For this blog post I decided to talk a bit about a tool I frequently use when designing hover vehicles. Waves MondoMod is a great modulation tool and super user friendly to use and play around with to create phasing and oscillation effects. While you can use it for a variety of effects, I really enjoy using it to its more extremes in creating scifi sounds like hovercrafts.
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Dynamics processing is valuable for many kinds of audio work. Compressors, Limiters and Transient Shapers have become so ubiquitous that you would struggle to find a piece of recorded music, film or television show where one of these tools was not used. These processes have applications for the sound editor as well, allowing you to control dynamics in your own recorded sound effects or beef up a key element in a build for a big moment. In this basic overview, I’m going to talk about a specific plug-in for the three types of processing mentioned above, but the principles discussed here can apply to any manufacturer’s software, or even hardware tools.
What is Soundly? Soundly is a freemium audio library management software that lets you organize, tag, and audition your sound effect and add them into your projects in a concise and incredibly simple way. For this blogpost I decided to put myself in the shoes of someone just starting off in the sound editor world. When you’re just starting off in the industry your budget is going to be your biggest limiter. You don’t have the freedom to drop a ton of money on multiple professional grade libraries and a reliable audio library management software to get started on your work. Sometimes the free option is really the only option. This is where Soundly comes in.
As described in a blog post a few weeks ago, our amazing Supervising Sound Editor and Co-owner Kate Finan has recently welcomed a beautiful new baby into the world! While she is enjoying her much-deserved time off, I have the privilege of filling in for her, and while I do sound work almost every day, I’ve gained a new perspective and appreciation for the sound process along the way. From editing sound effects and foley to overseeing the entire post-production sound process, here are some useful takeaways and tips from my time as a Lead Sound Editor.
Few things can positively impact a sound editors workflow like effective and thorough sound effects metadata. Having good metadata in your library will lessen the time needed to find the sounds you are looking for and speed up the process of finding new favorites in a packed library. If you are selling your sound effects, having rock-solid metadata is essential to creating a marketable product.
For my Lunch & Learn lesson I wanted to talk about something simple that everyone has most likely experienced in his or her daily life and during sound editing/designing. We’ve all heard it anytime we’ve walked down the street and heard an ambulance or police car passing by or maybe even an airplane. The point in time when you first hear the siren and the time when it has sped off into the distance sound different in pitch. I personnally get woken up everyday by hearing the Doppler effect of an airplane landing or taking off since I live 10 minutes away from an airport.
At Boom Box Post we host monthly meetings that are followed by an educational lesson we call a “Lunch & Learn.” Topics include a wide variety of sound related skills from noise reduction to synthesis. One of our upcoming TV series features a number of unique race cars and hot rods, so we decided to step out of our comfort zone and into the fascinating world of multi-track vehicle recording. I partnered up with BBP sound effects editor Brad Meyer to take on this monumental task.