There’s a whole heap of stuff going on in the independent SFX community that’s worth making note of. So, here goes…
New Libraries Available Now…
New Sound Lab’s Optical Drives
This library features recordings of computer optical disc drives (two internal desktop CD/DVD-R and one internal laptop slim CD/DVD-R slot-load).
Two induction coil pickups were used to record the electromagnetic fields emitted by the drives, capturing a very unique set of sounds and textures. These range from sharp percussive bleeps, glitchy static and noise, to electromechanical motor sounds, and drones. You’ll find use for many applications, including UI interface design, transitions, sci-fi, robot/servo sounds, technology, and computer sound effects.
Recordings include all functions of the DVD drives, e.g. disc loading, reading, writing/burning, spin up/down, errors, and disc ejecting. Also, each drive was taken apart and manipulated to create additional sounds.
Check it out here!
Awesome new libraries continue to pop up. Here are some of the latest releases we’ve noticed:
Echo Collective has just released a new library titled “Motion Textures.”
This is a design package built for drawing sonic lines and creating gently moving sonic textures. The concept is that consistent sound of friction will translate well to visual design elements that have CG and text movement on screen.
More after the jump…
We just wanted to take the time to thank our guest contributors this month:
For our featured Backgrounds and Ambiences articles…Chris Groegler, Chris Didlick, Douglas Murray, and Tim Prebble…Yann Seznec, Peter Chilvers, Robert Thomas, and Stephan Schütze for discussing interactive mobile applications…and thanks to Chuck Michael and Craig Henighan for sharing their thoughts on Dolby Atmos (as well as Josh Gershman and John Loose from Dolby for providing us with a little more data). And a big thank you also goes out to Ariel Gross for sharing his thoughts, and Brady Dyck for his interview with Rob Bridgett.
Thanks again gentlemen!
Remember…this is a site for the community, by the community. If you would like to contribute in the future, drop us a line.
Guest Contribution by Tim Prebble
I suspect growing up in a very quiet location on a farm in the South Island of New Zealand may have something to do with it, but I feel I have always been very aware of ambient sound. I have vivid sound memories from childhood, of ambiences! Waking up before the birds and waiting for them… The sound of the wind in blue gum trees and the sound from inside the shed when a bluegum nut fell off the tree and landed on the tin roof & rolled down… The sound of the Rangitata river when it was in flood and that time my dog swam out to an island & got stuck there for a while… what was he thinking?? Whether being sound obsessed is 100% normal I’m not sure, nor do I care, but when I first started working as a trainnee sound effects editor recording and editing ambiences was one of the first things I really relished. And decades later I still do. The contribution ambiences make to a film is so powerful, and yet they achieve their effect via the most understated duplicitous act: ideally an audience doesn’t notice them, but is deeply effected by them.
Me: Did we mention Tim Prebble’s new library Tortured Cymbals this month?
Myself: You know, I don’t think we did.
I: Why not?! Tim puts together some amazing libraries.
Me: I don’t know. That’s a pretty awful oversight on my part. I’m an idiot!
Myself: You are!
I: As long as we’re all in agreement. Now let’s get this post up.