This week, rather than design tips and tricks or a how-to post on building your career as a sound editor, we have an exciting announcement to make! We are knee deep in the creative stages of producing our first Boom Box Post sound library, which we will be releasing this spring. This is a long-awaited next step in our business, and we are stoked to share it with you.
But, before we put the finishing touches on everything, we wanted to ask you a few very important questions--because you, our readers, are our biggest and best resource. We don't want to put out anything that doesn't meet your fabulous expectations. So, to help us out, would you please fill out this short survey about your sound library wants/needs/loves/hates? Your expertise means more to us than you could ever know.
Ableton Live is a DAW that has been blowing up the music production scene in recent years. With its powerful ‘in-the-box’ effects processors, built-in Sampler instruments, and MIDI data parameters galore, Live has been the go to workstation for pioneering beat makers and EDM artists around the world. So why can’t us Post-Sound peeps have a little fun too? Using Live’s built-in Drum Rack and Simpler instruments, I’ll share with you a simple technique to build a Game of Thrones type battle scene ambience.
We recently said goodbye to another class of interns here at Boom Box Post and the timing seems right to bring up a theme we get from a lot of the talent that complete our program. They want to know how to avoid getting fired when beginning their careers. While this is in fact a very smart question to ask, I thought I’d spin things in a more positive light and collect some ideas not simply avoiding termination but truly impressing on the job.
This year has been an amazing one. We have done more business, engaged more sound design community members through our blog, and built a larger team and studio space than even we had dreamed (and we have MASSIVE dreams)! Here's a look back at all that we accomplished in 2016. We could not be more grateful for the opportunity to flourish in this community, and we hope 2017 is filled with even more opportunities to shine.
To kick off a new class of interns (and score some cool new sound elements for our library), I asked Boom Box Post intern James Singleton to create a selection of lightsaber/laser sword sound effects. The original Star Wars trilogy is chalk full of classic sound effects that continue to inspire our field today, and recreating old favorites is a great way to flex sound design muscles and explore unconventional techniques. I requested James work primarily from recordings and sounds created specifically for this project, and take inspiration from Ben Burtt's original methods. To wrap up the project I asked him to tell me a little about his process for creating the final sound effects.
Holiday episodes are A LOT of fun, and we have had the luxury of working on several in 2016. Our first was a fantastic episode of Nickelodeon's The Loud House, 11 Louds A Leapin.' Supervising Sound Editor Jeff Shiffman assigned our intern Carol Ma to record a selection of holiday gift props, including wrapping paper, tree ornaments and strings of lights. Jeff and The Loud House sound effects and foley editor Tess Fournier used these custom recordings to create a selection of holiday sound effects for 11 Louds a Leapin,' a heartwarming episode featuring antics such as sneaking into a grouchy neighbors house, setting traps for reindeer and a hectic, speedy gift unwrapping session. You can see this exciting episode for free on Nick.com
When the team from Nickelodeon's Albert walked through our doors, they presented us with a great sound design challenge - bring a rich world of talking, walking plants to life with sound. Nickelodeon’s first original animated TV movie tells the story of a tiny fir tree named Albert and his plant friends overcoming all kinds of obstacles (like a Christmas hating cactus) as they journey to the big city. The rich animation of these plants - bouncing around in their pots, foliage and needles flying, trunks bending - is extremely detailed and impressive. Now it was our job to provide the proper sonic support. With the use of digital foley, we had just the tool for the job.
In our BBP blog, we spend a lot of time talking about how to make cool sounds and when to cut those sounds. But, there's one key element to artful sound design that we don't often talk about: when not to cut any sound. I'm not talking about utter silence. I'm talking about choosing which moments you highlight with sound and which you allow the picture alone to carry. And how do you decide? This question is often one of the biggest issues that new and seasoned editors alike have and one that gets surprisingly little attention.
We've been doing a lot of recording around the studio recently and I have been inspired at the wide array of sounds the Boom Box editors are capable of creating from their own bodies! To showcase a few of these(and have some fun recording) I asked each editor to perform some kind of sound effect they could create from their person. They vary from disgusting bodily functions to to fascinating foley material and I hope you all enjoy them as much as I have!
Water is a fascinating recording subject because it can create a huge variety of possible sounds! Splashing, gurgling, crashing, bubbling, trickling, dripping and draining are all useful as sound effects and design elements, but they can be challenging to capture if not prepared. I've assembled 4 tips for capturing evocative water sound effects, with examples to demonstrate. We've also bundled together a selection of these water recordings, which can be downloaded for free! See the link at the bottom of the post for details.
Here at Boom Box Post, we are lucky enough to work on an exceptionally large variety of animated shows. Each show has it’s own unique style and sound; some of our shows are more on the toony side, while others are incredibly realistic. Because of this, a large number of our shows take place in real places. In one of our newest shows, Mickey and the Roadster Racers, the characters take an adventure to a new place or city in almost every episode, which is what inspired me to write this blog post. Whether it is traveling to a new city in each episode in Mickey and the Roadster Racers, The Lion Guard in the African Savannah, or Teenage Mutant Ninja Turtles in New York City, we often have the challenge of making a specific, genuine place sound accurate.
The first piece of advice I give any new sound editor is to get Pro Tools and learn the keyboard shortcuts. Forget proficiency in typing, that's child's play. In order to compete in the real world of post production sound, you need to be FAST. Knowing your way around the keyboard doesn't just shorten your workday, it tells the clients - who expect requests to be carried out quickly - that you are on top of your game.
Basic keyboard shortcuts - switching the tools, changing the view - need to be second nature. But with literally hundreds to learn, there's bound to be a few that have slipped through the cracks. Here are some of the best 'lesser-known' Pro Tools keyboard shortcuts to help speed up your workflow.
We've all been there, right? You're setting up a home studio, and notice that although you finally have all the right gear, your room is sounding less than optimal. Clap once, and you hear a ping-pong of reverberations that make your ears recoil and your heart sick. So, you look up acoustic panels only to find that they're priced for princes. In this post, I'll share with you how to make inexpensive yet high quality acoustic panels on your own.
To celebrate Halloween in gruesome style we came up with a unique challenge for our editors: Death by Sound Effect! To kick off the creativity, we asked the team to come up with bone-chilling, funny bone-tickling and gut-wrenching ways to die, and threw all of their ideas into a hat. Each participating editor was randomly assigned a form of savage expiration, and encouraged to be creative in their approach to a sound effect representative of that event.
The great thing about recording and designing sound effects is that source material is near infinite. Fortunately and unfortunately, having such an incredible variety of sound sources makes each new recording session a technical and creative challenge, requiring forethought and experience. One of the decisions we must make is the format in which we will capture the sound; mono, stereo, quad-surround, 5.1 surround and ambisonic are all valid options depending on the source at hand. Sound effects are most commonly captured in mono or stereo, and today we will compare several common stereo microphone techniques for field recording.
It's no surprise that parodies/homages of the games of my youth (those popular throughout the 80's) are starting to pop up in the shows I work on. In fact, they've been cropping into modern cartoons for pretty much my entire career. There are a few reasons for this. First (and most obvious) everything that is old is new again. Retro is always going to be hip, and we have been in a love affair with 'The Decade of Excess' for quite a while now. It's also true that a lot of the talent at the Executive Producer, Director and Head Writer level these days (those producing the content) land right square in that age group where these are the things they love from their youth as well. Lastly, however, you need to consider the style that comes with writing a video game sequence into your animated program. Most modern games both look and sound entirely realistic. So if, for example, you wanted the Teenage Mutant Ninja Turtles to take a break and geek out over a video game together, what fun would it be to have them play something that looks and sounds like a feature film? The fun comes with the retro, both visually and sonically.
Over the past year, Jeff has written two excellent posts on sound effects editorial layout: Downstream: Valuable Sound Designers Think Like Mixers and Speak Volumes Through Well Organized Work. He's laid out the golden rules of sound editorial layout in an easy-to-follow manner, and I highly recommend reading both posts before this one.
But, even the clearest rules can be misinterpreted and scenarios that seems like exceptions can often arise. Even the most seasoned editor will encounter situations where he or she will wonder, "How do I know if this is the best layout?" Here, I want to address some common pitfalls that I've seen and help you to solve them.
This month's collaborative post dives into the everyday lives of the talented editors here at Boom Box Post. For this challenge I asked the editors to open their ears and listen to the sounds they take for granted everyday, and attempt to capture a unique window into their lives with sound. I sent each editor home with a small handheld recorder(unless they had their own) and encouraged them to capture a fresh take on a sound they hear in their daily lives. The results were exciting and surprising, let's take a listen!
Here at Boom Box I often find myself cutting chew effects for aliens, monsters, humans, animals, etc. I’m always looking for new crunches and lip smacks. For this week’s post I thought it would be fun to record my dog eating different foods and see what we could come up with!
Our first Glossary of Sound Effects post was so popular we decided it would be fun to expand on it. This time around we not only included more specific search terms, but also a handful of modifiers.
![Death by [Sound Effect]: A Halloween Sound Design Challenge](https://images.squarespace-cdn.com/content/v1/54813413e4b0034aade3a0bc/1477583620478-NXJOE06KIWZN6610ZHBX/skulls-623532.jpg)
