I don't agree with that comment at all. Just because you're using sounds that you didn't personally record doesn't mean that you're not making creative choices. Very seldom will library sounds work perfectly for the project you're working on, and it's up to you to mold and shape those sounds and make them your own.
Should everyone be ...
I'm with Jay on this one. Nice answer, Jay.
I personally do not think that was right for him to tell that designer.. Kind of ironic that he'd be out of business if everyone recorded their own effects, but that's beside the point. I also think that one sentence from Ric might be being taken out of context a little here and I do see where he is coming from. ...
I wonder what would have happened, had the sound designer lied and said 75%...
I think perception is all the matters in the end. Recording your own fx can let you follow your sound-vision more accurately; but library FX search/selection/placement is an art that's often looked down on. You'd think that people in an often under-appreciated industry like ours ...
When I am designing sounds, I would be incredibly happy to admit that I recorded 20% of the source I'm using. But, more often than not, I'm pulling from libraries. We just don't have the time/budget to record everything we need for a project. You can try recording stuff between gigs and building your library, but even those become "canned" effects that ...
I also don't agree with this sentiment - Sound design is about telling the story and creating the emotion, especially for a show reel. I love hearing fresh and exciting newly recorded sounds but that is only one aspect of the whole sound design process, ultimately the only thing that is important is what comes out at the end, how you get there is totally up ...
That is the $64,000 question :)
The flagship commercial library providers are Sound Ideas, Hollywood Edge, Soundstorm, and Blastwave FX. Sound Idea's primary library is the 6000 Series, and for Hollywood Edge it's the Premiere Edition. These are well-rounded, diverse libraries which can be a great place to start. From there you have a variety of boutique ...
I was at the same webinar, and what Ric reacted to wasn't against use of canned effects, it was against calling it a design when it really mostly was a sound edit.
I too thought it was well made and all, and especially good mixed, but I see his point and agree. Sound design is about building new sounds and soundscapes that preferably hasn't been heard that ...
I agree with everyone. The question that was asked was, "how much of the sounds were his own work?". I am guessing that very few of us just pull a sound from a lib and slap it in place. Only part of the "work" is recording. There is also a lot of editing, fx-ing, mixing, futzing, and most importantly selecting.
I also recognize that for certain types of ...
I started writing a post in the vein of Tim's and Steve's, but then I saw your comment saying that you've got some reasonable recording gear. In that case, I'll point you towards this list here: http://designingsound.org/sfx-independence/
And this one here: http://ianpalmersound.com/2011/07/24/sound-effect-libraries/
All of the purveyors listed on these ...
Everything you ever needed to know, right here:
How to make money with sound design.
This is your competition:
While at Sounddogs.com some years ago I mastered the Masters Workshop vintage car collection for the in-house library.
They have a 34 Rolls, 39 Packard and more. Not perfect matches but perhaps useful.
The recordings are older (DAT), but they were recorded exceptionally well. Masters Workshop (a post facility in Toronto) had a recordist (Jamie, ...
I've experienced this many times and I'm afraid you're kinda out of luck re. automated removal of identical recordings. Since both the filename and description / metadata are both unique, there is no way for Soundminer to identify which ones are the same. Your best approach (should you even choose to undertake it) is to delete already existing ...
I agree with @tim that normalizing depends on content.
I've written up what I call a "style sheet" for our team. It's guideline of how certain effects should be normalized. It's not rigid, purely a starting point, but is something like this:
Specifics: -10 to -3 dBFS (door knob
moves on the low side, gunshots on
the high end)
Atmospheres: -12 to -8 dBFS (...
It's an all around good (starter) library - while some stuff is canned since it's been around for so long, it has decent variety and there's a few gems in there. The content is by Dan O'Connell, as well-known for his Foley work as John Roesch. But like I said, the set's been around for a while so it's slightly dated/canned and doesn't quite have the ...
The iFX series by Zero-G is also very useful
I'd prefer to have it just chopped into sections 4-5 minutes long and have them labeled a,b,c,d,e etc. It makes it easy to import a short section when you only need 30 seconds of ambience but then you can piece them together if you need long sections.
Basicaly, You can go three ways from here. Samples, soundfonts and plugins.
Samples are prerecorded sound files (*.wav most commonly) You can use in your productions. 90% of drums in electronic music is sampled
for example. But not only drums. There are whole genres that are very
sample influenced, such as hip-hop in general, early drum and bass,
jungle or ...
Well, I found the solution in another software named "Sound Forge Pro v10".
File > New >
Select "Surround 5.1" or "Surround 7.1".
In that page you will see 6 or 8 rows. Drag&Drop your files in these rows.
After that you can change the default channel assigned to row by clicking on the numbers at the top of right-side.
Finally save the result ...
I have some strong feelings on this topic, so apologies in advance for the longish post.
Here's how I organize my audio files: I don't! Before you throw up, let me explain…
What I mean is that I don't sort, file or otherwise organize my audio files into folders in my operating system. Not at all. My entire working sound library is nothing more than ...
I agree with Tim Prebble on this; don't waste money on buying SFX libraries. It's better spent on field recording gear; you can then record anything you want. It will also be 'original' and individually tailored to your own requirements. In addition, you then have the ability to record and sample anything which takes your fancy - there's no limit to what can ...
I have a Drobo 4-bay.
I'm a big fan of it. It's incredibly simple to use and has worked without problems so far.
ease of use - Very simple to get up and running. Add or remove drives on the fly without powering down. Just remove the magnetically-attached front faceplate and add/remove drives
construction - well made. Solid ...