I’ve picked up and augmented over the years and still use to this day. Once again, just like any exercise routine, training your critical listening is an on-going responsibility for any sound designer (though vitally important early in your career, continued practice is essential to maintain a high level of critical listening fitness).

Read More

Posted by on Aug 11, 2014 | 3 comments

Vehicle Engine design – Project CARS, Forza Motorsport 5 and REV

DSCN0384
With this article I really wanted to find out about the nuts and bots of vehicle engine sound design and implementation. So I contacted a few people and got some great responses and a fascinating insight into the process. My thanks to Stephen Baysted, Audio Director and Composer at Slightly Mad Studios, Greg Hill, Sound Designer at Soundwave Concepts, Adam Boyd, Sound Designer and John Twigg, Software Engineer at Crankcase Audio and Nick Wiswell, Audio Creative Director at Turn 10 Studios.

Read More

Posted by on Jul 17, 2014 | 3 comments

Planes, Trains and Automobiles …and tanks and bikes and boats and…

centurian_tank

Guest Contribution by Stephan Schütze

Why I am not going to tell you which microphone to use

The simple answer to this statement is, because we don’t have time. The exact choice of which microphone to use for each situation of recording a vehicle is a detailed exercise and would take more pages than we have space for. Even then, there is a major flaw associated with the idea. What I hear and what sounds good to my ears may not work for you. Suggesting Brand X or a Model 2B, stuffed up the exhaust pipe of your Honda, may only serve to encourage you to spend more money than you need to. As much as we all love to buy new equipment, I think there is value in stepping beyond the tools and toys. I’m going to be more general and share a more conceptual approach to capturing good vehicle sounds.

What I will do is take you through some of the essential lessons I’ve learned when recording vehicle sounds for Sound Librarian. In creating our sound libraries, I’ve recorded motorbikes, cars, tanks, boats, airplanes, pretty much every vehicle I could get my microphones near.

Read More