In this month's Inside Sound Design, we have a brief chat with sound effects editor Kevin Hart. Kevin is a passionate member of the Boom Box Team who experiments with integrating other DAW's and softwares into his workflow. You can read about his method for creating dynamic fight backgrounds in Ableton Live here. In this post, Kevin shares his ideas and methods for creating the sound of high powered, electricity-based energy skates.
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Some things never stop being funny, no matter how much time has passed. This is also true for sound effects. Some classic sound effects and jokes we use have been around for more than half a century! Kate gave an excellent run down of animation sound's origin in her THE HISTORY OF ANIMATION SOUND post, and many sounds devised by Carl Stalling, Treg Brown and Jimmy MacDonald(and the derivatives of their sounds) are still being used by sound editors today! This week, I asked a few of our editors to tell me about their favorite cartoon sound effects.
Last week we introduced the first of our fantastic new interns: Ian Howard. This week we check in with the other: Ruben Infante. Ruben attended Full Sail University, and recently worked as a Lead Stage Manager for NASA. We're thrilled to have him with us, and excited to hear about his unique perspective on sound and learning.
Here at Boom Box Post, we take pride in educating our interns and preparing them for the world of audio post-production. We are lucky to have a plethora of excellent candidates each and every time we interview. This week marks the beginning of a brand new class of interns: Ian Howard and Ruben Infante. In today's post I chatted with Ian about his background, expectations and desires for his internship education.
In this month's interview post we chat with Mak Kellerman, one of our talented sound effects editors here at Boom Box Post. Mak has worked with Boom Box Post on Future-Worm, Pickle and Peanut, Penn-Zero: Part Time Hero and many other exciting animated shows. Mak is expert at creating interesting sci-fi builds and today he was working on creating the sound of an evil haunted portal!
For this month's interview post I sat down with Brad Meyer, a sound effects editor here at Boom Box Post. Brad spends a lot of his time designing exciting, signature sound effects for his shows, especially vehicle sound effects, using both custom recordings and sound library material. Brad sat down with me to talk about his process for creating the signature sound effects for a demonic race car that is possessed by monsters.
Here at Boom Box Post we do a lot of wild sound effects recording. In the last year we’ve recorded props as varied as children’s ball pits, seed pods from trees, laser swords, metal impacts, metal screeches with dry ice, christmas lights, human and non-human screams, zombie moans, body drags, two different Ford Mustangs and of course: farts. We’ve used a wide variety of different equipment to accomplish these recording goals. For our most recent vehicle recording(blog post coming soon) we rented a few additional microphones and took advantage of the new gear to set up a brief microphone shootout. The microphones we compared were the Sennheiser MKH 8050, a compact super-cardiod condenser, the Sennheiser MKH 8060, a short shotgun based on the same capsule as the 8050 and the Neumann KMR 82i, a highly directional short shotgun. All three are popular choices for sound effects and film production recording. We wanted to test the timbre and character of each microphone as well as how they interacted with the acoustics in our edit bays. To test the mics we recorded a variety of sample material similar to the type of recordings we make.
Here at Boom Box Post we have an exciting internship program that runs throughout the year. During the program each of our 2 interns will shadow editors, record foley props and participate in a series of lessons encompassing the different sound services Boom Box provides. This includes dialogue editing, sound effects editing, mixing and more. For more information on our internship program click here. We collect applications year round and would love to hear from you!
Our newest class of interns began about a month ago and have done a great job learning about sound editing and recording as well as showing their passion for sound. We hope you enjoy this brief look into our program and our stellar interns: Liz Roman and Amanda Niles.
Today's blog post is a spotlight on audio tools. I'm using the word "tool" in a broad sense, to mean anything used in conjunction with a set of skills to accomplish work or goals. I've asked several Boom Box Post editors to tell me about their favorite tools used when working with audio. This could be a plug-in, a collection of sound effects, a microphone or even a technique they have learned or developed.
One of the pillars of our creative learning environment here at Boom Box Post is our internship program. During the program our interns shadow editors, record foley props and participate in a series of lessons encompassing the different sound services Boom Box provides, such as dialogue editing, sound effects editing and mixing. For more information on our internship program click here. We collect applications year round and would love to hear from you.
As our current class of interns nears the end of their time here at Boom Box, we wanted to showcase their unique personalities and backgrounds. We hope you enjoy this brief look into our program and our fantastic interns: Madeline Kushner and James Singleton.
The shocking conclusion of our 2 part vocal sound design challenge is here! In Part 1 we asked several BBP editors to perform a non-english vocalization, and tell us about the imagined creature that created it. For this post, we asked a few other BBP editors to process, twist and have fun with one of the clips in order to enhance the original vision. Not surprisingly, they favored the clips with a lot of low-end information, and especially enjoyed pitch-related processing. Check out the before and afters, plus each editors methods below!
This month we're kicking off a two part Boom Box collaborative blog post challenge! I've tasked our editors with creating a unique non-human/non-english voice from their own mouth that is evocative and has potential for sound design. Next month I will assign each editor someone else's voice, which they will twist and tweak to help achieve the original intent, using whatever tools they choose.