Categories Menu

Posted by on Jan 28, 2016 | 0 comments

Walter Murch and Trains: A Sound Exploration

An S-Bahn Class 480 train coming to a stop.

An S-Bahn Class 480 train coming to a stop. Photo Credits:

Guest Post by Beau Anthony Jimenez


In the film and sound world, Walter Murch is a man that needs no introduction.

But for the few who need a brief idea of this Renaissance man: Walter Murch is a pioneer of the film-sound world. His way of thinking about sound for film has been revered for decades. His body of work is legendary, both as a sound editor and picture editor.

As one studies his work, you may find that Murch utilizes the sound of trains in moments where he wants the audience to reside in the character’s perspective. These moments are essentially a sound designer’s playground, capable of delving into non-diegetic sound design and an abstract mix.

Read More

Posted by on Apr 14, 2015 | 0 comments

SoundWorks Collection: Lionel Train Recording

In a new entry in their podcast series, SoundWorks Collection speaks to Michael Raphael of Rabbit Ears Audio and Rudy Trubitt, Director of Audio for Lionel Trains. They discuss Rudy and Michaels experiences in sourcing new steam whistles for Lionel’s new products, exploring the challenges presented in recording the high-SPL steam whistles and the recording techniques they used,  as well as finding unique sounds to fit Lionel’s specific needs.

Read More

Posted by on Jan 3, 2012 | 1 comment

The Recordist – North Country Trains HD

North Country Trains HD, new library available at The Recordist.

Presenting North Country Trains HD Professional Sound Effects Library. 117 High Definition diesel train beasts from the wilds of North Idaho. Recorded at 24Bit 96kHz at various locations in the pristine panhandle of Idaho.

Included in this collection are pass bys with and without horns, cranky rail car movements, under bridge perspectives, slack take up metal impacts, screeching wheels, locomotive engines, horn blasts and much more.

Many perspectives were captured to give you a wide variety of source to work with. Recorded almost entirely with the Sennheiser MKH-8040ST microphone for incredible low and high frequency sound design flexibility. On occasion a Sony PCM-D1 and D-50 were used on the “oops, I forgot to bring my Sennheiser MKH-8040ST” recording sessions.

Blog posts about the trains:
North Country Trains HD Videos
North Idaho Train Recording
Train Tension Symphony
Train Railroad Track Tickle
Crazy Train Doppler Pass Bys
Train Railcars Bump And Grind

Read More

Posted by on Jun 30, 2011 | 0 comments

New SFX Libraries: Toys, Trains, Water, Springs, Mangled Metal, Holograms

New libraries have been released.

YouTube Preview Image

Daniel Gooding launches Affordable Audio 4 Everyone, with the introduction of The Magic ToyBox, a SFX library released as “pay as you can” model. Any purchase over $5 will go to charity.

From the great depths of the basement, came forth the sounds of toys, and games of old. Over 320 recordings of 22 different wonderful sounding toys, and games plus a few extras found in the toybox. Over 80 designed sounds to add to the mix, and show many of the possibilities. Each File is recorded in 24-bit 96kHz. All sounds were recorded with a Rode NTK Condenser mic, with an Apogee One Pre-amp.

More info at Daniel Gooding’s site.

Martin Pinsonnault, supervising sound editor and sound designer based on Canada has released Water and Trains SFX Collections.


  • different watercourses:  ditch, brook, stream, lake, river, cavern, sea
  • sounds of water in home interior:  basement, shower, pipe, drip, sink, drain
  • Long ambiences
  • Particular sounds and acoustics


  • An American steam train with many manoeuvres and a good driver!
  • A 24-hours Electrical train ride, in Eastern Europe that I did in 1996. Train movements, pass-by’s, Squeaks, Dopplers, creaks, clatters, rattles and other are numerous, long takes!
  • Sounds in rail yards with locomotives, rail clatters, screeches, with roaring diesel engines and good train cars coupling
  • Many Train passing at different speeds and distance:  Diesel, TGV and Electric Trains with horns, bells, squeals and whistles!
  • Train Station engines and motors, different perspectives

Both are available at Martin’s site. Price: $50 each.

Jon Tidey of Audio Geek Zine has released Springs, his first sfx collection, aimed to musicians and sound designers.

HD Quality Spring hits, scrapes, squeals, drones and rattles from two unique spring sources. The first is an old rusty spring of unknown origin with a very dark tone that squeals when you rub it wrong. The other is a vintage Accutronics Spring Reverb tank with a much looser spring and very bright tone. The reverb tank was recorded separately in both mono and stereo. Slow them down, add a touch of reverb and delay, and you’ve got instant horror suspense. The samples in this pack were recorded at 24 bit, 96kHz with plenty of headroom and are edited but otherwise unprocessed.

Last but not least, take a look at these two libraries coming:

A preview of the mangled metal library that will be released soon at The Recordist.

and Hologram Room vol 1, the first sfx library of U.S.O Project.

Read More

Posted by on Feb 18, 2011 | 0 comments

Vanity Fair: Mark Stoeckinger Talks Unstoppable’s Sound Editing

Vanity Fair has published an article featuring Mark Stoeckinger, who gives an overview of the sound editing process, step-by-step, by showcasing several clips (Full mix, dialogue only, and sfx only).

If you’ve ever lost money in an Oscar pool, at some point you’ve had to ask, “What exactly is the difference between sound editing and sound mixing?” Although that probably means you’re not winning the pool, a film’s sound design is just as crucial as good lighting or smart editing in creating the movie magic that your recreational Flipcam videos lack. Ever in the service of making you a better Oscar gambler, Little Gold Men asked Unstoppable’s supervising sound editor, Mark Stoeckinger—nominated this year for an Oscar—to break down editing for us. “The sound editor is like the art director, and the sound mixer is like the cinematographer: the art director comes up with everything that’s filmed, and the cinematographer decides how to photograph it,” Stoeckinger says. Specifically, a sound editor assembles all the sound you hear in the final picture, which is gathered from both production sound captured the day of shooting (usually, though not exclusively, dialogue) and Foley/effects captured later (usually including dialogue recorded later to match the picture). A sound editor then selects the right pieces of sound to accompany the picture and manipulates them as needed, a process Stoeckinger compares to sculpting clay: “You start off with one thing, but you can always mold it to something else. You listen to a lion growl and think, If I slow it down, add a lot of reverb and reverse, I can make it this alien thing.” In fact, as sound tools have become more sophisticated, the the desire to enrich a film through its sound has grown exponentially; these days, even a typical romantic comedy has more sound work than an action movie from 30 years ago did.

Continue Reading…

Via @soundesignblog

Read More