I am currently knee-deep into recording an extremely comprehensive auxiliary percussion library for Boomboxlibrary.com. The idea is to produce pristine recordings which we (and other sound editors) can use as source material for new creative sound design.
As the recordings pile up (and I procrastinate having to edit them all) I have been playing around with some of them, just to see if my hunch was correct; that these would help me create great cartoon sound effects that are high quality and new but harken back to the classic Hanna Barbera sounds we all know so well.
Recently we published a blog that listed classic toon sound effects and the emotion they convey to the audience. Our hope was that it would be a helpful tool for anyone stuck in the editorial process. This is part 2! Continue reading to find out how our editors approach the following emotions with classic toon sound effects: Scared, Disgust, Love, and Bored.
From giant mecha robot fights, to ancient black magic or car chase sequences, the types of projects we work on as sound designers come in all different shapes and sizes. Animation particularly as a medium continues to surprise me, and you never know what to expect when you open up a new episode for the first time.
Through all of the genres, styles, and stories that we get thrown our way, one of the things I see editors consistently have a difficult time with is, you guessed it…TOON! I know that may seem surprising, and that on the surface the concept of “toon” might appear basic or juvenile. But the reality is toon is a tricky beast that can be tough to master. Whether it’s a toony series, toony sequence, or the occasional comedic accent, I want you to be ready if you ever find yourself working in the world of toon. So for this blog post, I decided to give a crash course on “The Art of Toon.”
We are extremely proud to announce the release of our newest Boom Box Library: The 1966 Ford Mustang!
To create this library, we recorded a vintage 1966 Ford Mustang GT model. This model boasts a v8 engine (225 hp, 168 kW, 228 PS "289"), grille-mounted fog lamps, disc brakes, reverse lights, and a hard top. The 1966 GT interior includes an instrument panel with a speedometer, fuel gauge, temperature gauge, oil pressure gauge and ampmeter in five round dials.
During the recording session, we placed five different microphones at key locations on the car and recorded accelerating, decelerating, driving steadies, idling, and revs simultaneous with them all. Then, we recorded pass-bys of various speeds, pull aways, pull in and stops, doors, ignition, levers, switches, windows, and more using three different shotgun microphones. All takes were recorded at the high sample rate of 96 kHz.
