how to create sound for adverts Asbjoern Andersen


How do you create sound for commercials? Here, the sound team from Factory Studios shares insights and approaches behind the sound for some of their critically-acclaimed work:


Written by Anthony Moore, Dan Beckwith, Mark Hills & Phil Bolland. Videos and photos courtesy of Factory Studios
 

Established in 1997, Factory is an award-winning sound design and audio facility based in London. With a highly skilled team of sound designers headed up by Founding Partner and Creative Director, Anthony Moore, Factory has created some of the most revered and awarded commercial work of recent years.

With a passion for promoting the craft of creative sound design, Factory’s work has been globally recognised by the likes of the Cannes Lions, BAFTA, D&AD, Clios, Music & Sound Awards and the British Arrows to name but a few.

Projects of note include an impressive body of work created for Honda with films such as ‘Hands’, ‘Ignition’, ‘Paper’ and ‘The Other Side’. The company has also been involved with every John Lewis Christmas campaign since the launch of the iconic ‘Long Wait’ back in 2011. Last year saw Factory working as part of the team that helped to create the stunning ‘We’re The Superhumans’ campaign for Channel 4.

As Factory celebrate their 20th anniversary, the sound design specialists have a whole host of interesting projects lined up for the remainder of 2017. Factory’s new Dolby Atmos suite is ever popular as clients begin to realise the true potential of immersive sound design. The company have also pushed forward with their long form work and have two major feature films in production which are due for release in 2018.

A Sound Effect caught up with Factory Sound Designer’s Dan Beckwith, Mark Hills and Phil Bolland to find out more about their work, their processes and what it takes to make award-winning sound for advertising…
 

Dan Beckwith – Sound Designer, Factory

‘We open on an underwater shot in a large indoor swimming pool. We wait anxiously. Through the still, reflective surface of the water, we can make out a person ready to dive in. Suddenly, as the diver crashes into the water, we are transported though a series of currents via flashing imagery until the diver emerges, floating peacefully in an otherworldly landscape.’

This is the kind of imagery that can be conveyed in a script or a directors treatment for a TV commercial.

At Factory, we always encourage clients to involve us as early as possible on a project. Being able to see the script allows us to start forming our own ideas on sound design, which can then be fed into the creative team as they prepare to shoot. More often than not, the projects that think about the sound from their inception, usually sound pretty amazing by the end. From the moment we are briefed by our client, we immediately start to think about creating our soundscape…

What sound design techniques will we use?
Will the sound design lead the story?
Will the piece involve music?
Will I need to record locations, Foley, bespoke effects, or perhaps our Head of Transfer talking with his head in a bucket of water?

With every job at Factory, we always look to meet with the creative team and director to talk through their thoughts on sound and their overall vision for a project. This gives us a chance to explore the sound design possibilities together and create a plan to make their project sound as amazing as it possibly can. Because that’s what it all comes down to, making your client excited about their sound and the process ahead.

Exploring sounds and ideas is often what makes a project great

From here, we begin to schedule the job with our bookings producers. It’s vital that we allocate the correct amount of time required to create our sound design. We often encourage clients to allow us the time to experiment, especially on more abstract sound design briefs. Exploring sounds and ideas is often what makes a project great. Never be afraid to get it wrong before you get it right. Experimentation can often lead to better, more exciting concepts.

At Factory, we always encourage collaboration across our work. This is why you will often see two sound designers allocated to a project. This methodology allows for greater creativity and more flexibility on a job. As the old adage says, four ears are better than two!

We have recently completed a new spot for Volkswagen entitled ‘The Button‘ with sound design and mix from myself and Anthony Moore.

 

Video Thumbnail

WW – The Button, Audio by Factory Studios

 

We hit upon the idea of grading the sound design to match the era and feel of each scene

This project saw us working closely with the creative team as we set about creating six very different feeling movie scenes within one commercial. With a brief centered upon bringing to life the genres of Sci-Fi, espionage, action-thriller, adventure, blaxploitation and horror; we hit upon the idea of grading the sound design to match the era and feel of each scene. Hence, the 1930’s horror section was mixed in mono and then degraded using an old, worn out tape effect. The Sci-Fi sequence was built to sound grand and futuristic, whilst the blaxploitation scene was warmed up with some tape fuzz and a cheeky Wilhelm scream thrown in for good measure. Having our creative team on board and excited about this concept from the outset was invaluable to the success of the project.
 

 

Mark Hills – Sound Designer, Factory

As a Sound Designer at Factory, I am very aware of how music can be one of the most powerful cinematic devices available to us. It has the power to dictate the story, emotion and pace of a film. If used correctly, music has the potential to create a lasting impression with an audience for years to come.

In November 2011, John Lewis released the now iconic Christmas TV commercial ‘The Long Wait’ , with the sound lovingly brought together here at Factory. John Lewis had been releasing popular Christmas adverts for many years, but this time around something was different.

 

Video Thumbnail

John Lewis – The Long Wait, Audio by Factory Studios

 

The film was a phenomenal success for a great number of reasons, but one integral component that people couldn’t stop talking about was the music. A hauntingly beautiful cover of The Smiths ‘Please, Please, Please, Let Me Get What I Want’ by Slow Moving Mille was absolutely fundamental to the success of the campaign.

Not only did it push the John Lewis Christmas ads to the forefront of popular culture, but it also inspired a new genre of advertising which has been influencing the visual and musical styles for brands ever since. As such, the choice of song for the John Lewis Christmas campaign seems to create as much hype and anticipation as the film itself.

So knowing it’s potential, how do we ensure that music is given the full care and attention it deserves in a TV commercial?

On certain jobs, we are fortunate enough to work with composed tracks specifically written for the film, where the music follows the action and fits perfectly with the content on screen. However, more often than not, we are working with existing pieces of music which require intricate editing.

Music editing is one of the most valuable and important aspects of our job

Music editing is one of the most valuable and important aspects of our job. Taking an existing piece of music and cutting it to work with the story and feel of the film is where things get really fun. In ideal scenarios, we’re able to mix the music from supplied stems which provides us with an even greater level of creative freedom.

Stem mixing affords us the opportunity to pick and choose what elements of the music we want to hear, or even remove the parts we do not. It allows us to create more complicated edits seamlessly and it opens up a world of possibilities for surround sound mixing.

With the introduction of Dolby Atmos we can literally surround and immerse the audience completely into music, which is exactly what we did with our recent Vue ‘This Is Not A Cinema‘ project. By working with stems of ‘The Rift’ by Solomon Grey, we were able to creatively pan pads and musical motifs through the cinema to totally immerse the viewer in the experience. Our aim was for the sound to invoke a physical reaction from our audience through this use of movement and some clever frequency manipulation. On watching the first few playbacks, we had our client stating that the ‘hairs on the back of the neck’ were indeed tingling! Job done.

 

Video Thumbnail

Vue – This Is Not A Cinema, Audio by Factory Studios

 

At Factory, we always strive to go further than just placing a piece of music over a film and making it match the timings. It’s incredibly satisfying to sound design to the rhythm of a track; or to take a sound effect and transpose it to match the key of the music. In a busy mix, tricks like these can often help the mix come together, as opposed to a multitude of layers merely sitting on top of each other.

It’s this kind of attention to detail which, when all combined, creates a truly crafted piece of work

One of my favourite examples of how perfectly music and sound design can work together is Virgin Media’s ‘9.58’ commercial. The basis of the advert is to provide the audience with ten examples of just how fast 9.58 seconds really is. Starting with a gunshot from a starter pistol, the music, visuals and sound design all begin to synchronise to the rhythmic tempo of the digital stopwatch. The soundtrack continuously builds with the advert, allowing each scenario to give a slightly different twist on the music. At the end of every 9.58 seconds, the starter pistol fires again and we begin a new scenario. Throughout the film, individual sound effects are repeatedly timed to the rhythm of the beat which becomes a key motif throughout. It’s this kind of attention to detail which, when all combined, creates a truly crafted piece of work.

 

Video Thumbnail

Virgin Media – 9.58, Audio by Factory Studios

 

The commercial world of sound design also sees us working regularly with voice artists. I’ve always been of the opinion that a good voiceover talks to the audience, not at them. O2’s ‘Follow The Rabbit’ commercial is a great example of this. Softly spoken, it invites you into its world and instead of forcing you to listen, it actually makes you want to listen.

 

Video Thumbnail

O2 – Follow The Rabbit, Audio by Factory Studios

 

A great voiceover starts with the performance, and the best way to ensure that an artist achieves their best is to ensure they are comfortable and happy

A great voiceover starts with the performance, and the best way to ensure that an artist achieves their best is to ensure they are comfortable and happy. Talking through a script with them, addressing any potential issues or confusion, and being open to suggestions of how they want to work is vital. Once you’ve set your level and everybody is ready, you can pretty much press record and let them do the hard work.

Asking a voiceover to read with a smile or playing music lightly in the background can entirely change a performance. From a technical side, the sound engineers job is to ensure that the recording is clean, and to keep an eye out for issues such as noise being picked up on the mic, plosives and very importantly, to keep an eye on the timings. Wherever the mix is played, the goal is to ensure the voiceover sounds clean, clear and effective. After-all, a voiceover is there to be heard.
 

 

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  • • In Pacific Northwest: Miniature, get a mini-nature collection of ambiences from the Hoh Rainforest, a temperate rainforest on the Olympic Peninsula in Olympic National Park. Hear Roosevelt Elk clack antlers and bugle as they fight for the chance to mate. Hear Pacific Wrens joyous chirps as they dance on rotten logs. Hear the massive sparseness of forests filled with 200-300 foot douglas fir and spruce. Hear haunting reverberations as ravens caw in groves of titans and the Hoh River’s soothing wash, the perfect sound to lull you off to peaceful dreams.
    • This library offers you a small collection of both quiet and active nature sounds from one of the wettest forests in North America. Some places on the Olympic Peninsula get over 200 inches of precipitation per year, and that abundance of moisture makes for a magical fern and moss filled ecosystem brimming with soothing ambiences.

    2% FOR THE ENVIRONMENT & CARBON NEUTRAL:
    • Two percent of the price of this library is donated to an environmental cause, as an “artist royalty” for the planet!
    • Carbon offset credits were purchased for the Pacific Northwest Series. Field Recording travel for these libraries was carbon neutral!

    KEY FEATURES:
    • Recorded near the One Square Inch of Silence
    • Featuring Roosevelt Elk
    • Hear two full grown Roosevelt Elk clacking antlers and bugling!
    • Distant elk trumpeting deep in the forest.
    • Varied ambiences from the Hoh Rainforest in Olympic National Park
    • Sparse ambiences with minimal wildlife
    • Active ambiences with twittering songbirds
    • One extended 35-minute quiet nature ambience
    • This library is a portrait of the Hoh Rainforest. The rainforest is in a long river valley, so the distant soothing wash of the Hoh River can be heard in all recordings.
    TEXT MARKERS:


    • Named markers are included in each file to help find interesting events in an otherwise uniform waveform!
    • Marker text included in the Soundminer description and BWAV description fields.

    FILE LIST & METADATA:
    • View in Browser or Download CSV
    • Flora (plants) and Fauna (animals) are described in these terms:
    • fauna sparse
    • fauna constant
    • flora sparse
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    • Browse the Library Info Master List to compare specs on all my libraries.
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    • MD5 and SHA 256 Checksums are included for each zip file in my catalog. Use these hashes to check the integrity of your downloaded files. 
    GEAR USED:
    • Sennheiser MKH 8040 Matched Pair in ORTF
    • Sound Devices 702
    • Rycote ORTF Blimp
  • Water & Oceans Pacific Northwest: Storm Waves Play Track 35+ sounds included, 171 mins total $39

    • In Pacific Northwest: Storm Waves, get an expansive collection of storm waves from Rialto Beach, a driftwood filled shoreline of Olympic National Park. Hear massive 25 ft swells breaking and sea foam froth sloshing on rounded pebbles. Hear violent slurping as water is sucked out after each massive wave. Hear wave resonance tuned to perfection by driftwood logs a millennium old. Hear distant storm buoys droning their ominous warning and bats circling with ultrasonic clicks. Hear a coastline gradually eroded by Pacific waves. A place where massive spruce stumps are still rooted in the beach, desperately holding to the earth as the soil is stripped from their roots. Press a contact mic to one of those stumps and hear the heartbeat of the oceanThe vibrations from crashing waves move through rocks and roots to create stunning resonances in the wood!  I hope this library gives you a chance to hear the ocean in a way you haven’t heard it before. Enjoy listening to a large collection of storm waves from one of the most iconic beaches in North America.

    2% FOR THE ENVIRONMENT & CARBON NEUTRAL:
    • Two percent of the price of this library is donated to an environmental cause, as an “artist royalty” for the planet!
    • Carbon offset credits were purchased for the Pacific Northwest Series. Field Recording travel for these libraries was carbon neutral!

    KEY FEATURES:
    • Massive 25 ft swells
    • Rocky coastlines and pebble-filled beaches
    • Driftwood resonances
    • Contact microphones on dead spruce stumps rooted in the beach
    • Frothy impacts
    • Roaring bass
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    • A thirty-minute clip of the slowly approaching tide. This clip is broken into three, ten-minute clips with no fade ins/outs so it can be used in parts or as one long seamless clip!

    TEXT MARKERS:
    • Named markers are included in each file to help find interesting events in an otherwise uniform waveform!
    • Marker text included in the Soundminer description and BWAV description fields.
    FILE LIST:
    • File List: View in Browser or Download CSV 
    BLOG POST:
    • Read the full story on the A Sound Effect Blog – Sounds from the Quietest Place in the Continental US 
    MORE INFO:
    • Read 30+ user reviews for Thomas Rex Beverly Audio
    • Read my Field Recording Mastering Rules and learn more about how these recordings were mastered.
    • Browse the Library Info Master List to compare specs on all my libraries.
    • Browse the Metadata Master List to search my entire catalog.
    • MD5 and SHA 256 Checksums are included for each zip file in my catalog. Use these hashes to check the integrity of your downloaded files. 

    GEAR USED:
    • Sennheiser MKH 8040 Matched Pair in ORTF
    • Aquarian Audio H2a-XLR hydrophone (used as contact mic)
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    Onboard Settings:
    Channel 1 = Engine, Channel 2 = Airintake, Channel 3 = Cab, Channel 4 = Exhaust

    External Settings:
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  • • In Pacific Northwest: Quiet Nature, get a peaceful collection of ambiences from the Hoh Rainforest, a temperate rainforest on the Olympic Peninsula in Olympic National Park. Hear the massive sparseness of one of the last pristine quiet places in the Continental US. Hear the natural cathedrals of sound created by Douglas fir and spruce. Hear wind gusts pluck autumn maple leaves and waft them to rest on forest floors. Hear massive halls of wet wood that envelop and transport you to a long-lost time when giant trees covered millions of acres of the Pacific Northwest.
    • This library offers you a large collection of quiet nature sounds from one of the wettest forests in North America. Some places on the Olympic Peninsula get over 200 inches of precipitation per year, and that abundance of moisture makes for a magical fern and moss filled ecosystem brimming with soothing ambiences.

    2% FOR THE ENVIRONMENT & CARBON NEUTRAL:
    • Two percent of the price of this library is donated to an environmental cause, as an “artist royalty” for the planet!
    • Carbon offset credits were purchased for the Pacific Northwest Series. Field Recording travel for these libraries was carbon neutral!

    KEY FEATURES:
    • Recorded near the One Square Inch of Silence
    • Sparse ambiences with minimal wildlife
    • Distant twittering songbirds high in the canopy
    • Mornings and afternoons in 300 ft forests
    • Eerie nights in old-growth titans
    • Barred Owl hoots
    • Sporadic drips and light soothing wind
    • One long unbroken natural soundscape. Thirty-five minute of natural silence!
    • This library is a portrait of the Hoh Rainforest. The rainforest is in a long river valley, so the distant soothing wash of the Hoh River can be heard in all recordings.
    TEXT MARKERS:

    • Named markers are included in each file to help find interesting events in an otherwise uniform waveform!
    • Marker text included in the Soundminer description and BWAV description fields.

    FILE LIST & METADATA:
    • View in Browser or Download CSV
    • Flora (plants) and Fauna (animals) are described in these terms:
    • fauna sparse
    • fauna constant
    • flora sparse
    • flora constant
    • flora and fauna sparse
    • flora and fauna constant
    • Included wildlife: Barred Owl, Pacific Wren, Hairy Woodpecker, Ruffed Grouse, Brown Creeper, Golden-crowned Kinglet, Varied Thrush, chipmunk, Douglas Squirrel, and ultrasonic insects. Overall, wildlife is very sparse during fall in the Hoh River valley.
    BLOG POST:
    • Read the full story on the A Sound Effect Blog – Sounds from the Quietest Place in the Continental US 
    MORE INFO:
    • Read 30+ user reviews for Thomas Rex Beverly Audio
    • Read my Field Recording Mastering Rules and learn more about how these recordings were mastered.
    • Browse the Library Info Master List to compare specs on all my libraries.
    • Browse the Metadata Master List to search my entire catalog.
    • MD5 and SHA 256 Checksums are included for each zip file in my catalog. Use these hashes to check the integrity of your downloaded files. 
    GEAR USED:
    • Sennheiser MKH 8040 Matched Pair in ORTF
    • Sound Devices 702
    • Rycote ORTF Blimp

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Phil Bolland – Sound Designer, Factory


Here at Factory, we are very fortunate to work on creative, exciting and constantly challenging briefs. As a Sound Designer, it’s our mission to fully realise the sonic vision of the director and creative team as we set out to make their soundscape and film come alive.

Our ethos at Factory is anchored around the idea that great sound design is always about great story-telling. Sound design must always enhance the narrative and shape the mood of the project; but a good Sound Designer will always look to add depth, richness and character to the story through clever use of sound.

An important thing to do when starting on a new project is to make the time and space to create a clear mental image of the sound you are aiming to achieve. Never enter into a job blind, you need to know where you are heading and how you are going to get there.

I often ask myself the following questions when digesting a new brief…

What is the style of the sound we are creating?
Is the sound otherworldly and abstract; or are we based in reality
and everyday sounds?
Am I required to assist the image through sound effects, or am I creating a deeper mood and feeling?

With a clear way forward, it’s then time to think about the tools you require to achieve your vision.

There are many ways of sourcing and acquiring the sounds needed to create your soundscape. From pre-made sound-effect libraries, bespoke location recordings and Foley, through to innovative sound design techniques and synthesis; a good sound designer should have a strong grasp on combining all of these elements.

Working in commercials, I find that every brief brings up new and exciting challenges that allow you to experiment and push your skills as a Sound Designer.

In 2015, I created a spot for Honda entitled ‘Paper’. The brief for the film was to tell the history of Honda’s vehicles from 1942 through to the present day. It was imperative that the sound for each vehicle was accurate. Lots of research went in to finding and sourcing the correct sounds. In the end, I utilised a mixture of recordings from Honda’s audio archive, sfx libraries and bespoke location recordings. Coupled with this, I also went about recording a whole host of paper related foley fx which were then painstakingly placed in sync with every twist and turn of the paper featured in the film.

 

Video Thumbnail

Honda – Paper, Audio by Factory Studios

 

From another sound design angle, Save The Children ‘Every Last Child’ utilised the amazing location record rushes that were captured on the shoot. The brief for this film was to create a feeling of panic and urgency to highlight the plight of the featured children. With the base of the audio cut from over 450 hours worth of footage, I then supplemented this edit with an additional audio layer of location recordings and library sourced effects to enhance the story wherever necessary. Over 80 percent of the audio used was from the original recordings.

 

Video Thumbnail

Save The Children – Every Last Child, Audio by Factory Studios

 

I am also particularly fond of creating my own bespoke sound effects when dealing with more abstract sound design briefs. For the Medicontur project I set out to create a cold, clinical mood using completely original sounds. I challenged myself to create all the audio from scratch using sfx manipulation and synthesis. Working to rules such as this is an exciting way to push yourself, try new things and experiment; a fact that ties in perfectly with our approach to sound design at Factory.

 

Video Thumbnail

Medicontur, Audio by Factory Studios

 

A good mix can make you work sing and take it to another level

Once the sounds are all in place, the mixing stage of the process allows you to apply the final layer of gloss to your work and make everything perfect. A good mix can make you work sing and take it to another level. It’s very important to spend time crafting your mix and being aware of how and where it will be played out.

In most cases, I start to build my mix as I go. I find it really helps to level things accurately when track-laying and it actually saves a lot of time as you head towards the final mix. Working to a fixed peak level and breaking your work into dynamically controlled components is imperative to getting a good final balance, especially when working on jobs that have heavy sfx beds and big music tracks. Overall, making each element clear and your mix cohesive is the aim of the game.

Working in surround sound environments such as 5.1, 7.1, Dolby Atmos and VR, also opens up a plethora of creative possibilities in mixing. When working in these formats you have a whole new dimension for panning, spatial sfx and BASS! It’s always good to approach your surround mix with the additional panning options and sub-bass channels in mind, as you can create far more complex and deeper mixes. On a personal level, working in our Dolby Atmos suite at Factory has allowed us to be super creative when working in surround projects and right now, immersive mixing has never been more fun.

Enjoy!
 

Big thanks to the Factory Studios Sound Designers who provided their insights on sound and music for commercials!

 

To find out more about Factory and the work they do, visit
www.factory.uk.com or follow @factoryuk on Twitter
 

 

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    All tracks recorded with a Sennheiser 416 microphone, through a Buzz Audio – Elixer preamp.

 
Explore the full, unique collection here
 
Latest sound effects libraries:
 
  • • In Pacific Northwest: Miniature, get a mini-nature collection of ambiences from the Hoh Rainforest, a temperate rainforest on the Olympic Peninsula in Olympic National Park. Hear Roosevelt Elk clack antlers and bugle as they fight for the chance to mate. Hear Pacific Wrens joyous chirps as they dance on rotten logs. Hear the massive sparseness of forests filled with 200-300 foot douglas fir and spruce. Hear haunting reverberations as ravens caw in groves of titans and the Hoh River’s soothing wash, the perfect sound to lull you off to peaceful dreams.
    • This library offers you a small collection of both quiet and active nature sounds from one of the wettest forests in North America. Some places on the Olympic Peninsula get over 200 inches of precipitation per year, and that abundance of moisture makes for a magical fern and moss filled ecosystem brimming with soothing ambiences.

    2% FOR THE ENVIRONMENT & CARBON NEUTRAL:
    • Two percent of the price of this library is donated to an environmental cause, as an “artist royalty” for the planet!
    • Carbon offset credits were purchased for the Pacific Northwest Series. Field Recording travel for these libraries was carbon neutral!

    KEY FEATURES:
    • Recorded near the One Square Inch of Silence
    • Featuring Roosevelt Elk
    • Hear two full grown Roosevelt Elk clacking antlers and bugling!
    • Distant elk trumpeting deep in the forest.
    • Varied ambiences from the Hoh Rainforest in Olympic National Park
    • Sparse ambiences with minimal wildlife
    • Active ambiences with twittering songbirds
    • One extended 35-minute quiet nature ambience
    • This library is a portrait of the Hoh Rainforest. The rainforest is in a long river valley, so the distant soothing wash of the Hoh River can be heard in all recordings.
    TEXT MARKERS:


    • Named markers are included in each file to help find interesting events in an otherwise uniform waveform!
    • Marker text included in the Soundminer description and BWAV description fields.

    FILE LIST & METADATA:
    • View in Browser or Download CSV
    • Flora (plants) and Fauna (animals) are described in these terms:
    • fauna sparse
    • fauna constant
    • flora sparse
    • flora constant
    • flora and fauna sparse
    • flora and fauna constant
    • Included wildlife: Roosevelt Elk, American Crow, Common Raven, Pacific Wren, Brown Creeper, Barred Owl, chipmunks, and various other distant murmuring songbirds
    BLOG POST:
    • Read the full story on the A Sound Effect Blog – Sounds from the Quietest Place in the Continental US 
    MORE INFO:
    • Read 30+ user reviews for Thomas Rex Beverly Audio
    • Read my Field Recording Mastering Rules and learn more about how these recordings were mastered.
    • Browse the Library Info Master List to compare specs on all my libraries.
    • Browse the Metadata Master List to search my entire catalog.
    • MD5 and SHA 256 Checksums are included for each zip file in my catalog. Use these hashes to check the integrity of your downloaded files. 
    GEAR USED:
    • Sennheiser MKH 8040 Matched Pair in ORTF
    • Sound Devices 702
    • Rycote ORTF Blimp
  • Water & Oceans Pacific Northwest: Storm Waves Play Track 35+ sounds included, 171 mins total $39

    • In Pacific Northwest: Storm Waves, get an expansive collection of storm waves from Rialto Beach, a driftwood filled shoreline of Olympic National Park. Hear massive 25 ft swells breaking and sea foam froth sloshing on rounded pebbles. Hear violent slurping as water is sucked out after each massive wave. Hear wave resonance tuned to perfection by driftwood logs a millennium old. Hear distant storm buoys droning their ominous warning and bats circling with ultrasonic clicks. Hear a coastline gradually eroded by Pacific waves. A place where massive spruce stumps are still rooted in the beach, desperately holding to the earth as the soil is stripped from their roots. Press a contact mic to one of those stumps and hear the heartbeat of the oceanThe vibrations from crashing waves move through rocks and roots to create stunning resonances in the wood!  I hope this library gives you a chance to hear the ocean in a way you haven’t heard it before. Enjoy listening to a large collection of storm waves from one of the most iconic beaches in North America.

    2% FOR THE ENVIRONMENT & CARBON NEUTRAL:
    • Two percent of the price of this library is donated to an environmental cause, as an “artist royalty” for the planet!
    • Carbon offset credits were purchased for the Pacific Northwest Series. Field Recording travel for these libraries was carbon neutral!

    KEY FEATURES:
    • Massive 25 ft swells
    • Rocky coastlines and pebble-filled beaches
    • Driftwood resonances
    • Contact microphones on dead spruce stumps rooted in the beach
    • Frothy impacts
    • Roaring bass
    • Storm buoys droning their ominous warning
    • A thirty-minute clip of the slowly approaching tide. This clip is broken into three, ten-minute clips with no fade ins/outs so it can be used in parts or as one long seamless clip!

    TEXT MARKERS:
    • Named markers are included in each file to help find interesting events in an otherwise uniform waveform!
    • Marker text included in the Soundminer description and BWAV description fields.
    FILE LIST:
    • File List: View in Browser or Download CSV 
    BLOG POST:
    • Read the full story on the A Sound Effect Blog – Sounds from the Quietest Place in the Continental US 
    MORE INFO:
    • Read 30+ user reviews for Thomas Rex Beverly Audio
    • Read my Field Recording Mastering Rules and learn more about how these recordings were mastered.
    • Browse the Library Info Master List to compare specs on all my libraries.
    • Browse the Metadata Master List to search my entire catalog.
    • MD5 and SHA 256 Checksums are included for each zip file in my catalog. Use these hashes to check the integrity of your downloaded files. 

    GEAR USED:
    • Sennheiser MKH 8040 Matched Pair in ORTF
    • Aquarian Audio H2a-XLR hydrophone (used as contact mic)
    • Sound Devices 702
    • Rycote ORTF Blimp
  • Whooshes Tiny Transitions 2 Play Track 320-670 sounds included From: $29.20 From: $21.90

    “Tiny Transitions 2” is the successor to the very popular Tiny Transitions sound effects library.

    If you already knew the first library you know what to expect: even more, even better and more versatile to bring instant sonic support for all kinds of small animations, motion graphics, pass-bys, menues, projectiles and more.

    Re-load your ammo belt with not-so-intrusive production elements that come in very handy for any Sound Designer, All-In-One Film Editor or Web-, App- and Game-Developers.

    All the small motion elements that you need in your everyday work for games, apps, commercial, films or general motion designs.

    You get 350 ready to use designed sounds+ a composite selection of 320 cleaned and edited source soundsthat were used to design the Tiny Transitions. These sounds are mostly different props that are scraping or sliding on different surfaces and also some vocalized whoosh attempts.

    If you don't need the extra source sounds you can grab the “Designed Sounds only” pack.

    All source sounds were recorded with Sonosax SX-R4+ with a Sennheiser MKH8050+MKH30 M/S rig, a Sound Devices MixPre-6 with a MK8060+ATE208 M/S rig and a Sony PCM-D100. All sounds come with embedded Metadata.

    Metadata embedded by “The Audioville – India”

    25 %
    OFF
    Ends 1531000800
  • Cars Subaru Crosstrek SUV Play Track 90+ sounds included, 35 mins total $99

    This sound effects library delivers the sounds of a 2017 Subaru Crosstrek SUV. Metadata is included, with over 35 minutes of recording time split into 90 ready to use wave files. There are onboard, external, and foley sounds, all in high quality 24 bit resolution, 96khz sample rate. This is the right library when you need stock sounds of a common Subaru vehicle.

    Onboard multi-track recordings are in 4 separate mono wave files. Drag & drop or import each of the files into your audio editing software, then align them for creative mixing. There are also stereo mix versions of the OnBoard recordings. The External recordings are in stereo wave files. The combined recorded driving time is more than 35 minutes long.

    Onboard Settings:
    Channel 1 = Engine, Channel 2 = Airintake, Channel 3 = Cab, Channel 4 = Exhaust

    External Settings:
    Stereo in Left and Right Channels

  • • In Pacific Northwest: Quiet Nature, get a peaceful collection of ambiences from the Hoh Rainforest, a temperate rainforest on the Olympic Peninsula in Olympic National Park. Hear the massive sparseness of one of the last pristine quiet places in the Continental US. Hear the natural cathedrals of sound created by Douglas fir and spruce. Hear wind gusts pluck autumn maple leaves and waft them to rest on forest floors. Hear massive halls of wet wood that envelop and transport you to a long-lost time when giant trees covered millions of acres of the Pacific Northwest.
    • This library offers you a large collection of quiet nature sounds from one of the wettest forests in North America. Some places on the Olympic Peninsula get over 200 inches of precipitation per year, and that abundance of moisture makes for a magical fern and moss filled ecosystem brimming with soothing ambiences.

    2% FOR THE ENVIRONMENT & CARBON NEUTRAL:
    • Two percent of the price of this library is donated to an environmental cause, as an “artist royalty” for the planet!
    • Carbon offset credits were purchased for the Pacific Northwest Series. Field Recording travel for these libraries was carbon neutral!

    KEY FEATURES:
    • Recorded near the One Square Inch of Silence
    • Sparse ambiences with minimal wildlife
    • Distant twittering songbirds high in the canopy
    • Mornings and afternoons in 300 ft forests
    • Eerie nights in old-growth titans
    • Barred Owl hoots
    • Sporadic drips and light soothing wind
    • One long unbroken natural soundscape. Thirty-five minute of natural silence!
    • This library is a portrait of the Hoh Rainforest. The rainforest is in a long river valley, so the distant soothing wash of the Hoh River can be heard in all recordings.
    TEXT MARKERS:

    • Named markers are included in each file to help find interesting events in an otherwise uniform waveform!
    • Marker text included in the Soundminer description and BWAV description fields.

    FILE LIST & METADATA:
    • View in Browser or Download CSV
    • Flora (plants) and Fauna (animals) are described in these terms:
    • fauna sparse
    • fauna constant
    • flora sparse
    • flora constant
    • flora and fauna sparse
    • flora and fauna constant
    • Included wildlife: Barred Owl, Pacific Wren, Hairy Woodpecker, Ruffed Grouse, Brown Creeper, Golden-crowned Kinglet, Varied Thrush, chipmunk, Douglas Squirrel, and ultrasonic insects. Overall, wildlife is very sparse during fall in the Hoh River valley.
    BLOG POST:
    • Read the full story on the A Sound Effect Blog – Sounds from the Quietest Place in the Continental US 
    MORE INFO:
    • Read 30+ user reviews for Thomas Rex Beverly Audio
    • Read my Field Recording Mastering Rules and learn more about how these recordings were mastered.
    • Browse the Library Info Master List to compare specs on all my libraries.
    • Browse the Metadata Master List to search my entire catalog.
    • MD5 and SHA 256 Checksums are included for each zip file in my catalog. Use these hashes to check the integrity of your downloaded files. 
    GEAR USED:
    • Sennheiser MKH 8040 Matched Pair in ORTF
    • Sound Devices 702
    • Rycote ORTF Blimp
 
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