Asbjoern Andersen


Better Call Saul from AMC is a spin-off of Breaking Bad – and it’s massively popular with both critics and viewers. The series premiere became the biggest in cable history, and the first two episodes alone garnered more than 15 million views. The final episode premieres tonight on AMC – and the whole season can be seen across the world on Netflix from Tuesday.

To find out more about the sound for the show, I managed to get in touch with Nick Forshager, the man behind the sound for both Better Call Saul and Breaking Bad.

In this exclusive A Sound Effect talk, Nick shares his creative vision and workflow for the show, why it sounds markedly different from Breaking Bad – and the challenges of getting humor in sound just right.

 

Hi Nick, congrats on the fantastic reception to Better Call Saul! What’s it like being part of a project that’s received so enthusiastically by the viewers and critics – and what do you think makes the show so successful?

Thank you. It’s really great that everyone is very excited about the show. We had a lot of fun doing it. The success of the show is simple, Vince Gilligan and Peter Gould. They are amazing writers and show runners. They are involved with every detail of the show and they have such a tremendous vision.
 

What’s been your overall vision for the sound for Better Call Saul?

The vision for the sound of Better Call Saul has been to keep it authentic and organic. This isn’t a show that you can really fake. If you try and use sound effects that aren’t what you are seeing, the audience will know it’s off. So we take great care in making sure that the there is authenticity to what you hear. We also try and use as much organic sound as possible. We shoot over twenty hours of foley per episode.

We also try and use as much organic sound as possible. We shoot over twenty hours of foley per episode.

When we started this season I told our foley team, Dave Torres and Tim Chiton over at Smart Post, that we will use foley on this show like sound effects. Foley won’t just be just something to fill holes or used for an M&E. I told them we will use almost everything that I cue for the show. At first they seemed skeptical, but were excited about the challenge.

When we finished the first episode, they were blown away by how much of their work was helping tell the story. Foley is such a major component of the overall sound design and it is vital that is sounds good and that it works with the production effects. It’s what helps keep the show organic and authentic.
 

You’ve also done the sound on Breaking Bad – what’s it like returning to that world? And in terms of the sound, are you approaching Better Call Saul the same way you did Breaking Bad, or are things different this time around?

On the surface these shows seem very similar, but sonically it is very different from Breaking Bad. I think everyone was hoping that we would be making BB2, but Vince and Peter were pretty adamant about making each aspect of this show be new and unique.

I think the main difference between the two shows is the overall tone. Walter White’s world was all about death and secrets. The entire series was built around Walter hiding from the world what he was doing and who he was. So the world was generally very still, quiet and dark. We worked really hard at keeping his world isolated and sterile. We used very little background and used silence as a story telling device, which made his character more desperate and vulnerable. Jimmy’s world is the complete opposite. His world is alive and full of hope.

The main locations of the show have their own identity and they have become characters to the story.

The story is about Jimmy looking to make a mark on the world and be accepted. So we are using a lot more backgrounds and creating richer environments for Jimmy. The main locations of the show have their own identity and they have become characters to the story.
Whether it’s a buzz of the courtroom, or the high tech offices Hamlin, Hamlin, & McGill, the Vietnamese nail salon where Jimmy works and lives or the quiet of Chuck’s electricity free house. They all have a uniqueness that let’s you know right away were you are and how these locations affect Jimmy.
 

Are there any signature sounds and sonic references that you wanted to carry over from Breaking Bad to Better Call Saul?

Not really. It was important to think of the shows a two separate shows. Of course certain locations, like the desert, had been established in Breaking Bad and we wanted to carry that sound forward, but most of the show has been built for this show. I would imagine as Jimmy becomes closer to becoming Saul, there will be more things that we will bring back from Breaking Bad.
 

Who’s on the sound team for the show, and what’s the workflow like on an episode? Do you work on an entire season at once, or is it episode-by-episode?

Editorially we are using the same editing crew as Breaking Bad. Kathryn Madsen is my ADR supervisor and right hand man. She handles all the dialogue and ADR and coordinates with Jane Boegel our dialogue editor on every show. I handle the sound effects and sound design. Mark Cookson is my main sound designer and sound effects editor. Cormac Funge cuts all of our backgrounds and Jeff Cranford programs and helps edit the foley.

Theoretically we work episode by episode. We usually get five days of editorial per episode, however we have an average of ten days from lock/spot to first day of mix. We need that additional time to spot and begin prep on the new episode and finish the previous episode. Since we are on the stage two to three days per episode and it takes almost one day to spot, that extra time gets used up pretty quick. After we are done editing, I generally run each show with Mark, our sound effects editor. This is usually my last pass of integrating some of my sound design with the foley and Mark’s effects. Once I have seen the whole show edited, that is where I begin to think about little details that I can add to try and elevate the overall sound design.

After we are done editing, we start mixing with the crew over at Smart Post. Our mix team is Larry Benjamin and Kevin Valentine. I usually spend the first day pre-dubbing the show before our post producer Diane Mercer comes over for playback. The first half of the second day Diane, Kathryn, and Jason Newman, our music editor, go through our notes, check for content and to make sure everything is covered. This our last pass to add anything and to work on the more complex scenes before our executive playback.
This is where Vince and Peter come in and give their thought and notes. This is actually my favorite part of the process, because this is where you can really see how creative these guys are. They work through each scene and go through every detail. They are always trying to come up with creative ways of getting more out of every scene. They are very open to suggestions and to trying new things. So many great things come out of those last couple of hours of mixing.
 

What are some of the key elements to get right when doing sound for a show like Better Call Saul?

The key element in a show like Better Call Saul is to create the right sound effects for the humor.

It’s a tricky show because so many scenes are humorous, but they aren’t slapstick funny scenes. The sounds need to really support the humor, and if the sounds are too big or broad, they just won’t work.

It’s a tricky show because so many scenes are humorous, but they aren’t slapstick funny scenes. The sounds need to really support the humor, and if the sounds are too big or broad, they just won’t work. A good example is when Jimmy is in the trash can searching for evidence in Ep108. When the janitors dump the trash on Jimmy, we wanted to make it gross and disgusting.

Finding the right balance of wet sound and squishes was important in not making the scene too cartoony. Same thing when Jimmy gets out of the trash can he falls. If the body fall is too big it becomes less funny.


Popular on A Sound Effect right now - article continues below:


Trending right now:

  • – Evolved WATER Sound Library


    This isn’t just another water library, this is a professional’s dream library, and we feel you are all going to love it. Not only from all the source recordings, but also from all the incredible designed sounds. It really is an all around workhorse that will have you covered for everything WATER. With over 1600 files and over 3,000 sounds, this library is absolutely massive. Everything from rain, lakes, waterfalls, rivers, and bubbles all the way up to KYMA designed cinematic impacts. We spent over a year recording and designing this collection and are so proud to offer it to you for your toolbox!

    Why make another Water library? Because here at SoundMorph we always want to push the limits and quality of what is out on the current marketplace. Elements like WATER present a huge challenge to make modern and exciting. This is what we aimed for with this collection. Watch the Behind The Scenes video by clicking on the “How’s Made Button” to find out just how much went into making this colossal release. A new standard for any working sound professional!

    70 %
    OFF
    Ends 1731106799
  • Sci-Fi Sound Effects Robotic Lifeforms 2 Play Track 4100+ sounds included $159.60

    It’s been 5 years since the release of our Robotic Lifeforms 1 library, and we just felt we could do more! So we teamed up with an epic team of Sound Designers to create an ultimate follow up to it all with Robotic Lifeforms 2. This is no joke, a library of love and over 4,100 files and 12.5GB!

    Using some of the most advanced microphones, Kyma, and synths, we really went all out to bring what we think is the most advanced and modern Robot library ever created. Not only do you get over 2,700 designed sounds, but you also get over 1,300 source audio files recorded in 192 kHz 24Bit with the Sanken c1000 mic, so you can pitch the sounds to infinity to create some stellar new sounds of your own.

    In our opinion, this is THE robot library to have in your tool box. We aren’t just saying that because we made it, we are saying it because we believe it to be a fact.
    Take Robotic Lifeforms 2 for a ride, and you will be happy to own the most advanced robot library ever made so far!

    Library highlights:

    • 2,700+ designed sound effects
    • 1,300+ source audio files recorded in 192 kHz 24Bit with a Sanken c1000
    • Transforms, Mechanisms, Movements
    • Power
    • Servos
    • Air Hydraulics
    • Energy
    • Footsteps
    • Impacts
    • Computer
    • Devices
    • Attack Defense
    • Textures
    • Engines
    • Synth
    • Whooshes
    • Drills
    • Air Pneumatics
    • Motors
    • Bonus Recordings
    60 %
    OFF
    Ends 1731106799
  • Firearms Sound Effects Sci-Fi Weapons (Principle Sound) Play Track 2626 sounds included $50

    The Sci-Fi Weapons library delivers more than 2600 futuristic weapon shots, charges, ricochets and other related sounds.

    All of them were designed using exclusively recorded Foley sounds, synthetic layers, various sound manipulation and morphing techniques.

    Single shots and automatic fire, reloading ammo, energy blasts, impacts and explosions, surface hits – it’s all there, ready to be used in your sci-fi projects!

    Version 1.5 is out:
    In v1.5 update we add 11 new weapons and two new reloads/ricochets packs. The total number of sounds in the library comes up to 2626.

    50 %
    OFF
  • Foley Sound Effects Footsteps Bundle Play Track 3800+ sounds included $36

    The ‘Footsteps Bundle’ combines ‘Footsteps One‘ and ‘Footsteps Two‘ libraries together and brings you over 3800+ high quality footstep sounds on 19 unique surfaces to enrich the audio of your next project.

    Surfaces included:

    Dirt • Dry Sand • Dry Swamp • Forest Plain • Forest Plain II • Frozen Stairs • Grass • Grass Long • Grass Short • Gravel • Pine Needle Ground • Snow Deep • Snow Packed • Snow Scrape • Water Deep • Water Shallow • Wet Swamp • Wood Scrap • Wooden Stairs


    You get the sounds in two formats: 96 KHz 24 bit and in 44.1 KHz 16 bit, for more convenient ways of utilizing the sounds in games and other media.

    20 %
    OFF

Latest releases:

  • City Life Sound Effects Florence Italy May 2022 Play Track 21 sounds included, 36 mins total $12

    Embark on a Sonic Journey Through one of Italy’s most beautiful and striking cities
    Relive the magic of Florence with an immersive collection of field recordings captured during my May 2022 trip. These authentic soundscapes will transport you to the heart of this enchanting city:
    The Timeless Duomo: Experience the awe-inspiring ambiance inside and outside this iconic cathedral.
    Mercato Centrale: Hear the early morning hustle and bustle of this vibrant market, captured before the doors even opened.
    Evening Traffic: Feel the pulse of the city as the evening traffic fills the streets with life.
    Train Station: Immerse yourself in the lively atmosphere of the train station, a gateway to adventure.
    These evocative sounds will add a unique and authentic touch to your film, documentary, or creative project. As an experienced audio professional

    GEAR
    Zoom F3 with Audio Technica SP4025 Stereo mic
    Zoom F3 with Sonorous SO.103 Stereo mics (for covert recordings)
    Zoom H1n built in mics

    45 %
    OFF
  • Hello, everyone! Today, we present to you 100 pieces of Jump Scares sound effects crafted by us. The inspiration for these creations stems from a horror film called “Terrifier” that we’ve been extremely keen on lately. In this album, we’ve employed a plethora of metallic sounds and acoustic instruments. It’s anticipated that each sound effect cover will feature a “cute” clown. These sounds can be utilized in games, short videos, and film previews. We sincerely hope you’ll enjoy them.

     

    33 %
    OFF
  • Environments & Ambiences Rivers and Waterfalls Play Track 91 sounds included, 256 mins total $35

    This collection has over four hours of streams, rivers, and waterfalls, all recorded without birds or man-made noise. The 91 recordings offer a variety of perspectives, from close-up to distant, highlighting the natural gurgles and splashes. Everything was recorded in northern Norway, Belgium, and northern France.

    I created this collection primarily for myself, aware of the many Rivers and Streams libraries out there, but I couldn’t resist sharing it after enjoying the recording process so much. The sounds capture everything from the intense rush of water just above the roaring rapids to the gentle flow of rivers hundreds of meters away. In quiet natural environments, the sound of flowing water can be heard from very far and this really impacts the soundscape in a beautiful way. I also designed some waterfall samples, focusing on texture to avoid the typical pink noise. These additions sound powerful yet natural. There are also low-end recordings of a large waterfall, captured between rock formations, which deliver a deep roar with minimal high frequencies—perfect for enhancing water sounds.

    Many of the recordings were captured during a 30-day hiking trip through the northernmost parts of Norway. Crossing rivers without bridges was a significant part of the journey, and these sounds instantly take me back there, wet feet and all. I hope you’ll find them useful!

    Discover my other libraries
    Rain Ambiences
    Rain recorded in natural parks and urban environments.
    Wind Ambiences
    A cinematic and natural sounding wind library in surround.
    Interior Wind
    Wind recorded through creaks and cracks indoor in surround.
    Expressive Winds
    Unusual and distinct wind textures designed with great variety.
    Sign up for our mailing list to get notifications about new releases and the occasional podcast about field recording and sound design!
    30 %
    OFF
  • Foley Sound Effects Fiat Doblo 2005 panel van Play Track 235 sounds included, 47 mins total $65
    All files are recorded 32bit, 192 kHz, with Shure KSM 137, Line Audio Omni1, FEL Clippy XLR EM272 and Sonorous Objects SO.3 microphones, Sound Devices MixPre-6 II & Zoom F3 recorders. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is also available in UCS.
  • Dive into the nostalgic sounds of classic audio devices with 237 high-quality sounds captured from some of the most iconic audio-visual and gaming equipment of the past. Whether you’re a sound designer, producer, or game developer, this collection is a must-have for bringing the vintage audio experience to life.

    You will find detailed recordings from devices like the Universum SK-2215 Portable TV, Akai 4000DB Reel to Reel Recorder, Kodak Carousel Projector, BASF Hi-fi Cassette d-6135, Panasonic VHS Video Cassette Recorder nv-j11, Sony Walkman, Microcassette recorder, Vintage car radio, Atari console, Rotary telephone, Tube TV, Boombox, along with their accessories.

    Explore the rich variety of sounds including:

    – Tape insertions, motor hum, tape rewinds, play, stop, and fast-forward clicks.

    – Eject and insert, mechanical button presses, tape hiss, recording start/stop, and microphone pickup.

    – Player cassette insertions, radio tuning, volume knob twists, and FM/AM station changes.

    – Dialling sounds, receiver pick-ups and hang-ups, ringing tones, and background line noise.

    – Joystick clicks, cartridge insertions, and console start-up sounds.

    – Static, channel switches, power-up hum, and the warm buzz of CRT screens.

    – Cassette loadings, speaker distortion at high volumes, battery changes, and radio antenna adjustments.

    – Tape threading, spooling, fast forward, and record/playback mechanical movements.

    – Slot insertions, ejects, and console power-up sequences.

    Accessories Foley sounds include opening and closing of cassette cases, adjusting Walkman belts, rewinding reels, and handling vintage game cartridges.

    All files are recorded in pristine 24bit/96kHz .wav format with intuitive file naming and thorough metadata. Compatible with all DAWs, middleware, video editing software, and completely royalty-free.

    Bring the sounds of the past into the future and add authenticity and atmosphere to any project!

    Find the true sound of it.

    What else you may need

    You may also want to check out our Vinyl Foley & Scratch Library, featuring 120 high-quality sounds and samples of real vinyl, scratch and Foley that are organic, creative and perfect for both sound designers and producers.

    Analog and Digital Cameras Ultimate Bundle is another option with 1.000+ communication, digital, mechanical and equipment sound effects with pristine sounds of 36 wonderful cameras and their accessories.

    26 %
    OFF
Need specific sound effects? Try a search below:


Do you have any favorite sound moments you can share? And can you tell a bit about what went into making them?

I would have to say that my favorite moment on Better Call Saul so far has to be the episode “5-0”. We call it the Mike episode. It’s the episode where we learn about Mike Ehrmantraut’s backstory. Since a good portion of the show is flashback, and part of the story takes place in Philly, we got to use a lot of environments that we don’t get normally use. We got to create these cool transitions between present time and the past. It was an intricate balance between music and sound effects, but very effective in helping move the story along. Also, the entire episode had a noir feeling to it, so the final shootout scene lent itself to creating this really cool retro feel.
 

What’s been one of the strangest sounds you’ve had to come up with for the show? Any particular sounds viewers should keep their ears out for?

When we were spotting the scene in the desert with Tuco in EP102. Vince was talking about how he wanted the sound of Tuco breaking Cal’s and Lars’ legs to be the most horrific thing that we have ever done.

He wanted the sound of Tuco breaking Cal’s and Lars’ legs to be the most horrific thing that we have ever done.

Especially the sound of their screams. He wanted them to have this animalistic quality to them. He had suggested a rabbit screaming. I did some research and felt that the sound of the rabbits wasn’t big enough. So I began listening to other animals.

I came across this series of pig squeals, where a couple of them sounded like something I could use. Kathryn had re-recorded their screams in ADR and gave them to me so that I could see if I could get the pigs to match the screams. It was incredible how close the squeals were in tone and in pitch to their screams. When we played it for Vince he loved it. He loved it so much that we extended the squeals over the end of the scene into the next scene where Jimmy pulls up to the hospital with Cal and Lars. The squeals blended in perfectly with the tire squeals of Jimmy’s car coming to a stop. Sound just helped pull the two scenes together.

 

Please share this:


 

A huge thanks to Nick Forshager for the in-depth insights into making the sound for Better Call Saul. The season finale premieres tonight on AMC – and the entire season can be seen across the world on Netflix from Tuesday.
 

Photo Credit: Lewis Jacobs/AMC

 



 
 
THE WORLD’S EASIEST WAY TO GET INDEPENDENT SOUND EFFECTS:
 
A Sound Effect gives you easy access to an absolutely huge sound effects catalog from a myriad of independent sound creators, all covered by one license agreement - a few highlights:

  • This bundle includes these libraries from the popular Just Impact series:

    Just Impacts – Basic
    Just Impacts – Processed
    Just Impacts – Designed
    Just Impacts – Extension I
    Just Impacts – Extension II

    – at a great discount!

    60 %
    OFF
    Ends 1731279599
  • Materials & Texture Sound Effects Explainer Video Sound Kit Play Track 1222 sounds included, 120 mins total $76

    Skip all the hassle and wasted time trying to find the right sounds. Explainer Video Sound Kit has everything you need to create dynamic sound tracks for video ads, commercials, animations, marketing and explainer videos. Importantly, it’s all royalty-free and an unbeatable time saving value.

    As you know, creators of motion graphics, animations and explainer videos struggle mightily with finding the right sound effects for their projects. Sadly, wasting lots of time and energy. That’s why we created the Explainer Video Sound Kit. It’s an all-in-one power pack that gets your project done fast. 1200 designed sounds, cinematic elements, transitions, Foley, natural and organic sounds and a sweet selection of background music all ready to go.

    Instantly take your production to a new level of engaging sound. Create compelling audio/video experiences easier than ever. Save time and level up your audio skills like a pro with the Explainer Video sound library!

    21 %
    OFF
  • Featured Sound Creators Gearbox Play Track 3551 sounds included, 279 mins total $149.99

    We’ve ventured to obscure boutiques, prop houses and vintage shops to capture mechanical contraptions from around the world. Ranging from bizarre creations, to steampunk gadgetry, gizmos and machines, GEARBOX clocks in at over 10 GB of high definition, precision mastered sounds spanning across 2987 construction kit sounds and 584 designed sounds.

    GEARBOX equips Sound Designers with a literal toolbox of mechanical gadgetry. Ranging from tiny to huge, GEARBOX‘s machines and gizmos provide coverage for interacts, mechanism, machine or device in your scene or game.

    INTRODUCING BUILDING BLOCKS

    In addition to CONSTRUCTION KIT and DESIGNED SOUND content, GEARBOX features BUILDING BLOCKS. This category of sound consists of designed phrases and oneshots utilized for our designed machinery, empowering Sound Designers with maximum flexibility when trying to get that particular phrase from an existing DESIGNED SOUND. GEARBOX features over 468 BUILDING BLOCKS ranging from levers, hits, grinds, snaps, and more.



    GEARBOX - Rock The Speakerbox Professional SFX


Explore the full, unique collection here

Latest sound effects libraries:
 
  • City Life Sound Effects Florence Italy May 2022 Play Track 21 sounds included, 36 mins total $12

    Embark on a Sonic Journey Through one of Italy’s most beautiful and striking cities
    Relive the magic of Florence with an immersive collection of field recordings captured during my May 2022 trip. These authentic soundscapes will transport you to the heart of this enchanting city:
    The Timeless Duomo: Experience the awe-inspiring ambiance inside and outside this iconic cathedral.
    Mercato Centrale: Hear the early morning hustle and bustle of this vibrant market, captured before the doors even opened.
    Evening Traffic: Feel the pulse of the city as the evening traffic fills the streets with life.
    Train Station: Immerse yourself in the lively atmosphere of the train station, a gateway to adventure.
    These evocative sounds will add a unique and authentic touch to your film, documentary, or creative project. As an experienced audio professional

    GEAR
    Zoom F3 with Audio Technica SP4025 Stereo mic
    Zoom F3 with Sonorous SO.103 Stereo mics (for covert recordings)
    Zoom H1n built in mics

    45 %
    OFF
  • Hello, everyone! Today, we present to you 100 pieces of Jump Scares sound effects crafted by us. The inspiration for these creations stems from a horror film called “Terrifier” that we’ve been extremely keen on lately. In this album, we’ve employed a plethora of metallic sounds and acoustic instruments. It’s anticipated that each sound effect cover will feature a “cute” clown. These sounds can be utilized in games, short videos, and film previews. We sincerely hope you’ll enjoy them.

     

    33 %
    OFF
  • Environments & Ambiences Rivers and Waterfalls Play Track 91 sounds included, 256 mins total $35

    This collection has over four hours of streams, rivers, and waterfalls, all recorded without birds or man-made noise. The 91 recordings offer a variety of perspectives, from close-up to distant, highlighting the natural gurgles and splashes. Everything was recorded in northern Norway, Belgium, and northern France.

    I created this collection primarily for myself, aware of the many Rivers and Streams libraries out there, but I couldn’t resist sharing it after enjoying the recording process so much. The sounds capture everything from the intense rush of water just above the roaring rapids to the gentle flow of rivers hundreds of meters away. In quiet natural environments, the sound of flowing water can be heard from very far and this really impacts the soundscape in a beautiful way. I also designed some waterfall samples, focusing on texture to avoid the typical pink noise. These additions sound powerful yet natural. There are also low-end recordings of a large waterfall, captured between rock formations, which deliver a deep roar with minimal high frequencies—perfect for enhancing water sounds.

    Many of the recordings were captured during a 30-day hiking trip through the northernmost parts of Norway. Crossing rivers without bridges was a significant part of the journey, and these sounds instantly take me back there, wet feet and all. I hope you’ll find them useful!

    Discover my other libraries
    Rain Ambiences
    Rain recorded in natural parks and urban environments.
    Wind Ambiences
    A cinematic and natural sounding wind library in surround.
    Interior Wind
    Wind recorded through creaks and cracks indoor in surround.
    Expressive Winds
    Unusual and distinct wind textures designed with great variety.
    Sign up for our mailing list to get notifications about new releases and the occasional podcast about field recording and sound design!
    30 %
    OFF
  • Foley Sound Effects Fiat Doblo 2005 panel van Play Track 235 sounds included, 47 mins total $65
    All files are recorded 32bit, 192 kHz, with Shure KSM 137, Line Audio Omni1, FEL Clippy XLR EM272 and Sonorous Objects SO.3 microphones, Sound Devices MixPre-6 II & Zoom F3 recorders. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is also available in UCS.
  • Dive into the nostalgic sounds of classic audio devices with 237 high-quality sounds captured from some of the most iconic audio-visual and gaming equipment of the past. Whether you’re a sound designer, producer, or game developer, this collection is a must-have for bringing the vintage audio experience to life.

    You will find detailed recordings from devices like the Universum SK-2215 Portable TV, Akai 4000DB Reel to Reel Recorder, Kodak Carousel Projector, BASF Hi-fi Cassette d-6135, Panasonic VHS Video Cassette Recorder nv-j11, Sony Walkman, Microcassette recorder, Vintage car radio, Atari console, Rotary telephone, Tube TV, Boombox, along with their accessories.

    Explore the rich variety of sounds including:

    – Tape insertions, motor hum, tape rewinds, play, stop, and fast-forward clicks.

    – Eject and insert, mechanical button presses, tape hiss, recording start/stop, and microphone pickup.

    – Player cassette insertions, radio tuning, volume knob twists, and FM/AM station changes.

    – Dialling sounds, receiver pick-ups and hang-ups, ringing tones, and background line noise.

    – Joystick clicks, cartridge insertions, and console start-up sounds.

    – Static, channel switches, power-up hum, and the warm buzz of CRT screens.

    – Cassette loadings, speaker distortion at high volumes, battery changes, and radio antenna adjustments.

    – Tape threading, spooling, fast forward, and record/playback mechanical movements.

    – Slot insertions, ejects, and console power-up sequences.

    Accessories Foley sounds include opening and closing of cassette cases, adjusting Walkman belts, rewinding reels, and handling vintage game cartridges.

    All files are recorded in pristine 24bit/96kHz .wav format with intuitive file naming and thorough metadata. Compatible with all DAWs, middleware, video editing software, and completely royalty-free.

    Bring the sounds of the past into the future and add authenticity and atmosphere to any project!

    Find the true sound of it.

    What else you may need

    You may also want to check out our Vinyl Foley & Scratch Library, featuring 120 high-quality sounds and samples of real vinyl, scratch and Foley that are organic, creative and perfect for both sound designers and producers.

    Analog and Digital Cameras Ultimate Bundle is another option with 1.000+ communication, digital, mechanical and equipment sound effects with pristine sounds of 36 wonderful cameras and their accessories.

    26 %
    OFF

   

3 thoughts on “This is how the rich, lively sound of ‘Better Call Saul’ is made

  1. OMG! Glad to see this feature on here, I’ve really enjoyed BCS a lot, including the sound design — some of Nick’s insights take on even more relevance when I look back at how they impacted part of the show. For example, when Jimmy is searching for the Sandpiper records in the trash, I definitely marveled and “ewwwed” at how moist and yucky it sounded. Without it being overdone, it just contributed to the overall VISCERAL FEEL of that scene.

    I wonder how they did the sound design for the scenes where Chuck is freaking out outside in his space blanket? There was some quick visual cutting to emphasize that discomfort as well as high-pitched tones that heightened the dissonant awkwardness.

    • Hey Torley, thanks for the comment! Really glad you enjoyed it :) I’ve sent your question on to Nick. I don’t think he has a lot of time on his hands at the moment, but fingers crossed he gets the chance to answer here.

  2. Hi Torley,

    Great follow up question.
    The sound design for Chuck’s freak out is one of those moments where everyone has a hand in helping create a really unique moment. The initial sound design started with picture assistant/co-editor Chris McCaleb. He assembled some great sound in the temp that really gave us a good blueprint to work from. Vince Gilligan really liked what Chris had done, so I knew we were going to use some of those elements as part of the design. In our spotting session Vince also mentioned that he wanted the whole scene to have a pulse that would build up to the end, so that it would be more dramatic when we cut to the woman watching thru the window. Dave Porter, our composer, was writing score that was supposed to end when Chuck opened the door, but he was afraid that it would seem like it was going to feel like it was going to drop out if he didn’t extend it outside. So he created the low pulse that became the glue that holds the whole scene together. I wanted to create a couple of elements that would give the scene more motion.
    So I created some doppler electric buzzes that we could pan across the power lines. After that it was Kevin Valentine, our sfx mixer’s, job to put it all together. While we were mixing it I asked him if we should process the car horn. He was like sure, let’s try it. He started using some plug-in that made the car horn sound really electronic. I’m not sure what it was, but it created this really cool electronic tone which just added to the whole overall design. Like so many moments in BCS it is really a team effort to create each moment.

Leave a Reply

Your email address will not be published. Required fields are marked *

HTML tags are not allowed.