Asbjoern Andersen


This is Part 2 of a guest blog post by sound designer Mark Camperell, Founder & Creative Director at Empty Sea Audio and its sister company, The Library by Empty Sea:

In Part 1, Mark shared his tips on how to come up with ideas for your new library, and finding great material to record. In this second part, he takes a look at post processing your sounds, and the things you have to consider when pricing your work:

 

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 to your raw material and reject any sound that doesn’t fit or doesn’t meet with your standards. You have to put on your customer hat. If you don’t like it, chances are someone else won’t like it either.

3: Your sounds should be cleaned from any pops, clicks and mic bumps. Top and tail your files to the first and last modulation so that you’re keeping file size to a minimum. If you tout the physical size of your collections when you advertise, your customers will thank you for not charging them for extraneous megabytes of silence.

If you need to improve your signal to noise ratio, do it in a way that’s transparent and that won’t detract from your recording.

EQ to taste to accentuate the interesting parts of the sound. Compress if needed to beef up a sound. Don’t brick the stuff, leave that to your customer. Some of us like to have dynamic range to play with when we design! Master your files so that categories of sounds are playing back at a similar perceived loudness and timbre. I try to have sounds playback at a level that makes sense for what it is. Foley gear doesn’t need to be mastered to -1db seeing as it’s usually going to be playing back well below that. Tire squeals on the other hand could be mastered to -1db no problem.

4: Name your files in a way that makes sense and makes it easy to search/sort.
I personally use a “collection_object_action_#” method. There are a million ways to name and organize your files. Pick one that works for your collection that you are comfortable with.

5: Finally… metadata. If you don’t know what metadata is, you should take the time to do some research. There are a lot of great articles out there about metadata. I suggest those written by Tim Prebble.

Most sound designers HATE when a library they just spent good money on doesn’t come with embedded metadata.

Metadata is quite powerful and it makes the library experience so much more enjoyable when the embedded metadata is well grounded.

Most sound designers HATE when a library they just spent good money on doesn’t come with embedded metadata.

It makes the investment harder to use because you end up spending so much time figuring out what each sound is and categorizing it yourself. Without naming naming names, there are some notable offenders out there that do not include this stuff. While they have great sounds, I find myself using them less and less because they’re less efficient to search.
 

Sell, sell, sell

I get a lot of questions about how I come up with a price for an individual collection.

Without getting too much into economics and supply & demand, this section should help you price your products.

Usually what I do is start by looking at comparable products that are available. This gives me a good baseline. Next, I look at my obvious costs. Did I have to pay for access to the item? Did I have to rent or purchase any specific gear for this collection? These are things that should be built into the price.

You should take into account the uniqueness of the collection also. If you were able to get access to something quite rare, then the price should reflect the scarcity of the item that you are recording.

The other thing to factor in is how much time you spent on the collection.
All-in if you spent 40 hours on it, price the collection so that 5 or 6 sales cover your 40 hours.

Make the lean times less lean by creating a passive income stream.

You don’t want to have to sell 300 copies just to make your rate on the time you put in.
My goal with selling sound effects packs is to make the lean times less lean by creating a passive income stream.

The quicker you can break even on a collection, the quicker you start realizing the benefits of passive income.

There are some costs associated with selling your packs beyond just the time you spend and gear required.

You have to have a web shop set up to sell the stuff so there could be web/graphic design fees. Hosting costs money. You’ll need to set up a merchant account so you can address issues like accepting credit cards, Paypal, worldwide currency among other concerns. A merchant account will take a small percentage on every transaction, price accordingly.

Additional things to think about… Your website may be hosted on servers located in Colorado or Texas. Your customer might be in the Czech Republic. To ensure reliable transfers for large files and fast rates of data transfer, you might want to consider placing your product with a worldwide storage service. Your product will be securely stored on redundant servers around the world and they will use the most efficient one for transfer to your customer.

You’ll pay a few bucks a month to store and a few bucks per transfer for a service like this, but I assure you that your customers will be thankful that your 3GB collection of sounds won’t take three days to download.

In the end, you aren’t really selling sound effects. You’re selling a license to use your sound effects.

I would encourage you to talk to an attorney or use a legal service like Legal Zoom for getting an End User License Agreement for your sound packs. You want to protect yourself and your intellectual property from those that are looking to take advantage.

Among other things, your EULA should be clear in how your customer is allowed to use the sounds that are purchased.

It should also be clear as to how many customers are allowed to use the collection per purchase. You really should have two license agreements. One for single user and one for multiple users.
 

Conclusion

Don’t expect to pull in thousands of dollars immediately with your first sound pack, especially if you are currently toiling in relative obscurity. Ben Burtt could probably rake it in with his very first pack, you probably will not.

That doesn’t mean you shouldn’t try!

It may take a few collections before you start seeing profits. If you use your collections as a way to fill holes in your schedule you’ll start to have more and more offerings.

Having a diverse portfolio of products gives you more credibility. If your products are high quality and contain unique sounds people will start to notice.

Try giving away a few free copies to trusted friends, colleagues or people whose work you admire. They’ll use your sounds on projects and your stuff will be heard. Their colleagues might take notice and inquire where the sounds came from.

Word of mouth is very powerful. The more people that are familiar with your product, the more apt you are to sell it or other products. You never know who is looking for exactly what you are selling.

This could be a chance for you to try new things you haven’t tried before. You could use it as a personal showcase for your abilities beyond the usual projects you encounter. Maybe you’ve been pigeon holed into weapons or vehicles on your last three jobs.

Releasing a sound pack could give you a chance to show what you can do with creatures or environments.

Remember, make it something you’d want to purchase yourself. And, most of all have fun with it! No one tells us to “SHHHHHHH” so why not get out there and make some noise?

 

Please share this:


 

About Mark Camperell:

Mark Camperell is the Founder & Creative Director at Empty Sea Audio and its sister company,
The Library by Empty Sea. Mark’s direction, along with his ability to assemble uniquely talented audio teams, is positioning Empty Sea as a leader in creative audio services ranging from sound effects libraries to original music composition to full service post audio packages. In addition to his position at Empty Sea, Mark is also a freelance Supervising Sound Designer, Re-Recording Mixer and Music Producer with over 100 titles under his belt. Mark is an active member of the Motion Picture Sound Editors and Motion Picture Editors Guild.

The Library by Empty Sea:

  • Drones & Moods Dronos Play Track 154 sounds included, 154 mins total $30 $21

    Brand New Sci-Fi Ambiences from The Library by Empty Sea. 6+ GB, 150+ sounds, almost 3 hours of material, all 96k, all looped for easy use.

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  • Foley Gateway – Part 1, 2 & 3 Play Track 600-3200+ sounds included From: $30 From: $21

    Tired of those same old door knobs and hinge squeaks that you hear in every single game, film and TV show? Well, Gateway aims to remedy that issue while providing you with a brand new palette of sounds.

    Gateway comes packed with doors, doors and more doors! Low end, high end, slow horror creaks and squeaks, huge slams and impacts, tiny compartment doors.

    The Gateway family now includes the just-released Gateway Part 3, with more than 1400 new sounds.

    Doors, gates, overhead rollups, cabinets, closets, drawers, garage doors, fireplaces, sheds, you name it!

    Latches and knobs, wrought iron and chain link! Metal, wood, glass and MORE! All of these doors were acoustically captured in the real world. You won’t find anything synthesized here!

    Did we mention doors? Yeah, Gateway has those too.

    Gateway Part 1 features 675 files, 1200+ sounds

    Gateway Part 2 features 365 files, 600+ sounds

    Gateway Part 3 features 772 files, 1400+ sounds

    The Gateway 1-3 Bundle features 1812 files, 3200+ sounds

    Special offer:Do you already have Gateway Part 1 or 2? Send a message here for a special upgrade offer for part 3.

    Choose your preferred version below – or land some great savings by getting all three in one handy package!

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  • Mechanical Robobiotics Play Track 3600+ sounds included $150 $105

    Robobiotics is an exciting new sound effects collection from The Library by Empty Sea. It delivers 3600+ original sound effects for scifi and robots. We’re talking about almost 3 hours of material here.

    We spent over a year recording and designing Lasers, Robot Vox, Impacts, Servos, Ratcheting Metal, Ambiances, Transformations, Foley, Vehicle Bys and much much more!

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  • Animals & Creatures Sea Monsters Play Track 4000 sounds included $75 $52.50

    Sea Monsters from The Library by Empty Sea is a collection containing over 4000 sound effects for creature vocals. This collection weighs in at a whopping 9GB!

    A must-have for any sound designer looking to level up on creature sound design.

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  • City Life Transit: Japan Play Track 40 sounds included, 2.75 hrs mins total $30 $21

    Looking for authentic ambient sounds of Japanese transportation? Look no further! Field recordist and composer Ryan Ayers travelled to Japan in April of 2019 and captured this wonderful collection. His journey took him from Osaka to Tokyo to Fukuoka and all points in-between. Travel aboard the trains of the JR, the famous Shinkansen, the Hanyu Ferry and more! Explore the train platforms and station terminals of Osaka. Get lost in the Kansai International Airport. There is a subway noodle shop as well as specialty food markets. Authentic walla and natural activity give this collection the ear candy necessary to be an integral part of great soundscapes.

    This is a purely recorded sound pack. Nothing is synthetic or layered here. What you hear is exactly what was captured on location. We edited and mastered the files to bring out the best parts of the recordings. Most of the recordings have been ready-made into loops for ease of use. As always, we have embedded the files with detailed metadata for easy database searches.

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  • User Interface (UI) Ui One Play Track 1400 sounds included $45 $31.50

    This collection contains over 1400 original sound effects for user interfaces, telemetry, gadgetry and more.

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  • User Interface (UI) Ui Two Play Track 377 sounds included $45 $30

    Ui Two is the sequel to our overwhelming popular Ui One collection, this collection contains 377 original sounds uniquely crafted for creating user interfaces, telemetry, gadgetry and more.

    Empty Sea’s Mark Camperell, carefully crafted these sounds using a variety of beepers, boopers and other sonic tools. A sample of which include synths, samplers, spectral editors and more. Each sound was recorded at 48k/24bit. Planned, processed, mangled and otherwise destroyed, every single tone was tweaked until it was something new, original, and exciting.

    As usual, we meticulously edited, mastered and embedded the files with metadata. This collection is priced to move, so don’t hesitate. If you’re tired of the your same old UI inspiration, Ui Two from The Library by Empty Sea is a great addition to your library.

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  • Foley Lethal Blow Play Track 983 sounds included $49.99 $34.99

    Lethal Blow is a collection of high quality fight sound effect. It features 925 sound effects; 600 source recording and 325 designed sound effects. It comes loaded with all sorts of sounds – from simple punches to multi-layerd crunchy blows and and meaty hits.
    All source sounds ware recorded with top tier microphones; Sennheiser MKH8040 and MKH8060 at 192kHz/24Bit with a Sound Devices recorder.

    Collection consists of two main categories:

    DESIGNED 96/24 (325 SFX)

    Bone Breaks – Crunchy breaks, snaps and tears.
    Grabs, throws and blacks.
    Bright Punches – Punches with meaty bottom and pronounces “beef slap” transients.
    Crunch Punches – Punches layered with bone breaks and cracks .
    Dark punches – Punches with more of a deep, organic, thump-y sound.
    Rips and tears – Fatality-like, gory tears.
    Simple Punches – Organic sounding, deep punches that consist of only few layers (compared to other punches).
    Punches “Xtra” – Punches without Arm movement/scuffle/whoosh – just a hit that you can layer with your own woos/scuffle
    Skull crashes – Gory, slimy skull crashes and splits
    Swooshes, whooshes snd scuffles.

    SOURCE CONSTRUCTION-KIT 192/24 (600 SFX)

    Scuffles, arm movements and whooshes – Cotton, denim and nylon.
    Snaps – Leak snaps
    Flesh drops – Dropped oranges
    Cotton transients – Cotton hoodie hit with a soft drum mallet
    Real chest punches – Closed fist
    Meaty punches – Beefy, organic punches (punching beef steaks).
    Lettuce punches and smacks – Deep, wet lettuce punches plus exaggerated transient sounds.
    Real chest smacks – Open fist
    Meat movement – gory, slimy, beef movements.
    Meat Slaps – Beef steaks dropped on a tile floor with pronounced transients
    Small crack – cracking eggshells
    Bell pepper rips – Tearing, ripping apart Bell peppers for crunchy snaps and cracks
    Whooshes and swooshes – Airy whooshes
    Fabric Movement – random, cotton cloth whooshes and multiple swishes.

    325 designed sound effects will get you started right away and save a lot of time when cutting fight scenes.
    600 high quality source recordings will allow you to design all kinds of punches, bone brakes and gore sound effects from scratch, exactly to your taste.

    All sound effects are highly tweakable. You can fine-tune them to your liking; pitch them up/down to remove/add weight whilst retaining details and clarity.

    Download includes:
    96-192KHZ 24BIT version (925 SFX/562MB)
    44.1KHZ 16BIT version for Unreal Engine (925 SFX/264MB)
    192KHZ 24BIT BONUS source recordings (58 SFX/30MB)
    RECORDED WITH: Sound Devices MixPre 6 + Sennheiser MKH8040 + Sennheiser MKH8060
    EDITED AND MASTERED WITH: RX, Pro Tools, Brufri, DMGAudio, Sonnox, Fabfilter

    30 %
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  • Foley Haunted Doors – Designed and Source Play Track 209 sounds included $24.99 $20.99

    Haunted Doors [D&S] is a collection of 209 old doors sound effects.

    HD consist of of 45 designed sounds (Opens, Closes, Cinematic Door Impacts @ 96kHz 24Bit) & 164 source recordings (Door creaks, knob twists & turns, rattling, squeaking, opens, closes, locks, bolts and more! @ 192kHz 24Bit).

    All audio files have been recorded at superb 192KHZ 24BIT. Multiple mic positions to capture all
    the little details such as loose lock mechanisms, inner rattling, stuttering creaks and rich natural reverbs of empty corridors.

    Comprehensive Soundminer's metadata. Over 25 different door knobs and handles,
    over 10 pairs of hinges, 10 different doors and more! Perfect for horror movies, games and more.

    LOCATION: Spain, Costa Blanca. Traditional Spanish hacienda before renovation.
    RECORDED WITH: Sound Devices MixPre 6 + Sennheiser MKH 8060
    EDITED AND MASTERED WITH: Pro Tools, iZotope RX (mildly),Fabfilter, Zynaptiq, Waves.

    16 %
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  • Human Swordfighter Play Track 479 sounds included $25 $18

    Swordfighter is a robust package with sharp sounding swords, heaps of variations and all the extras you need to make a fight come alive. Build unique sword swings with various hits, swooshes, schings, different fighter vocals and impacts on various surfaces. All up there are 137 sword sounds, 93 surface impact sounds, 15 knife throwing sounds, 48 swooshes and 180 fighter vocals.

    This version includes two sub-folders: one optimised for a film & TV workflow and the other optimised for video games workflow. Plus a few bonus sounds of a charging army.

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Explore the full, unique collection here

Latest sound effects libraries:
 
  • Destruction & Impact Hardwork Play Track 237 sounds included, 26 mins total $28.99 $23.99

    Who doesn’t recognize the sounds of construction work and the toughest duties ever known to humankind. Drilling, hammering, building and constructing. (Swearing not included). Packed with 237 different sounds to immerse you audience in the true hardwork day to day

    Recorded with

    Sound Devices 633
    Rode NTG3
    Rode NT4
    Seymour Duncan SCR-1

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  • Weapons Weapon Mech & Reload Sounds Play Track 800+ sounds included $80

    Weapon Mech & Reload Sounds is a sfx library recorded for police / military related film or video games. Recorded at 24/96,(real guns and soft/air guns) with 3 microphones (omni, cardioid and shotgun), you can use one sound or mix the 3 layers together for more impact!

    Key Features:

    Library ships in 96kHz, 24bit
    408 files, more than 800 sounds
    Effective workflow: well-grounded Soundminer Metadata
  • Foley Lethal Blow Play Track 983 sounds included $49.99 $34.99

    Lethal Blow is a collection of high quality fight sound effect. It features 925 sound effects; 600 source recording and 325 designed sound effects. It comes loaded with all sorts of sounds – from simple punches to multi-layerd crunchy blows and and meaty hits.
    All source sounds ware recorded with top tier microphones; Sennheiser MKH8040 and MKH8060 at 192kHz/24Bit with a Sound Devices recorder.

    Collection consists of two main categories:

    DESIGNED 96/24 (325 SFX)

    Bone Breaks – Crunchy breaks, snaps and tears.
    Grabs, throws and blacks.
    Bright Punches – Punches with meaty bottom and pronounces “beef slap” transients.
    Crunch Punches – Punches layered with bone breaks and cracks .
    Dark punches – Punches with more of a deep, organic, thump-y sound.
    Rips and tears – Fatality-like, gory tears.
    Simple Punches – Organic sounding, deep punches that consist of only few layers (compared to other punches).
    Punches “Xtra” – Punches without Arm movement/scuffle/whoosh – just a hit that you can layer with your own woos/scuffle
    Skull crashes – Gory, slimy skull crashes and splits
    Swooshes, whooshes snd scuffles.

    SOURCE CONSTRUCTION-KIT 192/24 (600 SFX)

    Scuffles, arm movements and whooshes – Cotton, denim and nylon.
    Snaps – Leak snaps
    Flesh drops – Dropped oranges
    Cotton transients – Cotton hoodie hit with a soft drum mallet
    Real chest punches – Closed fist
    Meaty punches – Beefy, organic punches (punching beef steaks).
    Lettuce punches and smacks – Deep, wet lettuce punches plus exaggerated transient sounds.
    Real chest smacks – Open fist
    Meat movement – gory, slimy, beef movements.
    Meat Slaps – Beef steaks dropped on a tile floor with pronounced transients
    Small crack – cracking eggshells
    Bell pepper rips – Tearing, ripping apart Bell peppers for crunchy snaps and cracks
    Whooshes and swooshes – Airy whooshes
    Fabric Movement – random, cotton cloth whooshes and multiple swishes.

    325 designed sound effects will get you started right away and save a lot of time when cutting fight scenes.
    600 high quality source recordings will allow you to design all kinds of punches, bone brakes and gore sound effects from scratch, exactly to your taste.

    All sound effects are highly tweakable. You can fine-tune them to your liking; pitch them up/down to remove/add weight whilst retaining details and clarity.

    Download includes:
    96-192KHZ 24BIT version (925 SFX/562MB)
    44.1KHZ 16BIT version for Unreal Engine (925 SFX/264MB)
    192KHZ 24BIT BONUS source recordings (58 SFX/30MB)
    RECORDED WITH: Sound Devices MixPre 6 + Sennheiser MKH8040 + Sennheiser MKH8060
    EDITED AND MASTERED WITH: RX, Pro Tools, Brufri, DMGAudio, Sonnox, Fabfilter

    30 %
    OFF
    Ends 1576709999
  • Game Audio Packs & Bundles Electro-Mechanics Toolkit 2 Play Track 860+ sounds included $67 $53.60

    The “Electro-Mechanics ToolKit 2” Sound Effects Library features a wide range of versatile electro-mechanic motors, engines, tools and toys.
    All waiting to be cut up, layered, edited and mangled with FX to become spaceship engines, robot movements, sci fi doors, weapon mechanics.
    This library is not meant to be a comprehensive tools library but rather a composite toolkit to bring futuristic electro-mechanic machines, devices, weapons, vehicles, … sonically to life.
    All cleaned and edited for direct use in your upcoming projects.

    All sounds have embedded BWF Metadata.

    Categories:

    Air Compressor • Angle Grinder • Band Saw • Belt Sander • Bowling Alley Machinery • Buffing Machine • Turning Lathe • Buzz Saw • Chop Saw • Doors & Shutters • Electric Drill • Electric Screwdriver • Electric Wood Plane • Evacuator • Film Projector • Fine Blanking Tool • Fretsaw • Grinding Lathe • Hand Blender & Mixer • Hoist Industrial • Industrial Vacuum Cleaner • Jigsaw • Mechanic Toys • Metal Saw • Milling Machine • Stationary Drill • Strimmer • Toy Helicopter

    20 %
    OFF
    Ends 1576623599
  • Game Audio Packs & Bundles RC Cars | Reely Core Buggy Play Track 170+ sounds included $35 $28

    Looking for sounds of a remote controlled car? Here you go: This sound effects library features 170 sound effects of the Reely Core RC Car. You get several on-board and external driving sounds, pass-bys, close-up steering mechanics and idling mixtures, and of course some crashes. All sounds are edited and cleaned for direct use in your upcoming sound design projects. All sounds contain detailed BWF Metadata.

    20 %
    OFF
    Ends 1576623599

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