Save Over 60% On Pro Sound Effects Hybrid Library 2017 Until February 16th
Until Thursday 16th February, Pro Sound Effects are making the new 2017 edition of Hybrid Library available to the Freelance Pro Tools Expert Community (see our review), with over 60% off, making it just $1495! Note this deal DOES NOT run until the end of February like most of our deals. For more details and to take advantage of this deal, go to our Deals page.
Boom Box Post Announce They Are Planning Their First Sound Effects Library
Kate Finan from Boom Box Post has been in touch teo let us know that they are knee deep in the creative stages of producing their first Boom Box Post sound library, which they are planning to release later this year.
But, before we put the finishing touches on everything, they would like to ask the sound effects community to help them out by filling out a short survey about your sound library wants/needs/loves/hates?
Tips For Recording Underwater Sound Effects With A Hydrophone From Pro Sound Effects Blog
Colin Hart, recordist of the Submerged library from Pro Sound Effects, offers tips and tricks on what to do (and what not to do) when recording submersion sound effects with a hydrophone with one of the most common problems when using a hydrophone is figuring out how to keep it in place.
For more hydrophone tips and tricks, there is a very details article on the Pro Sound Effects blog.
The Submerged sound library is described as a boutique sound effects library of swirling, bubbling, whooshing sounds recorded using a hydrophone (underwater microphone) including scuba inhale/exhale/hiss, ice impacts and cracking, air release whooshing and bubbling, dry ice, pool pump hum, underwater fireworks explosions, cannon bursts, underwater movement, rushing water, dripping water, and an assortment of underwater vocalisations both male and female.
There is even a Free Sampler option where you can download 4 of the sounds from the Submerged library for free.
The Future Of Game Audio – A Q&A With Matthew Smith On The A Sound Effects Blog
What’s ahead for game audio? That’s the question Asbjoern from A Sound Effect is looking to answer with this brand-new interview series, with some of the leaders, heroes and influencers in the game audio world. And to kick things off, they are starting off with this interview with Matthew Smith.
Matthew Smith spent more than 11 years at Rockstar North, as audio director overseeing the sound for legendary franchises such as Grand Theft Auto, Red Dead Redemption and more. Now, he’s branched out into the non-audio side of games, while still continuing to work with audio plug-in development.
Question: What’s the biggest challenge for game audio at the moment – and how do you see that resolved in the future? Tech wise, what would you want to see for game sound?
MS: I think a bunch of the traditional audio tech concerns are borderline solved at this point. I might be expelled from the secret society of sound designers for saying this, but in-game I can’t tell the difference between a 48 kHz/256kbps mp3 file and the uncompressed 96 kHz file it was created from. Likewise, increasing simultaneous channel-count is a game of diminishing returns.
Instead, I think the fun and the challenge is increasingly in the tools — enabling the creation of huge quantities of crazy-detailed interactive SFX, and giving sound designers control of the huge resources available to them.
I’ve been lucky enough to be involved with Krotos over the last year, makers of Dehumaniser. And what drew me to work with them wasn’t the tech behind the scenes, it was how instantly intuitive and natural their tools are for sound designers. Using it, you think, “Awesome Monster!” not “Awesome DSP!”
You can read the interview with Matthew Smith in full on the A Sound Effect blog.
HISSandaROAR Announce New Site And A New Library Release
Tim Prebble has announce v3 of the HISSandaROAR site with new features that include - user accounts, with full purchase history; faster downloads via direct Amazon S3 access; payment alternatives via Stripe; instant PDF invoices, a field sound blog, COMPLETE owners can now access a permanent 50% discount and there is an email newsletter you can sign up for too.
There can be something beautiful about the grime and relentless rhythms of industrial landscapes – they are a rich source of complex, interesting sounds and an excellent creative opportunity for sound editing and design in film, TV or game audio.
Tim Prebble and his team have spent the last two years researching and visiting factories and industrial zones in New Zealand and in Japan: from a ship factory in Mitzushima Port, Japan to the large scale pulp & paper mill in Kinleith, New Zealand. Salt works at Lake Grassmere, the container port at Lyttleton, a large scale milk plant in New Plymouth, an apocalyptic sounding metal recycler in Tokyo, a vegetable sorting & packing factory in Rakaia and thanks to the recent earthquakes in New Zealand they have also recorded two large scale building sites and one major building demolition.
Every location contains a unique palette of machine drones, rhythms and whines ranging from steady state, consistent ambiences with minimal variation through to very active and characterful.
- Price - Normally $99 but until Feb 18th $66 but remember to use coupon code MINT on checkout to get the 33% discount.
- 14.1GB download • 20GB when uncompressed
- 144 x 24bit 96kHz stereo .WAV files