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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In past blog posts we’ve discussed tips to effectively capture sound effects, methods for recording water and even how to create iPhone recordings on the fly. Today I wanted to offer some quick tips related to recording planning and recording effectively in the field. These habits can help elevate your recordings to the next level, creatively and organizationally.
I've been in the industry long enough to notice some trends among successful sound editors. Those that stick around and do well for themselves, ensuring the longer term show placements, share a handful of characteristics. Here are some traits I've found have served all of us well here at Boom Box Post.
When we hit the studio or the field to record sound effects, we want to leave with the best material possible. Not only do we want recordings that enhance our current project, we want additional material that we can use to build our libraries. We want to optimize our time to create the best possible ratio of useable recordings to useless takes. We want to take our material back into the studio, throw it into the DAW, hit play and say “Wow! That whoopee cushion sounds incredible!”
We have just begun work on several new projects here at Boom Box Post, and it has jump-started a lot of conversations about how best to go about designing signature sounds. It’s one thing to chug along on a previously established television series (and not always an easy thing!), but it’s a different beast completely to be in charge of creating an entire new world from scratch. How do you manage your time? How do you commit to your choices? How do you know which sounds should be signature, and which should be filled in with your best stand-by library sounds? Here are my top five tips to help answer those dilemmas.
Daylight savings time is upon us. Not the fun 'bonus hour of sleep' daylight savings, but the 'where did that hour go?' daylight savings. After the promise of resolutions and new beginnings that come with the first few months of the year, here we are in March and it's easy to find ourselves running into creative blocks and falling into old patterns. Here are some small changes that I've found made a big difference in my creative output.
I've been proselytizing about the wonders of working with an iPad in my sound design career for years. More than just an excuse to get a new Apple product every few years (which admittedly it is), my creativite output and productivity have increased 10 fold with this device. As a tool in the studio, an iPad isn't necessarily cheap, but thes apps all clock in under $30. Compared to stand alone soft synths and plugins, all of these are a steal. Here are my favorite apps and some ways I like to utilize them.