Earlier this week we orchestrated a mini monster-fest, recording an insane amount of monster vocalizations for a new series. We recorded almost everyone in the office performing a variety of sounds , giving direction as to the type of creature each person would be voicing and instructions on the types of sounds we needed. Not only was this a total blast, but it reminded me how powerful our own voices are as a tool for sound design. As a result, these are my top tips for creating and designing great monster vocal material!
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Focus on the Creative
Go behind the scenes of the Mutant Apocalypse arc of Nickelodeon’s CG Animated Teenage Mutant Ninja Turtles series with this story of how Boom Box Post created the sound of the post apocalyptic Shellraiser vehicle by custom recording Executive Producer Ciro Nieli’s vintage Mustang.
In this Inside Sound Design I wanted to use our interns to explore an early part of the sound editing process: Field Recording. It’s always a blast to capture sounds in the wild, and we try to do so at every opportunity. I sent Ian Howard out with instructions to research and capture two unique and interesting ambiences.
In this month's Inside Sound Design, we have a brief chat with sound effects editor Kevin Hart. Kevin is a passionate member of the Boom Box Team who experiments with integrating other DAW's and softwares into his workflow. You can read about his method for creating dynamic fight backgrounds in Ableton Live here. In this post, Kevin shares his ideas and methods for creating the sound of high powered, electricity-based energy skates.
Creative dialogue processing is a unique and fun challenge that varies from the sound design work we typically encounter on a daily basis. For this month’s Inside Sound Design post, I’m going to walk through one common and simple processing chain we might use for science-fiction themed computer or robot dialogue.
As sound people, sometimes we hear something so unique we just have to capture it. A lot of sound designers (myself included) carry around mini recorders for just such an occasion. But we can't always be prepared. There are moments when you need to capture a sound in an instant. Like if a bird with a crazy call lands on an open window. We don't always have professional recording gear at hand. Most of us however do have a cell phone nearby.
For this month's interview post I sat down with Brad Meyer, a sound effects editor here at Boom Box Post. Brad spends a lot of his time designing exciting, signature sound effects for his shows, especially vehicle sound effects, using both custom recordings and sound library material. Brad sat down with me to talk about his process for creating the signature sound effects for a demonic race car that is possessed by monsters.
Welcome back to our new series of monthly blog posts called Focus on the Creative! These posts will be formatted like a short and casual interview focusing on the topic of creativity and design in our daily work. This month I talked with award-winning sound effects and foley editor Tess Fournier to chat about her design for a retro-inspired sci-fi machine.
This week we’re kicking off a brand new series of monthly blog posts called Focus on the Creative. These posts will be formatted like a short and casual interview focusing on the topic of creativity and design in our daily work. To kick off the series I sat down with award winning sound effects editor Jessey Drake to talk about her design for a gigantic other-worldly laser weapon.
One of the pillars of our creative learning environment here at Boom Box Post is our internship program. During the program our interns shadow editors, record foley props and participate in a series of lessons encompassing the different sound services Boom Box provides, such as dialogue editing, sound effects editing and mixing. For more information on our internship program click here. We collect applications year round and would love to hear from you.
As our current class of interns nears the end of their time here at Boom Box, we wanted to showcase their unique personalities and backgrounds. We hope you enjoy this brief look into our program and our fantastic interns: Madeline Kushner and James Singleton.
At Boom Box Post, we specialize in sound for animation. Although sonic sensibilities are moving toward a more realistic take, we still do a fair amount of work that harkens back to the classic cartoon sonic styles of shows like Tom and Jerry or Looney Tunes. Frequently, this style is one of the most difficult skills to teach new editors. It requires a good working knowledge of keywords to search in the library--since almost all cartoon sound effects are named with onomatopoeic names rather than real words like “boing”, “bork”, and “bewip”--an impeccable sense of timing, and a slight taste for the absurd.
I used to think that you were either funny or not. Either you inherently understood how to cut a sonic joke, or you just couldn’t do it. Period. But, recently, I began deconstructing my own process of sonic joke-telling, and teaching my formula to a few of our editors. I was absolutely floored by the results. It turns out, you can learn to be funny! It’s just a matter of understanding how to properly construct a joke.
The shocking conclusion of our 2 part vocal sound design challenge is here! In Part 1 we asked several BBP editors to perform a non-english vocalization, and tell us about the imagined creature that created it. For this post, we asked a few other BBP editors to process, twist and have fun with one of the clips in order to enhance the original vision. Not surprisingly, they favored the clips with a lot of low-end information, and especially enjoyed pitch-related processing. Check out the before and afters, plus each editors methods below!