Capturing the best performance doesn’t always mean it’s the clearest take, especially when crowds are involved. In this piece, Jennifer Walden speaks with sound designer Paul N.J. Ottosson about this conundrum in designing the sound for Detroit. From cleaning performances of large crowds to balancing scenes with delicately-placed audio sources, Paul gives us a look at how he and the sound team met the demands of this challenging project:
As an audio studio owner, you are in charge of not of only the schedules and budgets, but also the trust and personal happiness of your team members. Adriane Kuzminski interviews Gord McGladdery, owner of A Shell in the Pit, about how he began his studio and what he looks for in prospective projects. From appreciating the Vancouver community to meditating on Excel sheets, Gord shares insight into why his studio can work on the projects they are most passionate about:
Nuno Fonseca gives us a look into Sound Particles, his CGI-like program that uses – you guessed it – particle systems to generate dynamic 3-dimensional environments. Used in AAA games like Battlefield 1 and blockbusters like Justice League and Wonder Woman, this powerful tool creates complex soundscapes – up to millions of particles – without making you give up the control or detail of your design:
A Day Without Sound: On the Audiokinetic blog, Dr. Karen Collins shares her experience of blocking out sound for a day (with the help of two layers of earplugs). She talks about everyday experiences – going for a walk, feeding the dog, preparing a meal – and how the audio cues we’re exposed to both cause us to anticipate audible feedback and feel a little anxiety about the ones out of our control.
Shifting Perspective in FPS Sound Design: On his blog, Brian Johnson shares his approach in designing the sound for the “Operation Blood Storm” level in Call of Duty: Infinite Warfare. Brian gives us a beat-by-beat breakdown of the internal and external cues that direct the character’s focus and how he subtly created a cohesive and dramatic audio experience.
Coco’s sound story — music, guitars and bones: Over at Post Perspective, our good friend Jennifer Walden speaks with the Skywalker Sound team behind the movie’s excellent sound design. Features supervising sound editor/sound designer/re-recording mixer Christopher Boyes, co-supervising sound editor J.R. Grubbs.
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Forged in Fury Vol. 2 – Modular Weapon Sound Design Kit
Forged in Fury Vol. 2 continues the philosophy of providing fully modular sounds, allowing you to design and customize your weapon audio exactly as you need. Each element is carefully edited and organized into categories such as whooshes, retractions, impacts, blood, and more, giving you total control to adapt and layer sounds to your project.
This volume includes 586 individual sounds at 192 kHz / 24-bit quality, ready to use as-is or to combine and shape into something entirely new.
🎧 Featured Content:
– Greatsword (123 sounds)
Heavy metallic textures with more weight, blood, and impact than a standard sword.– Iron Staff (74 sounds)
Inspired by the legendary staffs of Shaolin monks, offering solid strikes and metallic resonances– Karambit Knife (252 sounds)
Fast, sharp, and deadly. Featuring rapid spins, swift cuts, and an ever-present sense of danger.– Nunchakus (137 sounds)
Dynamic and versatile, infused with the spirit of classic martial arts films. Includes wooden hits, chain rattles, and fast whooshes.🔑 Key Feature:
As in the first volume, each sound is delivered in editable layers (e.g., whoosh + impact + blood). Want a greatsword strike without blood? Just combine whoosh + hit and you’re set. You can even swap layers across different weapons to create entirely new variations.🎚️ Studio-Grade Quality:
Recorded at 192 kHz / 24-32 bits and delivered at 192 kHz / 24 bits, ensuring outstanding fidelity. Perfect for pitching, distortion, and heavy processing without losing clarity.👉 Forged in Fury Vol. 2 is not just a sound library, it’s a true creation kit, giving you the freedom to craft weapons and scenes with maximum flexibility and realism.
More about the pack
– Intuitive file naming
– Everything you need for a Greatsword, Iron Staff, Karambit Knife, or Nunchucks.
– Use the sound effects over and over again, in any of your projects or productions, forever, with no additional fees or royalties. Use the sound effects in your game, your trailer, a Kickstarter campaign, wherever you need them, as many times as you want.
– Fully mono support
– All sounds have several variations.
– Unleash your imagination and feel free to use any sound for something other than what is described; remember that the world of sound is entirely subjective.
– For any questions or problems: khronstudio@gmail.comFeatures
– 586 sounds
– Format: 192KHz / 24 bits
– Do Sound FX loop: No
– Win/Mac: Yes
– Minutes of audio provided: 06 minutes and 02 seconds45 %OFFEnds 1761778799
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