If you are a sound effects or synth creator who has submitted a library to the Designing Sound monthly recaps and you would like to contribute to this series (and for some you haven’t received the questionnaire—check your spam folder), please email firstname.lastname@example.org.
In this sixth installment about how SFX creators have pushed artistic and professional boundaries, we hear from The Recordist, contortDistort, Sound Ex Machina, Pablo Valverde, and Avosound. Stay tuned for more stories from our community later this week and next week.
What is your name, and who are your team members/co-creators?
When was a time you felt you pushed the boundaries to capture the perfect sound effect?
The Recordist: Back in 2009 I had a tendency to record in dangerous locations or perform risky actions to record sound effects. Whether it was crawling around a steep rock quarry cliff with a boom pole and a microphone, recording close up gigantic fire bursts, or setting off explosives, I tried to capture the “unique character” of the moment. I have since mellowed with my older age, but I still strive for that “once in a lifetime” sound event. I record lots of thunder and lightning and found that it’s hit and miss most of the time, but I have devised ways to effectively capture the wide dynamic range of thunderstorms. I had to build devices and create special locations to keep the recording gear safe while still capturing the raw power of thunder effectively.
Also, back then the Sennheiser 8000 series microphones were not widely used for recording sound effects. After a good friend sent me some sound effects he had recorded with the microphone, I was hooked. I was one of the very first vendors to release sounds using those microphones, and since then they have really caught on. Some wonderful material has been released by many people using this setup.Read More