Just a couple of items for this week's Sunday Sound Effects Round Up.
Airborne Sound Announce Elements - A New Type Of Sound Library
Airborne Sound have released what they are describing as a "new type of sound effects library" They are calling the Elements series. To start this series off they have released two sound clip bundles in the series, Metal and Glass.
Now there are many excellent glass and metal libraries already created by the fine field recordists in the sound design community. So what is different about theirs?
They have designed these new Glass and Metal libraries to offer clean, tightly trimmed clips as building blocks for larger sonic compositions or detailed editing work.
For example, using a harsh metal rebar impact to add emotion to a gunshot or power to a gate slam. Pair selections of bursting plate glass with your explosions. Sprinkle in sheet metal debris or glass shards to add texture to round out your tracks. That’s the idea behind the Elements series: to provide a toolbox of tight, trimmed clips in a wide variety of elemental tones to compliment your creations.
To support this new idea they are offering a wide range of sounds in the same library, with a wide range of performances. There are big takes: metal hits, huge glass pops and bursts, and layered crashes and drops. Included with them are subtle performances: scrapes, debris moves, taps and touches, and hesitant trickles.
The Elements series also organizes each clip by performance type. So, drops, impacts, debris, slides, and so on are all gathered together so you can find the clip you need quickly, along with its brothers. We’ve even organized the clips by the surface it impacts: concrete or dirt. They’re divided in folders and also in Soundminer metadata.
They have also provided different perspectives, they ran five channels to offer a close, medium distant, and distant perspective with a very close mono mic, a stereo mic 1 metre away and a more distant stereo pair around 2 metres away to give choices of perspective.
Finally there are some bonus tracks where they created layered, montage takes of the hits, drops, and smashes to create thicker crashes and impacts. They also created separate sound designed versions of the hits, drops, and smashes with hard, punchy processing.
Elements: Metal Sound Effects
27 different types of metal, with 1755 clips recorded at 48k/24bit...
Elements: Glass Sound Effects
They took a crowbar, ball peen hammer, rubber mallet, a cinder block and even our feet to four varieties of plate glass, three thickness of drinking glasses, and shards of glass debris. Included are drops, bursts, smashes, hits, scrapes, and slides to produce 516 sound clips recorded at 48k/24bit...
A Sound Effect Interview Jeff Shiffman About Sound Design For Animation
Animation sound design veteran Jeff Shiffman has done a very in-depth post for A Sound Effect, sharing his favourite tips and insights from his many years of working on animated series like The Looney Tunes Show, Teenage Mutant Ninja Turtles, Thundercats, Transformers: Animated and many more. There are some real gems in there, here are a few to wet your appetite...
I always try to build an editorial schedule that allows for time to experiment; to be inventive. Ideally, on any new series we will start off with a lot of recording and slowly build our show library. This front-loaded work pays dividends. The less we rely on existing library materials, the more original a show will sound over the course of time.
On collaboration, Jeff has very strong views about working as a team....
I would not be able to accomplish the level of work at the pace needed for most animation schedules without a team I can count on. We are a team. It’s that spirit of collaboration that has made us successful. When a client remarks on a particularly cool sound created by one of my team members, I let the client know who was behind it. Then I pass the positive feedback along to that editor. It’s not revolutionary. The feedback encourages more creative work and in the end we are all proud of our shared effort.
He isn't proud about recording techniques...
As for sourcing these sounds, we tend to go about it in one of three ways. Our first source (and my personal favorite) is synthesis. If the sound requires it, I jump at the chance to build something from scratch. There is no need (nor usually any time) to be crazy about recording techniques. Grab a mic and a portable recorder and get something down. Some of my absolute favorite recordings are total guerrilla efforts.
Ther is so much more detail in this interview so hop over the A Sound Effect blog and read the full interview, I really enjoyed it and have learnt a lot from it, thanks Jeff for sharing so much of your experience in this interview.