These podcasts are all members of the Audio Podcast Alliance. → Learn more here
Hear all the episodes below:
In Conversation, Episode 13 brings in current Cinema Audio Society President, Peter Kurland CAS, to discuss his career as both Boom Operator and Production Sound Mixer; his experience with musicals; his many Academy Award, CAS and BAFTA nominations; as well as his view on the Cinema Audio Society.
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Tonebenders ran episodes with members of the sound teams of all five nominees in the “Best Achievement In Sound” category at this year’s Oscars. So here are some of our favourite clips from each interview. Plus a few un-aired minutes from the “Oppenheimer” interview that we saved for this episode.
Starting with James Mather talking about the epic Fiat car chase scene in “Mission Impossible: Dead Reckoning Pt 1”. Then Richard King talks about the immense research the team did to get the sounds correct on “Oppenheimer”. Next is Tom Ozanich explaining his approach to making the huge climatic orchestra scene work emotionally. After that is Erik Aadahl discussing how explosions can’t just go “boom” they have to reflect the plot when they happen in the story. Finally we have Johnnie Burn explaining how the two films he worked on last year, “Zone Of Interest” & “Poor Things”, intersected with each other.
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In this episode of the Immersive Audio Podcast, Oliver Kadel travels to Reykjavik, Iceland, to meet Treble Technologies whose mission is to enable a better-sounding world. Treble is a start-up that built the world’s leading acoustic simulation platform that can generate interactive, real-time, immersive audio-visual auralizations. In this two-part series, we will explore the complex world of acoustic simulation.
In this second part, we dive more into audio product design and the close collaborative process between the developers and the software users. We’ll cover the emerging market of synthetic data generation for machine learning and talk about the future road map for Treble.
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Our guest today is Eran Ben-Isaac. With over 12 years of experience as a professional production sound mixer, Eran’s expertise has graced numerous film and TV productions, documentaries, and commercials. Now based in Brussels, Belgium, his influence spans both local and international projects.
Eran’s natural environment is the film set, where he captures the sonic essence of every moment, skillfully recording and mixing sound to bring each scene to life. So join us as we dive into his journey, the intricacies of production sound mixing, and the global experiences that have shaped his unique approach.
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Composer Thomas Brunet talks about his absolutely stunning music for “Chants of Sennaar” in this episode. We love how spontaneous the music sounds, and the colorful, creative instrument palette. In addition to the wonderful music, Thomas and I talk about a new graduate program he’s created for music and sound design in Bordeaux, France, as well as his love for and knowledge of French literature.
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Today’s guest is Zach Heyde, a composer based out of Los Angeles. He has worked on a ton of different projects with clients like Disney, Dreamworks, Roblox, and many others. He also runs an online course called “The Composing Career Bootcamp” where he teaches composers how to build a full-time career.
In this episode, Zach and I talk about the importance of being uncomfortable, the types of opportunities there are in the world of composition, how to start networking as an introvert, success as a content creator on YouTube, and so much more.
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In this exclusive SoundWorks Collection video, we explore the sound effects tracks of “Can You Hear The Music” scene and how this Oscar nominated sound team collaborated with Director Christopher Nolan.
Featuring Sound Designer / Supervising Sound Editor Richard King, Re-Recording Mixer Gary A. Rizzo, Re-Recording Mixer Kevin O’Connell and Production Sound Mixer Willie Burton.
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In this interview, re-recording mixers Tom Ozanich and Dean Zupancic discuss the mix of Bradley Cooper’s film Maestro – currently in the running for a ‘Best Sound’ Oscar (among other noms!) They talk about mixing the Ely Cathedral scene and the party scenes, mixing effects in a musical way during scenes without score, and so much more!
Interview by Jennifer Walden, sound library highlights by Christian Hagelskjaer, and hosted by Asbjoern Andersen from asoundeffect.com.
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2-time Academy Award®-winning composer Hans Zimmer joins us on the podcast to discuss his work on “Dune: Part Two,” after winning an Oscar for his score to the first installment of the sci-fi franchise, directed by Denis Villeneuve. And like Denis, Hans had been dreaming about working on these films since he was a boy. And he also knew he wanted to take them in a less traditional direction, sonically:
“These were the things which probably had been on my mind ever since I read the book. It’s just… I never had the opportunity to try them. I could never understand why, in a science fiction movie — I loved them all — but why we would hear a sort of a European orchestral sound. Why the strings? Why the French horns? Everything else looked futuristic. Everything else was different. Except the music still stuck to the rules of the romantic period. I’m not criticizing it. There’s nothing I love more than ‘Alien’ or ‘Star Wars.’ They’re phenomenal things. But I saw my duty very much as going beyond that.”
— Hans Zimmer, Composer, “Dune: Part Two”
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All over the world, there are unique and breathtaking sounds that you can only hear in one specific place. In this episode, we travel to two of the most astounding sonic wonders in the United States. The first is a hidden sound installation in Times Square that might be the most visited art exhibit on Earth. The second is an enormous organ built right into the rock of an ancient Virginian cave. These stories originally aired on the Atlas Obscura podcast.
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The Audio Podcast Alliance gives you a hand-picked selection of the world’s best podcasts about sound – here are the members:
Hear more audio-related podcasts here
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I’ve Decided to Make This Small Instrument Free—Enjoy!
Enjoy :)Snow Foley Instrument, a collection of pristine snow footsteps samples recorded with the legendary Sony PCM-D100 in the remote mountains of southern France. To enhance your sound design workflow, the samples are accompanied by user-friendly Kontakt and DSsampler instruments.
Whether you’re crafting linear sound designs, immersive interactive experiences, or dynamic game environments, this versatile library has you covered.
Key Features:
- 8 Different Walking types
- More than 200 unique samples
- Recorded in real snow, in different depths
- Stereo 96Khz 24bit
- Kontakt & DSsampler
- Midi Controlled Knobs
*Runs in Kontakt or Free Kontakt Player version 7.7.3 or higher, and in DecentSampler 1.9.13 or higher.
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Bicycle Sound Effects City Bicycles – Complete Bundle Play Track 633 sounds included, 330 mins total $120The complete package bundles all available City Bicycles-packages and is fully UCS compliant. The ‘Various Passbys + Bicycle Handling’ package is added as a free bonus!
This is a unique bicycle library that captures four characteristic bikes in clean, quiet, nicely performed true exterior rides. Including multiple perspectives, speeds and actions. From fast passbys on asphalt to slow onboard recordings, smooth or skidding stops. This package contains everything you need to create convincing sound design for a City Bicycle.
Contents:
Four bikes with distinct characteristics:
1. Good bike: a smooth sounding retro bike that doesn’t rattle or squeak, really nice tire noise.
2. Bad bike: an old worn bike with severe rattles and cranking, tends to let the chain fly off.
3. Ugly bike: this bike gets you from A to B… but it won’t win awards for it’s looks.
4. Racer bike: a vintage racer that’s pre-owned but still super slick.
Five perspectives:
1. Onboard Front: captures the whirring tire and surface sound.
2. Onboard Pedal: nice overall combination of pedaling, crank creaks, chain rattle, tire and surface sounds.
3. Onboard Rear: close up sound of the rear axle, with chain, sprocket and switching of gear.
4. Tracking shot: mono recording of the passby, keeping the bike in focus while passing by.
5. Static XY shot: stereo recording of the passby that emphasizes speed.
Five perspectives:
Overview of perspectives and mic placement*Onboard recordings are 2-3 minutes long depending on speed. Higher speeds > shorter duration. All 3 onboard mics are edited in sync with one another to make layering easy. All Passbys, Arrivals and Departures move from Left to Right.
Speeds and actions:
Three speeds for every bike and every surface (see below). Departures from slow, medium to fast getaways. Arrivals from slow stops with gently squeaking handbrakes to heavy stuttering skids.City Bicycles – Perspectives Demo
Five surfaces:
We’ve recorded all Bikes on asphalt from all perspectives (onboard and roadside). Additionally, our most quiet bicycle (the Good Bike) was used to record 4 other surfaces from onboard perspectives.
Five Surfaces:
1. Asphalt: nice and clean, with smooth singing sound.**
2. Large Bricks: nicely textured surface that makes the tires purr like a cat.**
3. Gravel: a fresh crackling surface sound that you might find in a city park.
4. Grit: classic bicycle path surface sounds that layers perfectly with the other surfaces.**
5. Icy road: frozen asphalt with sparkling textures of ice crystals snapping under the wheels.
**these surfaces are also recorded from Roadside Perspectives (passby: static and tracking)
City Bicycles – Extra Surfaces Preview
BONUS files:
There are some sweeteners and extras to give your bike that extra layer of grit:
1. Exterior recordings of various actions in multiple takes from rattles, bounces, shakes to roll-bys. Enough to make your bike sound just a little different.
2. We also recorded 21 additional single passbys of various bicycles, from severely rattling to smooth riding bikes on small brick streets and alleys. Enough to expand your options to create a distinguished sound design.Metadata & Markers:
Because we know how important metadata is for your sound libraries we have created a consistent and intuitive description method that adheres to the Universal Category System. This allows you to find the sound you need easily, whether you work in a database like Soundminer/Basehead/PT Workspace work, or a Exporer/Finder window. We made a video that helps you navigate the library ans find your best bicycle sounds faster and easier.
CategoryFull
A quick way to filter out sounds you don’t need: like handling sounds or vice versa bicycle onboards.
UserCategory
Fastest way to find the type of action you need for all bicycles. Passby needed, just click and voila.
OpenTier
Once you’ve selected the bike you can open up OpenTier and audition and select the perspective you want to use.
Scene & Performer
This field contains the type of bicycle to quickly navgiate to the bike you like.
iXMLTrackLayout
This is a neat little identifier you will find in the Waveform displays and you can see in a glance what Listening position you are.
MicPerspective
We have another way to find perspectives but it is more limited to distance to the recorded subject.
So passbys are MED – EXT and handling are CU – EXT. Exterior? Of course: we recorded everything outside!
UserComments
We used this field to create the UserData and give you the minimal set of information about the recording in the filename.Additionally, we added Markers making specific sonic events are easy to spot in Soundminer and other apps.
If you have any questions about this, please contact us info@frickandtraa.com!
Single Bicycle packages:
We also sell single packages for all the bicycles in this library.
Here’s a handy comparison table:
Reviews:
344 AUDIO: ‘City Bicycles has a plethora of content, for a great price. The perfect balance between a great concept, great presentation and outstanding execution, lands them an almost perfect score of 4.9.‘The Audio Spotlight: City Bicycles is worth getting if you are in need of great sounding and well edited bicycle sounds.
Watch a video created by Zdravko Djordjevic.
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