In the latest episode of Sound Business, Akash Thakka asks, Music, Sound Design, or Both? Does being both a composer and a sound designer actually end up with us getting less work?
The Soundbytes Podcast brings a brief deep-dive into the concept of mastery, and the journey required to achieve that goal, covering the process of starting a creative endeavour, and addresses practice, fear, looking stupid, experimentation, and a host of other subjects.
Academy Award-Nominated sound editor & mixer Ai-Ling Lee joins the SoundGirls Podcast and talks about her work as a sound designer, re-recording mixer, and sound supervisor on a variety of films including JoJo Rabbit, La La Land, First Man, Deadpool, Wild, Maze Runner, and Buena Vista Social Club
Level with Emily Reese welcomes Maclaine Diemer, who talks about his music for the newest expansion for Guild Wars 2 called End of Dragons. Inspired by traditional Korean music and instruments, Emily and Maclaine talk at great length about the special instruments he chose to use and the beautiful music for GW2: End of Dragons.
Over at the Sound + Image Lab: The Dolby Institute Podcast, the Best Sound category for this year's Academy Awards is explored and features interview excerpts taken from full episodes dedicated to the sound design of each of the incredible, nominated films.
The Game Audio Journey podcast kicks off season 3 with an interview with James Mello and his winding path into game audio.
The Location Sound Podcast talks shop with Stephen Harrod, a Los Angeles-based production mixer and boom op.
Finally, Twenty Thousand Hertz tells the interesting story of British Pirate Radio where, away from the mainstream, a group of rebellious radio DJs decided to give the people what they wanted.
Hear all the episodes below:
Podcast highlight by Stuart Keenan
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A complete collection of sonic exploration by Slava Pogorelsky.
Grow your sound arsenal with an ever evolving collection of high-end cinematic and fresh sound effects!
Here’s what to expect:
STEAMPUNK VINTAGE MACHINERY AND MECHANISMS introduces a fresh sound palette for steampunk soundscape of machinery and mechanisms that sound huge, gritty and full of character, totaling 1454 sound effects.
RESONATING METAL FORCE offers a fresh sound palette of reverberant aggressive metal rampage, totaling 680 sound effects. Featuring creeping evolving metal pressure and resonating rattle, massive rumble, explosive impacts and nerve-racking squeaks.
HORROR SERIES VOL.1: EVIL STRINGS TORTURED WIRES offers a unique toolset for nightmarish designs, totaling 564 sound effects. Featuring creeping dread of bowed metal wires, strings and double bass, providing exciting opportunities for unique layering.
CINEMATIC MAGICAL ICE is offering a unique toolset for ice-cold freezing designs, totaling 267 sound effects. Great for fantasy genre with ice based magic, motion graphics, time lapse and flow motion freeze sequences.
CINEMATIC WATER WHOOSHES AND TEXTURES is offering a unique toolset for water and underwater designs, totaling 285 sounds. Great for hyper realistic designs, water based magic, surreal underwater movement or motion graphics with liquid elements.
CINEMATIC WOOD SYMPHONY is offering a variety of wood based recordings that were morphed into a unique audio experience that bends the boundaries between recognisable source and unusual wooden textures, totaling 611 sound effects.
SCI – FI ELEMENTS VOL.1 is offering a variety of carefully crafted futuristic sound effects that vary from pleasant and musical to unpredicted and glitchy, totaling 364 sound effects.
CINEMATIC METAL WHOOSHES is offering a unique collection of aggressive roaring metal whooshes and transitions with cinematic feel and mind bending characteristics, totaling 120 sound effects.
WHAT SOUND PROFESSIONALS SAY:
Philip Eriksson – Audio Director (It Takes Two, Battlefield V, Star Wars: Battlefront I & II)
“Slava has some pretty kick ass sound libraries!”Victor Mercader – AAA Sound Designer (Apex Legends)
“I find myself continuously using Slava’s SFX libraries to blend it’s pristine and detailed sound designs into my own sounds. They always add that cutting edge I am missing and make my sound designs more unique and pristine. The Sci-fi Elements sound library is the perfect library to use and blend into my UI designs in Apex Legends.”Enos Desjardins – Sound Designer/Sound Effects Editor (Mission: Impossible – Dead Reckoning, Black Mirror)
“Slava has been creating some really cool libraries which I find myself using time and again. Really high quality recordings to start with but then the cool processing he has used for example in his cinematic whoosh libraries really stand out. They are not just your standard generic whoosh sounds but are loaded with character and have a unique feel to them that is really fresh and cuts through in the nicest of ways.”Bjørn Jacobsen – AAA Sound Designer (CyberPunk 2077, HITMAN, DARQ)
“Slava has for several years made high quality sound effects for me to play with. I use his sound libraries across multiple projects as lego blocks of my creations.”Stefan Kovatchev – Audio Director (MultiVersus)
“Slava has put together an impressive collection of high quality source assets, recorded cleanly, and at high sample rates. It’s always refreshing to find a new purveyor of good source material. I particularly enjoyed Resonating Metal Force, which is comprised of very useable, unique tonal textures and impacts.”Shane Tetro – AAA Sound Designer (Remnant II)
“Slava’s libraries feature high-quality, adaptable recordings and designs. There is plenty to dig through in every pack, making each library extremely dynamic for various applications. Their exceptional textures have significantly enhanced my workflow; consider me a fan!”Samuel Gagnon-Thibodeau – Sound Designer/Sound Effects Editor (Dream Scenario, The Watchers, Hunting Daze)
“Slava’s Cinematic Wood Symphony detailed textures and movements blend so well in what I’m usually looking for in terms of sound design. It really brings proximity and sensitivity to the action while feeling real and natural. The creative blend of the wooden sounds with whooshes and impacts also makes them very unique. I’m finding myself coming back to them more and more as they fit in many situations.”
Yarron Katz – AAA Composer and Sound Designer
“Slava makes some wonderful libraries. He’s relatively new on the scene and his libraries have come to critical acclaim. He takes some general ideas, like whooshes and he injects some extremely revolutionary and innovative ideas to them, so you’re not getting another whoosh library – you’re getting something very unique, very fresh. He brings some wonderful ideas to the table.”26 %OFFEnds 1733525999
Episode outline:‘Most budding audio designers I see coming in to the game industry are so worried about finding work, that they tell everyone that they’re a “composer/sound designer”. But, does being both things actually end up with us getting less work? In this episode, we cover why you should (or shouldn’t) focus on just music or just sound design throughout your whole career.’
Hear the episode:
Episode outline:‘Hello! Welcome back to episode fifty-one of our monthly podcast about games and game audio. This episode is a brief deep-dive into the concept of mastery, and the journey required to achieve that goal. It’s a bit of a brain dump surrounding the process of starting a creative endeavour, and addresses practice, fear, looking stupid, experimentation, and a host of other subjects.’
Hear the episode:
Episode outline:‘Ai-Ling Lee was born in Singapore where she studied music audio engineering. After two years of mixing and editing commercials and music, she moved to Los Angeles in 1998 to pursue a career in sound design for feature films. Since then she has worked as a sound designer, re-recording mixer, and sound supervisor on a variety of films including JoJo Rabbit, La La Land, First Man, Deadpool, Wild, Maze Runner, and Buena Vista Social Club. Ai-Ling has had the opportunity to work with directors Damien Chazelle, Taika Waititi, Jean-Marc Vallée, Noah Hawley, Wes Ball, Cameron Crowe, Gus Van Sant, and Sam Raimi, to name a few. She has been nominated for four Academy Awards (editing and mixing), two BAFTA, nine MPSE awards, and won a CAS award for Best Sound Mixing.’
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Episode outline:‘Maclaine Diemer talks about his music for the newest expansion for Guild Wars 2 called End of Dragons. The music is inspired by traditional Korean music and instruments, a much needed educational dive into a rich tradition! Emily and Maclaine talk at great length about the special instruments he chose to use and the beautiful music for GW2: End of Dragons.’
Hear the episode:
Episode outline:‘Welcome to our continuing coverage of this year’s Academy Awards. Like last year, we have compiled interviews from each of the nominees in the Best Sound category. So, if you are an Oscar voter — either as an Academy member or as a fan participating in your annual office pool — you’ll have a much better idea of what to watch for and (more importantly) what to listen for as you get to the Best Sound category on your ballot!’
Hear the episode:
Episode outline:‘In the 1960s, the BBC had a vice grip on British radio, and rarely played the pop and rock music that was all the rage. So a group of rebellious radio DJs decided to give the people what they wanted, and started broadcasting popular music from boats stationed in international waters. Soon enough, these young DJs became national superstars… until the British government decided it was time to sink these pirates once and for all. This story comes from the History This Week podcast.’
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Episode outline:‘Stephen Harrod is a Production Sound Mixer and Boom Op based out of Los Angeles, California. He uses a Sound Devices 633 mixer/recorder, Lectrosonics wireless and Sennheiser G3s for camera hops. Boom mics are the Sennheiser MKH-416, MKH-50 and MKH-60. Stephen also uses a MixPre-10T in a second bag. Deneke and Tentacle Sync for timecode’
Hear the episode:
Episode outline:‘Season 3 begins with James Mello and his winding path into game audio.’
Hear the episode:
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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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