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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

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Posted by on Jun 30, 2011 | 0 comments

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

New libraries have been released.

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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.

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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

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Posted by on Feb 10, 2011 | 0 comments

Greg Russell and Mark Stoeckinger on the Art and Craft of Sound

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David Poland has made two great interviews at DP/30. In one he talks with Greg P Russell about the sound of “SALT”. The other one is with Mark Stoeckinger, talking about the sound of “Unstoppable”. Both are relatively “long” (33 and 45 min respectively) but fascinating.

And even better: they not only talk about their respective projects, but also discuss a lot of interesting thoughts about the craft and art of sound, including sound recording, editing and mixing, relationship with clients, conceptualization on sound, collaboration in a team, technical and creative challenges, different roles in post-production sound, and more.

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Via CSS Studios | DP/30

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Posted by on Jan 11, 2011 | 2 comments

Rabbit Ears Audio Releases Metal Machines SFX Library, Q&A Included

Michael Raphael, owner at Rabbit Ears Audio, has finally released his fourth library, called Metal Machines, featuring recordings of 11 incredible machines from a vintage train repair facility.

Shake, Rattle, and Rumble. Those are just a few of the sounds that heavy machinery makes when it is fired up and put into action. The age of the steam locomotive has long faded in the United States, but the tools used to maintain them, rebuild them, and fabricate new parts are very much alive.

I visited a shop whose primary focus is repairing old steam locomotives and building replicas for use around the country (Thomas The Tank Engine is big business). This library features 11 pre-1950s tools that will get your motor running and add texture to your mechanized needs. I hired a machinist to perform the following mechanical masterpieces of the industrial age: Wheel Lathe, Metal Planer, McCabe Metal Flanger, Metal Shaper, Summit Engine Lathe, Summit Engine Rapid Traverse, Hendy Engine Lathe, Vertical Turret Lathe, Bridgeport Milling Machine, Large Air Needle Scaler, Small Air Needle Scaler.

All of the machines have such wonderful qualities that smooth computer-controlled contemporary machines don’t possess. Metal Machines is here to bring on the flap, whirr, grind and whine that your work needs.

Quality and prices

  • METAL MACHINES HI-RES+ $70 – 24 Bit 192 kHz | 301 sounds | 2.9 GB download
  • METAL MACHINES HI-RES $50 – 24 Bit 96 kHz | 301 sounds | 1.45 GB download
  • METAL MACHINES $25 – 24 Bit 48 kHz | 138 sounds | 503 MB download
  • METAL MACHINES $9 – 16 Bit 44.1 kHz | 66 Sounds | 176.7 MB download

If you want to know more about this library the work behind it, here is a Q&A session I had with Michael, talking about these huge metal machines:

Designing Sound: How did you get started with this library? Why did you decide to record those machines?

Michael Raphael: I’m not a train repair buff, but I do have a bit of history with steam trains and steam train repair. About ten years ago I was hired to record some turn of the century trolleys and heavy machinery for a Smithsonian exhibit and I was immediately enamored with the sounds. All of the machinery had such character and heft to it, and it just stuck in my head all these years.

DS: What kind of machines did you find in that place?

MR: All of the machinery is pre-1950 and most of the units are in decent shape. The is the full list:

Wheel Lathe, Metal Planer, McCabe Metal Flanger, Metal Shaper, Summit Engine Lathe, Summit Engine Rapid Traverse, Hendy Engine Lathe, Vertical Turret Lathe, Bridgeport Milling Machine, Large Air Needle Scaler, Small Air Needle Scaler.

The Wheel Lathe from 1910 was stunning. It’s a machine that is used to fabricate large train wheels on old steam engines. It is very ominous looking . . . you don’t want to get your fingers stuck in it! Not only was the thing enormous, but it had tremendous personality. The lathe has two large wheels that spin, and has the cogs and gears in the back. The wheel has a wonderful deep rattle and the gears in the back have a plinky high frequency thing going on.

DS: Any happy accident included in the library?

MR: At the time it wasn’t so happy – there were these vents at the side of the shop that would get caught in the wind and squeak and creak. When we were recording we had to keep stopping so the squeaky vents wouldn’t overlap the recording, but after a little while I stopped bitching and just recorded the vents. The vents are not in the library, but it was a nice accident. Maybe I’ll release them when I do an HVAC library!

Ultimately, I think the happiest accident was our Machinist, Eric. He was not just there to get some OT, but was really into it. He knew all the machines and was constantly making suggestions to make the recordings more interesting. I love when that happens.

DS: How challenging was it to deal with those big sounds?

MR: Preparation is really important. I made a site visit months before I did any recording. I knew well in advance that the lighting in the location was going to be an issue because it had a cycle hum. I made arrangements for different lighting, which meant we had a couple of spotlights and lots of mood lighting!

In terms of the sounds themselves we knew it was a big space, so we tried to minimize the room as much as possible. Most of the session was recorded with a Schoeps MS pair and my good friend and colleague, Rob Byers, used an MKH 60.

The biggest challenge was time. I was only able to rent the space and hire the machinist for 7 hours and we had a lot to do. Working for 7 hours with such high SPL content can really be brutalizing so we were glad to both have a pair of Remote Audio High Noise Headsets that enabled us to monitor at a reasonable level.

DS: What’s next on Rabbit Ears Audio?

MR: I have a few things planned, but I haven’t decided what will run next, so I’ll have to keep you in suspense for the time being! I keep thinking it would be great to do a Rabbit library but they don’t make that much sound.

Thank you very much for your interest, Miguel.

More info at Rabbit Ears Audio.

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