We are extremely proud to announce the release of our newest Boom Box Library: Babies & Kids! And we’re celebrating with a site-wide sale.
We asked which libraries you needed the most, and you answered with walla for babies and kids! Now here it is: the Babies & Kids sound effects library contains a variety of recorded baby and kid vocalizations from children ages six months, three years old, and five years old.
A few weeks ago, we sent out our current intern Peter on a field recording challenge to find and capture specific and creative sounds. This week, we will see what our intern Jen found and find out more of her process of recording.
We are proud to announce the release of our newest Boom Box Library Collection: The Editor Toolbox, and we are celebrating with a site-wide 40% off sale!
The Editor Toolbox Collection is geared toward professional picture editors or sound effects editors who wish to bolster their sound effects libraries with a streamlined collection of common live action sound effects.
You may recall that I’ve written about creating signature sounds in the past. So, why write another post on the same topic? First of all, creating signature sounds is a skill that is absolutely essential to to setting yourself up as a high-quality professional sound designer. Second, that post covered a practical approach to designing signature sounds such as working on one sound at a time and designing in context. Here, I’d like to walk you through my actual creative process on a particular project.
Field recording in an always moving urban environment can be tough. As a way to push our interns skills, we sent them out to find different locations to record ambient backgrounds and cool sounds they come across. This week, lets listen to what sounds intern Katie Maynard was able to capture!
In this Inside Sound Design I wanted to use our interns to explore an early part of the sound editing process: Field Recording. It’s always a blast to capture sounds in the wild, and we try to do so at every opportunity. I sent Ian Howard out with instructions to research and capture two unique and interesting ambiences.
This week we’re kicking off a brand new series of monthly blog posts called Focus on the Creative. These posts will be formatted like a short and casual interview focusing on the topic of creativity and design in our daily work. To kick off the series I sat down with award winning sound effects editor Jessey Drake to talk about her design for a gigantic other-worldly laser weapon.
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!”
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.
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!
Dialogue is king. To perfectly record dialogue, especially for film, has been the common goal amongst dialogue recordists and recording engineers since the birth of audio recording in the early 1900s. In working as a dialogue editor, it is a constant journey to adapt to the ever-changing market of audio recording gear. When considering building your own voice-over chain, there are many available options. Here, I’ve narrowed it down to just a few.