The Boom Box Post blog provides insights into the creative sound design process of Boom Box Post's owners and employees.
There’s nothing worse than having your show fail quality control due to a tiny tick in the dialog. What a silly thing to reject an entire episode for! But sadly, it happens. And once the QC operator finds one tick, suddenly they are hearing ticks and clicks everywhere in your mix. Fortunately we now have tools to easily pre-empt such rejections before they even have a chance. Just combine iZotope RX and some AudioSuite handles and you’re good to go!
Working in post audio has been an excuse to purchase all kinds of audio toys. As one of my good friends once observed, I seem to suffer from G.A.S. (Gear Acquisition Syndrome). I've spent years building up an arsenal of tools to add to my creative routine, pining over the latest and greatest software, synthesizer or control interface. That said, as I grow older and more patient, I have narrowed my focus.
Which brings me to the Avid Artist Control. It had been a while since I invested in something new and frankly, I was feeling some gear-based FOMO. So I researched like crazy (a big part of the fun for me) and decided to go for it. As it turns out, this little piece of gear packs a huge punch in my day to day workflow. Here's how I've customized this beauty to utilize it's very deep skill set.
We've all been there: all year long, we pine for a vacation and some time to ourselves. But then when an unsolicited break from work arrives, we spend the entire time stressing about all the work we're not doing, or about whether or not a new project will come along, and we forget to enjoy it. Furthermore, when we start back again, it's as if we have forgotten how to do our jobs.
After eleven years in the business of seasonal sound work, I've developed some skills as to how to take a break from work and come back fresh (instead of reeling to catch up). I'd love to share them with you:
We get questions all the time about breaking into the industry. Some of the best tips come from our editors themselves and their interesting stories. With a background in film, sound and music, sound editor Brad Meyer joined the team back in October of 2015. His work for Boom Box Post has since garnered nominations for both a MPSE Golden Reel and Daytime Emmy. Here's a chance to get to know Brad and how his particular background lead to our doorstep.
We are thrilled to be a part of this year's Daytime Emmy celebration with three nominations for Boom Box Post!
We received a nod for our work on Nickelodeon's Teenage Mutant Ninja Turtles in the category of Outstanding Sound Mixing - Animation, as well as a nomination each for TMNT and Half Shell Heroes in the category of Outstanding Sound Editing - Animation.
A few weeks ago, we wrote a blog post about how the human ear works, and that inspired me to dive deeper into the section about the brain; specifically, psychoacoustics. The study of psychoacoustics, as defined by Merriam-Webster, is “a branch of science dealing with the perception of sound, and the sensations produced by sounds.” Essentially, psychoacoustics is how your brain perceives sound, and if used correctly, it can be an incredibly powerful tool in a sound designer’s arsenal.
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.
Sound is an essential part of all of our lives. It allows us to communicate with others via speech, it helps us to sense imminent danger, and it affords us the enjoyment and entertainment of music. But, how does sound make its way from vibrations in the air to our own auditory perception which we can easily identify and translate? Our bodies are miracles of science, and the answer to that question is fascinating.
This past Saturday was the Motion Picture Sound Editors 63rd annual Golden Reel awards. Nominated for three series, we decided to make a night of it and took the whole crew! To our delight and surprised, it turned out this was our year to bring home the trophy, winning Best Sound Editing: Sound Effects, Foley, Dialogue and ADR Animation in Television for Nickelodeon's Teenage Mutant Ninja Turtles. We are very humbled to be honored amongst so many wonderful nominee and proud to be celebrating our company's first industry award. Here are some photos of our fantastic evening at the Golden Reel awards.
Traditionally, Foley--or footsteps, cloth movements, and the handling of small props--is performed and recorded live to picture and later cleaned and edited to be sent to the mix. In recent years, with the development of new technologies, Digital Foley is now available as an alternative to traditional Foley, and it is how the Boom Box Post team covers the footsteps for many of our current projects.
Cut Notes, by Digital Rebellion is an iPad note taking app that works seamlessly with digital audio workstations like Pro Tools as well as many non linear editors. I've mentioned the app in previous blog posts; discussing its time-saving application in my day to day workflow as well as naming it one of Boom Box Post's Top 5 iPad apps for sound designers.
I utilize Cut Notes by syncing the app over WiFi with Pro Tools. As my timeline moves, so goes the timecode on the app, printing precise locations on each note in real time. I find this especially useful for client spotting sessions. Once complete, my workflow involves me copying the text from Cut Notes and pasting it into a google doc for the specific episode or project. These docs are shared with the appropriate editors on my team, giving them pristine location-based notes to follow as they work (it also saves them from having to interpret my chicken scratch hand writing).
Being such a fan, I decided to reach out to the app's developer, Jon Chapell with a few questions about the app, and plans for its future.
At Boom Box Post, we are always doing our best to meet new content creators who are just beginning their professional journey. Not only are their projects incredibly fun and inventive, but we often get to walk them through the process of post-production sound for the first time. For even the most seasoned artists, writers, or producers, this can be daunting territory the first time around.
The following is a primer designed to introduce new content creators to post-production sound. It's an incredibly fun process and the final step in creative story storytelling before your content reaches viewers.
I've been a fan of Native Instruments plugins for years. For sound design and music, I find their software hard to beat. In particular, I was a huge fan of KORE, their "sound machine" that had the a very useful FX processing mode, allowing the user to run any source sound through it's many amazing effects chains. Some of these chains, sold in bundles of 'effects packs' were extremely powerful and very intricately constructed. Many posts on my old Sounds Like Jeff blog refer to my use of KORE for original sound design. So naturally I was bummed when NI discontinued the product, I suspect to make way for MASCHINE, it's flagship product for the future.
Last night, nominations for the 2016 Motion Picture Sound Editor's Golden Reel Awards were announced. Alongside a comprehensive list of top industry talent, Boom Box Post was acknowledged for their work on three separate titles within the Best Sound Editing: Sound Effects, Foley, Dialogue and ADR (Television Animation) category.
We are beyond excited to accept the nominations for Supervising Sound Editor Jeff Shiffman and his crews on Half Shell Heroes and Teenage Mutant Ninja Turtles as well as Kate Finan and Jessey Drake for their work as dialogue and sound effects editors on Penn Zero: Part-Time Hero.
The study of the interaction between how our ears and brain respond to sound is called psychoacoustics or sound perception. As audience members, we can perceive a sound as being a pleasing experience or not and anywhere in between. But, this perception isn't formed merely by using our ears. The connections between our ears, brain, and nervous system let us feel the effects of sound with our entire body. This concept of physically hearing and psychologically perceiving sound helps to connect us to the television show, movie, or video game we might be enjoying.
A few months back, an episode of Nickelodeon's Teenage Mutant Ninja Turtles presented us with a stone cold challenge. In The Moons of Thalos 3, the gang encounters a bunch of Ice Dragons. We decided to get some custom ice recordings in order to give these creatures lots of original character.
Few people would truly describe themselves as a level-headed business person and innovative creative mind. It’s difficult to wear both hats well. As sound designers, we pride ourselves in approaching design challenges from new and exciting angles and using our creativity to elevate projects from ordinary to spectacular. We don’t generally relish wearing the business hat. Yet, most of us would still like to get paid.
That’s the crux--how do you set a price for something you love to do? The answer is: quite simply. Follow these seven steps, and you’ll find out how.
Have you ever attempted to record a prop, only to find that a small tweak creates an entirely different sound than you were going for? Sure a creaky door sounds like a creaky door, but what else can it sound like? How about hearing something while out and about that triggers your creativity? With the right tweaks, that bird would be a super cool laser blast!
As sound professionals, our ears are always open. Creatively, these discoveries can be the most exhilarating part of the job. I challenged the team here at Boom Box Post to come up with some of their favorite 'smoke and mirror' sound design moments; creating sounds from unexpected sources.
We've had an incredible year at Boom Box Post and want to say a giant thank you to all of our clients, friends, and blog readers! Day after day, we find ourselves feeling thankful for the opportunity to add our zany sounds to such amazing content. We wish you all peace, love, and joy in the new year!
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.
