Hi Bryan, what’s your overall approach to trailer sound?
My approach is really from several angles at once:
First I realize that it is my job to make the film makers happy and to make a trailer that is exciting or captivating for the audience. You only have a short time to tell your story and draw them in so the vision needs to be clear. You can’t leave it up to the mixer to figure out, you have to lay it out so that it sings on its own.
That said I take the music and the story into very strong consideration. I try hard to compliment the music and express the sonic story as much as possible. Working with music is an art in itself that involves both pitch and rhythm but telling the story within that context can be very tricky… especially if you want it to be exciting. Clarity is key.
What makes for a great trailer soundscape?
Soundscapes can tell sorts and reveal concepts that music can’t because it is based on sounds that are grounded in life, unlike music. Music is great at expressing feeling and emotion on a subject level. but sound design is rooted in life experience. The sound of a train of in the distance, a jet fighter ripping by or even ring of a gunshot.
We all can relate to those ideas because we all have been collecting those sonic images our whole lives… through life, through cinema and in our dreams.
A great soundscape is one that pushes what is familiar into a new experience
I think what makes a great soundscape is one that pushes what is familiar into a new experience. One that makes you collect all of the sonic images that bring to life all the images.
What are your favorite tools for trailer sound creation?
Having great sound source is key and knowing what will and what will not work is very important. I am all about processing chains.
I have saved templates that specific processing chains I like to use for certain things, I have racks that I have saved in Soundminer and lately I have been doing a lot of that same thing with Patchwork. That is a great plug-in that allows you to stack processes from top to bottom and left to right with an overall dry/wet control. I use Waves TransX quite a lot.
I like the GRM stuff, Soundtoys, Melda and a host off odd ball processors. I am always looking out for different processes and tools for shaping sound. Lately I have been having lots of fun with Reaktor. The Twisted Tools stuff is great and Meltedsounds Whoosh is endless fun.
Popular on A Sound Effect right now - article continues below:
Latest releases:
-
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.
-
This is a unique bicycle library that captures this characteristic bike in clean, quiet, nicely performed true exterior rides. Including multiple perspectives, speeds and actions. From fast passbys on asphalt to slow onboard recordings and smooth stops.
The UglyBike is a typical old bicycle that’s working fine, but needs some TLC. It is a bicycle that’s just average, a little rattle a gentle scrape, a bike that everyone has had but got traded in for a newer one. A story of unrequited love.. :)
Speeds and actions:
Three speeds. Departures from slow, medium to fast getaways. Arrivals from slow stops with gently squeaking handbrakes to heavy stuttering skids.Five perspectives:
1. Onboard Front: captures the whirring tire and surface sound.
2. Onboard Pedal: nice overall combination of pedaling, crank creaks, chain rattle, tire and surface sounds.
3. Onboard Rear: close up sound of the rear axle, with chain, sprocket and switching of gear.
4. Tracking shot: mono recording of the passby, keeping the bike in focus while passing by.
5. Static XY shot: stereo recording of the passby that emphasizes speed.
Overview of perspectives and mic placement:
Onboard recordings are 2-3 minutes long depending on speed. Higher speeds > shorter duration.
All 3 onboard mics are edited in sync with one another to make layering easy.
All Passbys, Arrivals and Departures move from Left to Right.Metadata & Markers:
Because we know how important metadata is for your sound libraries we have created a consistent and intuitive description method. This allows you to find the sound you need easily, whether you work in a database like Soundminer/Basehead/PT Workspace work, or a Exporer/Finder window.However, we are aware that some people have different needs for different purposes, so we’ve created a Metadata Reference Guide that explains the structure. And because we’ve automated the metadata proces, you can be confident that a ‘find & replace’ command will always replace all instances.
Download our Metadata Reference Guide
Download complete metadata PDF
If you have any questions about this, contact us!
Additionally, we added Markers to some wave files, so specific sound events are easy to spot in Soundminer or other database apps.
Need more?
The UglyBike library is part of the complete ‘City Bicycles’ library package available at www.frickandtraa.com. It consists of all 4 bicycles and includes additional surfaces and extras ranging from one-off bicycle passes captured in the city and bounces and rattles. The extra bicycles surfaces and additional effects are also available seperately here on ‘a Sound Effect’. If you’ve bought a single library and want to upgrade to the full package, contact us for a reduced price on the complete City Bicycles library. Every part of City Bicycles that you paid for will get you an extra reduction on the full package.
Responses:344 AUDIO: ‘City Bicycles has a plethora of content, for a great price. The perfect balance between a great concept, great presentation and outstanding execution, lands them an almost perfect score of 4.9..‘
The Audio Spotlight: City Bicycles is worth getting if you are in need of great sounding and well edited bicycle sounds.
Watch a video created by Zdravko Djordjevic.
-
20 %OFFEnds 1556056800 -
-
The past few years have seen a lot of sound designers creating their own libraries and releasing them independently of any publishers. What does this mean for sound designers such as yourself?
I am a big fan of Independent sound libraries because they make it easy to expand your possibilities at what is usually a very reasonable cost. Most of the independent libraries are recorded at a high quality and you know when go for something that for example Frank Bry has recorded that it is going to have all of the character you need it to. But there are a lot of great independent library makers out there and they deserve a lot of credit for making our lives a lot easier.
Have you considered making your own indie trailer SFX library?
Here is one I get asked quite a lot. The short answer is no. As I work on a trailer I am essentially coming up with a whole pallet of sounds that fit the style of the whole trailer campaign, from the first teaser until the featurettes. Some trailers campaigns have 15 different trailers to them and for each one there has to be a consistent style to them that makes a connection with the feature film. The reason why I have not considered an indie trailer sound library is because those sounds really belong to the life of the trailer.
Right now I am focused on making the best tracks I can.
What are the three most important things to get right when doing sound for trailers?
First you better get the music ironed out correctly. It amazes me sometimes how poorly the music editorial can be on some trailers. Second is the Dialogue.
Clean, understandable dialogue seems like a given but it is one of the hardest challenges in trailer audio.
Having clear, clean, understandable dialogue seems like a given but it is one of the hardest challenges in trailer audio.
Last is the sound design and sound effects editorial and how it relates to the music and dialogue. I think it is obvious but worth mentioning is that having a skilled mixer to make the trailer come together is vital. Their choices on what to play and not play ultimately shape the product into what it will be. My goal is to give them as little to think about as possible.
How has sound for trailers evolved during the time you’ve worked with it, and what trends do you see in trailer sound – and trailers in general?
Trailer sound has changed in dramatic ways. Trailers are now big business with composers, vendors, producers, editors and studio creatives all having a deep interest in how the get made. Trailers are all over the internet with websites dedicated to trailer content, websites dedicated to trailer news and trailer music companies being listened to like pop music on the radio.
I think if you went back 15 years or so you would find a very different trailer world. The industry has evolved but so have trailers. The visuals have gotten better, the audio and the audience for them has grown. I like artistically stylized trailers, what I don’t care for are commercials that are trailerized. I understand there is a market out there for that it is just not what I am personally in to.
So yeah I have been a part of it for a long time and I have seen a lot of changes. I hope that the industry continues to change for the better.
Please share this:
from a myriad of independent sound creators, all covered by one license agreement
- a few highlights:
+ free sounds with every issue: