Edward ULTIMATE was created by Tobias Vukadinovic, Josh Reinhardt and their team, and performed by Foley Artist Lara Dale – and it was a massive undertaking, covering almost 50.000 individual samples + 90 combinations of shoes and surfaces!
Here’s the inside-story behind the world’s most advanced Foley footstep sound effects library, as told by Josh Reinhardt and Lara Dale:
Hi Josh, could you please introduce yourself and how you got involved with the Edward project?
Sure, I’m Josh and I’ve been doing sound design for feature film and television for the better part of 10 years.
How I got involved with Edward is actually an interesting story! I have wanted to develop an interactive Foley software library since I first started recording Foley many years ago. Over the years I came up with the functionality and interface design, met with many developers, took a programming class, and even recorded a library with the very talented Foley Artist Lara Dale. We called the sound library “Ultimate Footsteps” and released it for sale. Before I left on a long trip abroad I stumbled across an Edward video and was impressed by their software.
Coincidentally the owner of Edward came across the “Ultimate Footsteps” library after I left, and contacted me while I was farming in France. After a number of emails we decided we’d meet in Düsseldorf and talk about our ideas for Edward Ultimate.
I’m glad we met because with his team this software has turned out better than I ever imagined
It turns out the coffee shop we met in was the same little shop that my grandfather grew up in before he had to flee because of the Holocaust, so it was very significant to me.
When I returned from my travels I sent Toby the GUI design and functionality that I had in mind and we got to work right away. I’m glad we met because with his team this software has turned out better than I ever imagined.
What’s included in Edward Ultimate – and what are some of the things that have been improved compared to the original version?
I wanted to include all of the functionality from the years of research I had devoted to my own software project into Edward Ultimate, so the old Edward had to be redesigned and re-scripted almost from the ground up. It was painstaking work, because there are nearly 50,000 samples in Edward Ultimate, which makes it the largest Kontakt instrument on the market.
There are nearly 50,000 samples in Edward Ultimate, which makes it the largest Kontakt instrument on the market.
I spent many hours deciding which footstep variations would be best suited for the keyboard. Everywhere I went I listened to my own footsteps and thought of the best sounds to use. I set it up so you can mix and match variations and create very complex performances for your character just by how you combine the different variations (scuffs, stairs stomps etc). Edward Ultimate will also have the ability to have sample updates so we will continue to add more footsteps, cloth and props in the future. In fact we have already recorded the cloth and prop pack with many types of cloth and props like purses, guns, backpacks, keys etc. it will be released shortly.
Surfaces: Asphalt, Carpet1, Carpet2, Concrete, Creak1, Creak2, Diamond, Dirt, Grass, Grate, Gravel, Rectangle Wood, Creaky Wood, Parquet, Cut Wood, Swiss Dock, Boat Wood, Linoleum, Marble, Puddle, Snow, Tile, Metal, Rocks, Water, Deep Water
Shoes: Sneaker, Boot, Dress, Heel, Flat
Specifications:
• Single-Patch Instrument
• 90 combinations
• 48.900 samples
• Unique control features
• Requires NI Kontakt 5.3.1 or higher
Surfaces: Asphalt, Carpet, Concrete, Diamond, Dirt, Grass, Dry Grass, Gravel, Hardwood, Leaves, Metal, Rocks, Timber
Shoes: Sneaker, Boots, Business, Heels, Slipper, Barefoot
Specifications:
• Single-Patch Instrument
• 43 combinations
• 35.600 samples
• Requires NI Kontakt 5.3.1 or higher
Surfaces: Carpet, Concrete, Gravel, Hardwood, Timber
Shoes: Sneaker, Boots, Business, Heels, Slipper, Barefoot
Clothes: Light, Medium, Jeans
Specifications:
• Multi-Patch Instrument
• 29 combinations
• 25.000 samples
• Requires NI Kontakt 5.3.1 or higher
What are some of your favorite features in the new version?
I really love the mod wheel and the pitch wheel! It’s great to be able to easily mix and switch between the two “decks” with the mod wheel. It gives you so much flexibility in your sound – much more then any other Foley software currently on the market. I also love the ability to use the pitch wheel to easily play a common step variation. This makes it much easier to perform, so you don’t have to jump around the keyboard to make complex performances. The software is specifically engineered for ease of performance and really cool sounds.
Josh presents a video overview of what Edward ULTIMATE looks – and sounds – like
Can you describe some of the recording sessions for Edward Ultimate?
I really liked meticulously testing each shoe to see which one would make the cut for the library. We went through many different styles and variations and each type of shoe had a unique name. The boots we ended up using were actually the same boots that we used for Sly Stallone in Expendables 3.
I really liked meticulously testing each shoe to see which one would make the cut for the library
I believe Lara named them “Blue Suede.” I think we were torn with the sneakers and couldn’t decide between a dependable pair that we always used, or another pair I had given Lara that I got from Switzerland called “Josh Swiss.” Whenever you are a Foley mixer that wears the same size as the artist you need to be willing to donate your old shoes to the stage! It’s cool to remember those long sessions – going through all those piles of shoes to see which ones would make for the best Ultimate shoe collection.
Simply send a message here with info of what version you have to get a special deal on the brand-new versions!
Do you have any tips, techniques or considerations from real Foley work that are useful for people working with Edward Ultimate?
I personally like recording the output of Edward, instead of recording using Edward as a plugin that reads midi data. This will allow you reallocate your processing power for other plugins in your session. When performing I like to use a program called “Streamers” that produces beeps and a swipe on the screen that matches your pre-roll so you know when to start your performance.
Find a place where you need steps in your project and watch it a few times. Dial in the settings and surface to match the production track as much as possible. Try to imagine what the performance would sound like, and especially pay attention to the timing and emotion of the characters.
Most performances can be done by combining the different keys/step variations (stomp, stair, scrapes, steps, scuffs, etc.) together. Assigning different step variations to the pitch wheel is also really helpful so you don’t have to jump to different notes on the keyboard. Sometimes it helps if you count how many steps you need, or say the performance out loud.
Use velocity mode on Edward so the midi keyboard responds to how hard you press the keys. That way, if someone is far in the background, you press lightly, and if they are in the foreground you press harder. This is really effective, but don’t be surprised if it takes a few tries – it is a skill that will take practice. Also don’t be surprised at how much fun it is once you master it! Much of this process is identical to what it is like to actually record and produce Foley, but this time you get to be the engineer and Foley walker!
“My name is Lara Dale and I am the Foley Artist for Edward Ultimate (Lara’s IMDB profile is here)
Because of my extensive background in dance and music I was very blessed to have been given the opportunity, through Josh Reinhardt, to learn the complex, fascinating and deeply esoteric art of Foley. I was able to pick things up fairly quickly, though I’m sure there were many times when Josh would have loved to have had me speed up my learning curve due to tight deadlines and thousands of cues!
I have to admit that at first I was very nervous about transforming years of effort and training into a sound library that could in effect replace me as a Foley artist. I feared it might make me obsolete, and that I would no longer be able to practice my craft. But as we talked through the amazing vision Josh had, and the ingenious way he was working with the team at Edward Ultimate to make it accessible to independent filmmakers, I soon became certain that it was not only the right thing to do – it was the inevitable future of post-production sound.
For those not familiar with Foley, it is a very similar discipline to dance in that it requires tremendous timing, strength, endurance and precision. It also helps to have an actor’s ability to convey emotional range and depth when creating the sounds each character produces as they move around onscreen. And, similar to a dancer, Foley Artists tend to have a stronger and a weaker foot in terms of endurance and precision.
One of the hardest parts about doing endless repetitions for the library was that I had to rely heavily on my right foot, as it had the most consistent timing while I was recording long takes. I was so engrossed in creating the best possible sound, and so determined to do whatever it took to get us through the sessions with as few glitches as possible, that I ended up seriously straining my right knee, because I wasn’t paying attention to the extreme stress on my feet and joints, or the need to take more breaks.
A tremendous amount of skill and concentration and effort went into providing you the best library Josh and I could possibly assemble
I point this out not for sympathy, but to help you understand that the art of Foley is very difficult and physically demanding, and a tremendous amount of skill and concentration and effort went into providing you the best library Josh and I could possibly assemble. Special thanks to my favorite shoes: Marilyn, Greta, Rita, Blue Suede, Spencer and Gary for being such reliable steppers!
As far as memories I have of doing the recording, the immediate thing that comes to mind is the countless hours spent in the dirt pit, inhaling clouds of dust as I tried to get the best gritty, dusty, rocky, sandy, watery and snowy outdoor footstep sounds possible. I came away with a very visceral sense of what it must be like to be a coal miner after those sessions, because I had a serious dust cough for a week!
In working with Edward Ultimate I hope you will come to understand the meticulous detail that goes into Foley and post-production sound. I also hope that you will be as enthusiastic about this incredible software as Josh and I are, and that you will come to appreciate the artistry and skill of talented Foley Artists and Foley Engineers, and the tremendous importance of Foley in filmmaking at any level. Enjoy!”
What do you think plugins such as Edward means for the Foley craft? And how do you see things ten years from now, for Foley artists?
I have tremendous respect and love for the craft and artistry of Foley, and there are really only a handful of great Foley artists out there. It takes many years and a real love of the craft to become a working professional, and it is a very limited, competitive field. I think the best Foley artists will always have a job so long as linear media and large budget films exist. Major studios will always have the budget to spend on award winning Foley artists that have dedicated their life to their craft, and produce outstanding, organic work.
With that in mind, Foley artists of that caliber are hard to come by. For that reason they are in high demand, and as a result, very expensive. The reality is that if you are a student or an independent filmmaker you most likely will not have the budget for a professional Foley artist, or the equipment, experience and space necessary to properly record Foley.
It is my belief that Edward will expand accessibility, raise awareness, and ignite MORE interest in the wonderful, fascinating world of Foley
The only other option is to leave it out of your project, or try to cut it by hand from a library, which is very tedious and difficult to make sound as natural as a great Foley artist.
Edward is a powerful tool for sound designers, independent filmmakers, students and professionals to assist in creating great media, now and in the future, since our library will continue to be updated to meet your needs. Edward is meant to bridge the gap for independent filmmakers, and make Foley accessible to anyone who wants to have a better sounding project and have fun doing it. It is my belief that Edward will expand accessibility, raise awareness, and ignite MORE interest in the wonderful, fascinating world of Foley, and as a result it will help filmmakers and film professionals create better sounding, more engaging media for everyone to enjoy!
Surfaces: Asphalt, Carpet1, Carpet2, Concrete, Creak1, Creak2, Diamond, Dirt, Grass, Grate, Gravel, Rectangle Wood, Creaky Wood, Parquet, Cut Wood, Swiss Dock, Boat Wood, Linoleum, Marble, Puddle, Snow, Tile, Metal, Rocks, Water, Deep Water
Shoes: Sneaker, Boot, Dress, Heel, Flat
Specifications:
• Single-Patch Instrument
• 90 combinations
• 48.900 samples
• Unique control features
• Requires NI Kontakt 5.3.1 or higher
Surfaces: Asphalt, Carpet, Concrete, Diamond, Dirt, Grass, Dry Grass, Gravel, Hardwood, Leaves, Metal, Rocks, Timber
Shoes: Sneaker, Boots, Business, Heels, Slipper, Barefoot
Specifications:
• Single-Patch Instrument
• 43 combinations
• 35.600 samples
• Requires NI Kontakt 5.3.1 or higher
Surfaces: Carpet, Concrete, Gravel, Hardwood, Timber
Shoes: Sneaker, Boots, Business, Heels, Slipper, Barefoot
Clothes: Light, Medium, Jeans
Specifications:
• Multi-Patch Instrument
• 29 combinations
• 25.000 samples
• Requires NI Kontakt 5.3.1 or higher
