Got word from David Fienup that Soundopolis recently released their new Gore Toolkit HD sound library – so if you’re looking to add some gore and carnage to your project, it could be well worth checking out. The library contains 798 sounds in 139 audio files and feature sfx such as Blood, intestines, bones, flesh, Read more
Post process Just as daunting as the recording process is the post process. Most often times, this takes longer than the actual recording time. My go to steps are as follows: 1: Group related sounds on their own track. This will make your editing, processing and naming much easier from the start. 2: Listen Read more
Want to get started creating and selling your own sound effects libraries? This guide explains how you get it done:
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Chad Glenn from The Coil just told me that they’ve released their very first SFX library: Indecent Machines – an industrial sci-fi sample collection of cybernetic machines, featuring sounds such as Mutant robotics, mechanical snippets, evolving textures, rhythmic artifacts and menacing atmospheres Check out their demos below, and grab the library for $49 here!
Be sure to check out Paul Virostek’s feature about A Sound Effect – it provides some valuable insights on how the site works:
Q: Is A Sound Effect a “web store?” Are you selling the sound effects, or taking a commission? In other words, is it a commercial enterprise, a community service, or a “portal?”
A: A Sound Effect is a free service – there are no fees, no commissions to be paid, and I’m not selling the sound effects. I essentially provide a catalog of what’s out there – and the actual hosting and sales is done on each sound designer’s own site, on their own terms, from their own store.
The site is a side-project to my normal composing work in Epic Sound, and if it takes off on a big scale down the line, I’ll logically have to devote more time to it then. If that happens, I’ll have to think of some sort of balance between what everyone’s getting out of it, and the hours, energy and resources I’m pouring into it.
But there are no concrete plans in that regard. Right now, I’m just excited by the positive reception to the site – and if it indeed becomes too much to run as a side-project, I’ll of course talk to the sound designers involved to hear their views on what the best way is to proceed.
Read Paul’s feature, where he also shares his experiences adding his own libraries to the site.
RAW BUFFERS – a Discman glitch library.
Abrasive glitch clicks, scrambles, tones and bursts.
Harvesting the glitches from short-circuiting the “electronic skip protection” chip on a late 90’s Discman player.
Connecting the legs of this chip mangles and scrambles the buffer data, resulting in abrasive digital clicks, stutters, tones and bursts.
23 minutes (1.6GB) of 192kHz/24 bit recordings
UCS compliant and with relevant metadata.
A look at how emotional states (must) affect your sound design choices:
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I’m happy to report that I’ve just been high-fived by a monkey. This is of course a wonderful thing in itself, but it also turns out to be list manager Mailchimp’s way of confirming that a newsletter has been scheduled. So yes, the very first edition of the A Sound Effect newsletter will be arriving Read more
Want to know more about A Sound Effect, the thinking and ideas behind the site? Be sure to check out Gianpaolo D’Amico’s at the Italian sounDesign blog: As an individual library creator, it’s a challenge to get your work and site to be seen as an alternative to the established libraries if you’re only offering, Read more
