The Boom Box Post blog provides insights into the creative sound design process of Boom Box Post's owners and employees.
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Fair warning, I don’t want this post to come across as just another mixer rant… and I’ll do my best to keep things civil. I’ve been keeping track of a few bad habits I see in editorial that drive me a bit batty on the mix stage. So in an effort to “being the change I want to see in the world, I’m going to share them with you. Hopefully this will result in less of these nits to pick going forward and, as a bonus, its free therapy for me!
As sound professionals, we always have our ears open for interesting sounds. This isn’t limited to just sound effects I can record but also interesting ways sound can interact with the spaces we inhabit. Over the years, if I find myself in an especially interesting space, I’ve made a point of recording myself clapping once, so that I can later farm that sound as an Impulse Response, recreating the space. This practice carries the same nostalgic feelings as my field recordings, but expands the idea to my mixing. I can put any Impulse Response (the clap) through a reverb plugin that will, like magic, recreate that space. You too can be out there capturing wild and interesting spaces for your work!
I’ve had it on my list to test out some software synths that I had purchased a while back. My week was light so I fired up The Riser by AIR. One of the presets had a really interesting oscillating sound and the functionality of The Riser made it easy for me to play around with pitch and speed. I found myself creating crazy spaceship engine sounds (very likely influenced by having just watched the movie) and thought, “this would be a great blog post!'‘
Creating futuristic anything is fun, but where to start? Here was my process for creating a full compliment of entirely original (and useful!) futuristic spacecraft engine sounds.
