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Posted by on Sep 18, 2015 | 0 comments

News: A Sound Effect: How to Design Supreme Sci-Fi Weapon SFX

In a recent blog post, A Sound Effect spoke to sound designers Ruslan Nesteruk and Glen Bondarenko on the techniques and tools they utilize in creating sci-fi weaponry SFX. The post delves into layering, synthesis techniques, breaking down each weapon into its constituent components, and a great deal more. If you want some insights on creating better sci-go weaponry, you owe it to yourself to head over to the post now.

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Posted by on May 11, 2015 | 0 comments Audio Levels and Metering Pt. 1

As part of our continuing goal of promoting greater cross-discipline learning with media editing site Art of the Guillotine (, we’d like to bring your attention to their recent article Audio Levels and Metering: Pt. 1. While the article is largely focused at educating editors on good level and metering practices in non-linear editors, there’s some valuable information in the article, and it’s a great refresher on metering approaches even if you’re well versed on the subject. It also features a great side-by-side comparison video of four common meter types. Check it out here!

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Posted by on May 9, 2014 | 2 comments

Reflections in Your Control Room

Guest Contribution by Dennis Foley

The reflections in your control room represents the sound of your room. What sound do you ideally want from your control room? Do you want all the direct sound or straight line sound from your speakers? Do you want to include the sound of the reflections from the room in your mix? If so, how much of the room sound do you want?

Room sound is reflections. Reflections from your room walls, floor, ceiling, and rear wall are all part of the sound of the room. It is present in all rooms and must be managed correctly, if you are to hear all the sounds in your mix. Lets identify the problematic room boundary surfaces that produce these reflections.

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Posted by on Apr 5, 2014 | 0 comments

“How to Record Waves” on Quiet Planet

Gordon Hempton has a new article up on his Quiet Planet website talking about recording waves.

Find a beach exposed to the open ocean (high-energy) with a large tidal change (higher latitudes) at least several miles from the nearest frequently used road (wilderness) that slopes sharply, so at low tide you encounter diverse substrates (sand, gravel, cobblestones).

Head here to read the full article.

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