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The Guide To Sound Effects

The Guide To Sound Effects
I like to think of such sounds as having two general components: a ‘defining’ one, and an ‘impact’ one. The defining one is what sounds up front and tells the listener what the sound is, especially if combined with picture. The impact one can be anything at all, designed only to pump up the sound to hyper-real. For defining sounds, simply record what things really are: For a face slap for example, record a real slap, hand clap, slap on thigh, etc. For a body kick, record a fist on chest thud, etc. For impact sounds, anything goes. Other purely impact sounds: kick drum, fist-pound on closet door (tapered), car door slam (tapered), kicked or stick-hit cardboard box, leather belt snap, whip crack, etc. In my opinion, especially what I’m loosely calling the “impact” component can and often should be gain-maximized and mixed with the “defining” so that the defining is still the part that gives the information as to what the sound is. - Clint Bajakian

http://www.epicsound.com/sfx/

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Sound Advice: The Key to Outstanding Animation Sound Design How do you create great sound design for animation? Turns out Jeff Shiffman from Boom Box Post knows a thing or two about that: Jeff has built a career doing animation sound design, having worked on numerous animated series such as Teenage Mutant Ninja Turtles, Thundercats, The Looney Tunes Show, Transformers: Animated, Ben 10, Kick Buttowski and countless others. And in this special post for A Sound Effect, he exclusively shares his favorite tips, insights and stories from his many years of doing animation sound design: An hiss and a clang: how sound design works in real life Hi Philip, I read from your LinkedIn profile that you’re living and working in UK. Can you tell us more about you and your activities? Hi Gianpaolo, my main hobby is as a guitar player/singer/songwriter – I’ve been playing and writing since I was about 11 and studied Creative Music and Sound Technology at university. During my degree I got to learn a lot about sound design, mixing and sound synthesis, which fuelled an interest in creating sound effects for film and TV. I moved to London about a year ago to work in TV. I still play guitar in my spare time, but if my musical ambitions don’t come true I will pursue sound design as a career!

Chuck Russom Special: Gun Sound Design Posted by Miguel Isaza on Thursday, April 29, 2010 · 11 Comments I work on a lot of games that are filled with guns. Over the years, through experimentation, screwing up, listening to movies/games with great guns sounds, and tips from other sounds designers, I’ve been able to create a process that works well for me. The biggest influence on my gun sound design has not come in the studio, but on the gun range. I’ve shot a lot of guns. I’ve also been around a lot of guns while they were being fired. A New, Moldy Approach To Impact Sound Effects By French Sound Design Duo Game sound de­signer Fred­eric De­van­lay and film sound de­signer Cedric De­nooz have joined forces to re­lease ‘Wood Im­pacts’, a brand-new sound ef­fect li­brary fea­tur­ing more than 1600 im­pact sounds. Fred­eric has pre­vi­ously done SFX li­braries such as Cy­ber­storm, win­ner of Music Tech’s Best Sound Li­brary 2013 Award – but this is the team’s first in­de­pen­dent re­lease. I’ve spo­ken with them about indie sound ef­fects and the mak­ing of their new re­lease:

The Sound Design of inFamous Second Son: Video Powers Of all the powers in inFamous Second Son, Video powers may have been the most esoteric. I mean smoke at least has an analog in fire (and we used some fire elements in both the visual and sound design), but video? You think video, you may think laser, but we already had a neon power (which was even sometimes referred to as laser). So how the hell did we get something sounding as unique as our video powers without treading on the other power sets? Sound Design Guide: Emotional States & Sound Design License agreement for users of Sound Examples downloaded through A SOUND EFFECT (www.asoundeffect.com) (as “Distributor”).This end user license agreement (the “Agreement”) is entered into between you, a single user natural person (the “Licensee”), who has downloaded one or more Sound Examples through the Distributor, and the creator or creators of these Sound Examples (the “Licensor”). For multi-user licenses, please contact multiuser@asoundeffect.com.This Agreement covers one or more Sound Examples downloaded by the Licensee via the Distributor. The Licensor is the creator or creators of the Sound Examples, stated as such in the downloaded file(s) (“File”) the Licensee receives after registering with a valid email address and name. By downloading, the Licensee accepts this EULA and agrees to be bound by the terms and conditions set out in this EULA and the EULA’s with similar terms for each Licensor in the File. 1. 2.

“From here on in, absolute silence.” If we break down a modern film sound track into its component parts, traditionally we’d have three indispensable units: dialog, music, and effects. Each of these elements can be further sub-divided into types of dialog (voice-over narration or diegetic speech), music (source or score), and effects (footfalls, gunfire, or ambiences). But there’s a fourth component that often goes unnoticed, mainly because of its muted presence on the sound track. I am talking about silence. As filmmakers and audiences continue to complain that modern films are too loud, relying on heavy doses of ear-splitting passages to convey the intensity of an action sequence or dramatic moment, it’s worth noting some impressive forays into sonic silences. Walter Murch has stated on occasion that today’s films risk overloading digital sound tracks with too much sonic information in a way that can lead to muddy, incomprehensible, and unnecessarily loud passages.

The Sound Design of inFamous Second Son: Concrete Powers It’s hard to believe that inFamous Second Son is a year old already! I’ve been completely lagging on finishing up these posts about the powers design for the game, so let me use this opportunity to make good and present the first of the final 2 parts of this series. I will hopefully get around to posting my presentation on the Systems Design for the game soon as well so those who haven’t heard/seen it can have the information available to them. Anyway, on to the magic and mystery of concrete! The Sony PlayStation Music and Sound crew discuss their brand-new facility for game audio, in the September 2013 issue of Mix Sep 1, 2013 9:00 AM, Mix, By Tom Kenny // Photos By Michael Coleman/Sean Donnelly Most, but not all, of the San Mateo-based Sony PlayStation Music and Sound crew in the new facility’s live recording room, which can hold up to 35 pieces comfortably, with windows to both the API and Foley rooms and a glass wall allowing for natural light. There really are no precedents for what Sony Computer Entertainment America has done over the past seven years in its ongoing commitment to raising the quality of game sound.

Keep It Calibrated! Learn How and Why You Should Calibrate Your Studio Monitors for Video Game Audio An important skill to learn is how to calibrate the levels of your studio monitors. Most of the pros and professional studios have their systems properly calibrated. If you haven’t taken the time to learn how, or why you should calibrate your studio monitors then you have found the right article! The good news is that calibrating your system is actually a very simple process. This article is written for people in video games, tv, and film. None of this is intended for mixing music since the loudness wars destroyed that medium’s dynamic range already… The most common question regarding sound design For some time now I have been noticing that plenty of future sound designers are asking where should they start or how should they go about sound design. The answer is yet to be determined – if it is a simple to answer or not. There are no shortcuts in sound design, that’s for sure and most likely you will never learn the full scope of sound design in your life time. You may be great at it, heck even a most wanted pro but you will still learn new things every day.

Janet Hsu > Manage Blog An in-depth look at the evolution of Ace Attorney's sound design Hi everyone! Janet here! Have you been enjoying Phoenix Wright: Ace Attorney – Dual Destinies? Game Audio: 4 Golden Rules For Technical Sound Design Damian Kastbauer has worked with technical game sound design for seven years as a freelancer, on titles such as Uncharted 3, Dead Space 3, Tales of Monkey Island and countless others. About a month ago, he became the Technical Audio Lead at PopCap Games – and in this exclusive post, he shares his golden rules for technical sound design: There’s a gap between the creation of a sound and its playback. From creation to reproduction, from microphone to speaker, there are countless steps that must be taken in order to realize our craft as sound designers. Whether you’re doing the field recording, pulling from sound libraries and layering in a DAW, or working to play back sounds as part of a game, there is always a process that must be followed to get between the start and final execution of an idea. As a technical sound designer, my interest lies primarily in the final aspect of bringing a sound recorded in the field or designed in a DAW and getting it to play back in a game appropriately.

How A Plug-in Recaptured the Robot Voices of Your Childhood I’ve just gotten lost making my computer sing. And now I can’t stop. You see, a funny thing happened on the way to the future. As speech synthesis vastly improved, it also became vastly more boring. Intelligibility robbed synthesized words and singing of its alien quality, which was what made it sound futuristic in the first place. Chipspeech takes us back to speech synthesis as many of us remember it growing up.

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