Asbjoern Andersen


Welcome to the 5th installment in our Sound Success series; a series dedicated to helping you to grow - or kickstart - your audio business, learn new areas of audio-related work, and give you multiple revenue streams to insulate you from the ups and downs of the audio industry.

In these 3 new interviews, you'll hear what it takes to get started and succeed in audio branding from Steve Keller, music editing from Steven Saltzman, and sound for VR/AR/MR from Helena McGill & Anna Woźniewicz:


By Jennifer Walden and Asbjoern Andersen, images courtesy of Steve Keller, Steven Saltzman, Helena McGill & Anna Woźniewicz
Please share:
 

Audio Branding – insights from Steve Keller:

 
• What working in audio branding entails:Audio Branding insights from Steve Keller
On the one hand, audio branding is simply the use of music and/or sound to communicate brand attributes, meaning, and purpose in a way that enhances brand recall and linkage. This can certainly be accomplished through the simple pairing of an audio stimulus with other brand identifiers. It’s a tactical use of sound to drive recognition.

On the other hand, audio branding is also the use of sound to align brand intent with consumer perception in a way that produces measurable results. Framed this way, audio branding is a strategic process that goes beyond a tactical execution. It’s a design approach that helps brands make better choices about the sounds they associate with their brand.

I’m more interested in the later approach. I’m fond of saying, “Audio branding doesn’t start with your ears. It starts with what’s between them.” I want to explore the intersection of behavioral economics, consumer insights, psychoacoustics and psychophysics.

Audio branding doesn’t start with your ears. It starts with what’s between them

I want to understand how music and sound shape our perception and behavior, and how a strategic approach to audio in a brand context can produce a tangible return on investment.

 
• What it takes in terms of skills and gear:
Audio branding is, in practice, a type of alchemy: a blend of science and art. To be an audio alchemist, you need an understanding of consumer psychology, statistics, testing methodologies, behavioral economics, design thinking, music science, and psychophysics. It also helps to have experience with composition, sound design, audio production, music rights (particularly copyrights), and leading creative teams.

Finally, as you’re often collaborating with brand marketing and advertising teams, it’s important to understand how these businesses approach strategy and creativity.

Obviously, it’s difficult to find all these things in one individual, which is why it’s important to surround yourself with a team that can offer a degree of specialty in all these areas. Learn what you do best and then seek out others to compliment your abilities.

When it comes to the “art,” you obviously need the capability to create the audio assets. Audio software to record and edit is important, as well as a good microphone and signal processing gear (like preamps and compressors). Most composers or sound designers have these tools at their disposal.

At the end of the day, when it comes to great audio branding, great production isn’t a differentiator. That’s simply a given. The audio branding agencies and consultancies that set themselves apart do it through their approach to design, research, and producing a measurable ROI for their clients.

 
• How to learn it:
Picking up on the previous question about the gear needed for audio branding, I’d suggest that your most valuable piece of “gear” is your brain. Before you can start to connect the sonic dots, you have to find them. We know that sound doesn’t happen in a vacuum. Neither does audio branding. Read everything you can, reach out to other audio branding practitioners and learn from therm. Look for case studies and academic research that can inform your decision-making process. Join a professional organization where you can trade insights and stories. Consider expanding your knowledge across other disciplines.

 
• How to find work:
Audio branding has matured quite a bit in the last 15 – 20 years. There are some very good audio agencies now around the world. Reach out to them about potential job opportunities or, if you’re a student, internships.

If you’re a composer/designer interested in the field, put together a reel and target companies in the audio branding space. Make sure your reel showcases your ability to think about music and sound from a design perspective.

Make sure your reel showcases your ability to think about music and sound from a design perspective

If you’re a strategist or a researcher, see if there are agencies or consultancies that are interested in developing audio branding services.

Of course, you can also try to create your own company. With the rise of voice interactivity, there’s a renewed interest in audio branding. The good news: this interest is opening up more conversations with brands about the strategic use of sound and music in branding and marketing. The bad news: there’s more competition in the field.

 
• Essential advice for working and making it in audio branding:
I think it helps to have a certain amount of patience and perseverance. Look for the parts of our discipline that need to be challenged. How can you add to the body of knowledge? What new research methodologies or tools could be developed?

 
• Further reading and resources:
If you’re building a library, here are a few titles from my shelf that I think should be on yours:

Allan, David. 2015. This Note’s For You: In Search of Music Marketing Excellence. Business Expert Press.

Banaji, Mahzarin R., and Anthony G. Greenwald. 2013. Blindspot: Hidden Biases of Good People. Delacorte Press.

Barden, Phil. 2013. Decoded: The Science Behind Why We Buy. Wiley.

Beckerman, Joel, and Tyler Gray. 2014. The Sonic Boom: How Sound Transforms the Way We Think, Feel, and Buy. Houghton Mifflin Harcourt.

Bronner, Kai, and Rainer Hirt. 2009. Audio Branding: Brands, Sounds and Communication. Nomos Verlagsgesellschaft.

Chaudhuri, Arjun. 2006. Emotion and Reason in Consumer Behavior. taylor & francis.

Crook, Tim. 2012. The Sound Handbook. Routledge.

Franzen, Giep, and Sandra E. Moriarty. 2008. The Science and Art of Branding. Routledge.

Gabrielsson, Alf, and Roy Bradbury. 2011. Strong Experiences with Music. Oxford University Press.

Grimshaw, Mark, and Tom Garner. 2015. Sonic Virtuality: Sound as Emergent Perception. Oxford University Press.

Haas, Roland, and Vera Brandes. 2009. Music that works: Contributions of biology, neurophysiology, psychology, sociology, medicine and musicology. Springer.

Horowitz, Seth S., and Seth Horowitz. 2012. The Universal Sense: How Hearing Shapes the Mind. Bloomsbury USA.

Juslin, Patrik N., and John Sloboda. 2011. Handbook of Music and Emotion: Theory, Research, Applications. Oxford University Press, USA.

Krishna, Aradhna. 2009. Sensory Marketing: Research on the Sensuality of Products. Routledge.

Lehmann, Christian. 2014. The Key to Music’s Genetics: Why Music is Part of Being Human. Anthem Press.

Ltd, APG. 2018. How not to Plan: 66 ways not to cock it up. Troubador Publishing.

Minsky, Laurence, and Colleen Fahey. 2017. Audio Branding: Using Sound to Build Your Brand. Kogan Page.

Sacks, Oliver. 2008. Musicophilia: Tales of Music and the Brain, Revised and Expanded Edition. Vintage.

Schnupp, Jan, Israel Nelken, and Andrew King. 2012. Auditory Neuroscience: Making Sense of Sound. The MIT Press.

Snijders, Weimer. 2018. Eat Your Greens. Matador.

Sterne, Jonathan. 2012. The Sound Studies Reader. Routledge.

Tan, Siu-Lan, Annabel J. Cohen, Scott D. Lipscomb, and Roger A. Kendall. 2013. The Psychology of Music in Multimedia. Oxford University Press.

Taylor, Timothy D. 2012. The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture. University Of Chicago Press.


About Steve Keller:
Steve is Sonic Strategy Director for Pandora Media, where he blends art and science into award-winning audio strategies and creative content for a variety of global agencies and brands.
With a degree in psychology and over 30 years of experience in the music and advertising industries, Steve’s work explores the ways music and sound affect consumer perception and behavior. Recent experiments have examined the relationship between sound and taste, the existence of audio archetypes, and how bias impacts the aesthetic judgements of advertising professionals. Hear more in his TEDx Talk below:

Video Thumbnail

He is the 2017 recipient of the iHeartMedia Scholarship for Leadership in Audio Innovation, and is currently completing an Executive MBA through the Berlin School of Creative Leadership, focused on how brands can more effectively measure and predict returns on audio investments.

www.pandoraforbrands.com/studio-resonate

 
Get these interviews in the free Sound Success Guide:
Sound Success GuideThese interviews are also available in the massively-popular - and entirely free - Sound Success Guide, a 60+ page guide featuring insights from 20 industry experts on how to get started and succeed in 18 different types of audio jobs:
Click to download (.zip)
Click to download(.PDF)

Music Editing – insights from Steven Saltzman:

 
• What working in music editing for film and television entails:Music Editing insights from Steven Saltzman

Our job description encompasses working with the multi-faceted concerns of all music in a TV show or film. While any one project may not require all areas of a music editor’s expertise, our job and involvement can include any one or more of the following:
• Creating music spotting notes; a detailed representation of each score cue and source music in a project. Usually this includes a description of the scene where music will go with a time code start, end and length. This document is a guide for the director, editor, music supervisor and composer going forward through the post production and composition process.

• Creating a temporary music score by digitally editing pre-existing movie music as a primary resource.

• Prepping and managing all the music including the placement and editing of songs and source material for a temporary mix. This will then allow the movie to be played for an audience with music prior to the composer being hired or if the composer has not completed the score.

• Once a composer is hired, the music editor works closely with the composer’s team to help present music demos or mock-ups for the director and / or producers approval.

• Once the score is approved for recording or production, the music editor helps set up the Pro Tools sessions and clicks for the musicians and recording sessions.

• Upon the completion of the score, each cue is properly stemmed upon guidance from the music editor and then they prepare the score and all the songs and source materials for the mix on the dub stage.

• The music editor is on the dub stage as the music representative for both score and songs. The composer does not usually attending the dub mix.

• After the dub and the print master is made, the music editor compiles the preliminary music cue sheet to then be sent to the legal department for preparation as the final cue sheet. This document then gets distributed to all the respecting PROs for royalty income distribution.

• Our work is not just technical as we often travel a thin line helping to manage and ‘protect’ the egos, desires, whims, and creative decision for better or worse, among the many parties in a project. These can include the director, composer, producers, music supervisor, songwriters, picture editor, mixers, assistant picture editors, and anybody else!

 
• What it takes in terms of skills and gear:

Almost exclusively, Pro Tools is the DAW of choice for music production, recording, music editing and mixing. One must be nearly an expert at using and problem solving with Pro Tools.

 
• How to learn it:

Many music editors come to this profession through other related career paths such as composing, being a musician, sound effects editor, picture editor, or mixer, etc.
While I do teach a course in music editing, there are also some universities and post production audio trade schools that have courses on the subject. Usually one learns music editing by following or being mentored by an experienced music editor. There are some unofficial assistant / internship avenues as well.

 
• How to find work:

Working as a music editor is usually a freelance career where we are constantly networking and building contacts to help guide our career moving from one job to the next.
There are however some post production audio facilities that have a small staff of sound editors and mixers where music becomes an element that needs to be managed along with the other sound materials. In these cases, there may be a sound editor that becomes a music editor by the nature of handling the music as well and perhaps the mixing… all done by one or two people.

 
• Essential advice for working and making it in music editing:

I would suggest that one educate themselves with all the details of this work by reading about it, meeting and talking with music editors, and visiting as many mixes and dubs to observe how the variety of sounds get mixed.

Once you feel like this work may be a match for you, your temperament, and skill level, jump in with both feet and don’t give up!

Once you feel like this work may be a match for you, your temperament, and skill level, jump in with both feet and don’t give up!

 
• Further reading and resources:

One of the best avenues is to meet and talk with anybody and everybody in post-production. People usually love to talk about their work and experiences… if they have time to talk. Again, reading about this work and getting out there and finding out what it really is like is critical.
If interested in my book, please follow the link here – and for a 20% discount use this code: FLR40


About Steven Saltzman:

Music editor and composer Steven has over twenty years of music editing experience. He’s earned a Golden Reel Award and four nominations. Recent works include: Mary (2019), Donnybrook (2018), and The Revenant.

Steven recently published a book on music editing called Music Editing for Film and Television, The Art and The Process, and teaches music editing and lectures at various institutions and venues around the world.

He is a new member of the Academy of Motion Picture Arts and Sciences, serves on the Board of Directors for Entertainment Industry Professionals Mentoring Alliance (EIPMA), a past board member of the Motion Picture Sound Editors, (MPSE) and currently member of the Motion Picture Editors Guild, an Associate Member of The Guild Of Music Supervisors and the Society of Composers and Lyricists.

www.saltzmanmusic.com

 

Popular on A Sound Effect right now - article continues below:

 

Latest releases:  
  • Spatial Roomtones & Interiors is an immersive collection of audio backgrounds for cinema, VR, videogames and any audiovisual or creative purposes.

    The audios provided in this library are high quality recordings with Zoom H2n recorder in propietary Spatial Audio mode, horizontal-only ambisonic alike mic layout stored in an AmbiX format. W, X, Y channels of AmbiX provide immersive audio through the horizontal plane and they allow to decode the recording into Mono, Stereo, Binaural, Quad, 5.0, 5.1, 7.1 and more layouts with dedicated Ambisonic processors. Z channel is empty.

    The library comes with 5.0 and Stereo version of the AmbiX original recordings.

    Add to cart
  • The following is a 2016 Bell 407 GX Helicopter single license
    sound effects library with Metadata (1.8gb compressed .zip file, 2.5gb Uncompressed).

    All 17 wave files at about 85 minutes long are in 24 Bit, 96 kHz. The Onboard 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 ready to use stereo mix versions of the Onboard recordings. External recordings are in mono, stereo, and Ambisonic Format B wave files.

    Onboard Settings:

    Channel 1 Front Left
    Channel 2 Front Right
    Channel 3 Rear Left
    Channel 4 Rear Right

    Notes: If you need specific shots of this helicopter, Watson is available for hire to re-record this or similar sounding aircrafts.

    Special thanks to James, his crew, and to Chad Dion (photographer)!

    Definitions
    External = Sounds recorded from outside of the aircraft (flybys, etc)
    OnBoard = Recording perspectives on and in the aircraft

    Add to cart
  • Recording of a 1972 Porsche 911 ST vintage sports car with a 2.5 liter 6 cylinder boxer dual ignition engine and race car tuning 280 hp.


    The German 1972 Porsche 911 ST sound fx collection includes 468 sound files in 45.46 gigabytes of audio. It features the sound of a vintage sports car with a 2.5 liter 6 cylinder boxer dual ignition engine and race car tuning 280 hp.

    The bundle gathers 20 synchronized takes from both onboard and exterior perspective. The 18 onboard takes feature microphones positioned in the interior (including an Ambisonic perspective), engine, and at the exhaust while driving with gearshifts, ramps, and steady RPMs. The 7 exterior perspectives showcase departing, arriving, passing by, and reversing at slow, medium, and fast speeds. Also included are idles, performed effects of doors, gearshifts, pedals, and more, and impulse responses of the cabin interior.

    The package downloads with Pro Tools and Reaper mixing sessions, custom mixes of the onboard microphones, professional embedded metadata, and translation import files in 7 languages.

    Add to cart
  • Recording of a 1978 Japanese Yamaha ET 340 snowmobile with a 338cc, 2 stroke, 2 cylinder engine.


    The 1978 Japanese Yamaha ET 340 snowmobile sound collection gathers 174 clips in 8.47 gigabytes of field recordings. It showcases the sound of a 338cc, 2 stroke, 2 cylinder engine in 23 channels of audio.

    The sound pack includes 9 synchronized takes of onboard and exterior driving. The 11 onboard perspectives features recordings from the engine, exhaust, and front shield while the skimobile drives with steady RPMs and ramps. The 5 exterior perspectives arrange microphones at three positions to capture driving at slow and fast speeds on straightaways and around corners. The package also includes custom mixes of the onboard perspectives as wells as performed effects of switches, the throttle, and more.

    Each sound is embedded with with seven languages of Soundminer, iXML, BWAV and Mac OS Finder metadata.

    Add to cart
  • “The Shoe Collection: Soft Hardwood – Men’s Boat Shoe“ by Periscope Post & Audio, provides 22 high quality footsteps on soft hardwood floors with the boat shoe.  The audio files are recorded at 24bit, 192k with mono and stereo recordings.  The Sennheiser MKH-60 was used for the mono files with a slightly more distant mic placement than the stereo files, which were recorded with the Sennheiser MKH8050 and the Sennheiser MKH-30 near the shoe.  From different walking speeds, to jogging, sprinting, jumping, hard stops, scuffs, and more!  There are several performances with each file to fit the right action you need.  That’s a whopping 454 footsteps between the mono and stereo files!

    Add to cart


Need specific sound effects? Try a search below:
 

Sound Design: VR/AR/MR – insights from Helena McGill and Anna Woźniewicz:

 
• What working in VR/AR/MR sound design entails:Insights on sound for VR from Anna Wozniewicz and Helena McGill
Creating a mix for AR/VR starts with the same theoretical concepts and techniques as traditional sound design, but then they’re taken a step further. You still need to understand how sound affects people’s emotions and where to use certain sound effects for maximum emphasis in a story, and be able to execute those concepts technically.
Then, there’s just the added step of either spatializing the mix into a 360-degree space, or bringing your sounds into a game engine, etc. The foundation is the same, but in order to extend the basics to AR/VR projects, you’ll need a knowledge of a lot more plug-ins and software, plus psychoacoustic concepts that are unique to a 360-degree context.

 
• What it takes in terms of skills and gear:
Skills: You need to understand the basics of sound design — editing dialogue, sound effects, backgrounds, plus re-recording mixing and when and where to use which plug-ins. You should also be well-versed in location recording, as it gives you context for the work you’re doing in post. You should also be familiar with game engines like Unity and Unreal Engine, plus middleware like wWise and Fmod. Additional spatial SDKs include Google Resonance and the Oculus spatializer. It also helps to have some basic coding knowledge.
Gear: You’ll need a DAW (Pro Tools, Reaper, etc.) to create sound effects for object-based mixes, or to create full ambisonic mixes for 360 video content. A sound library is also helpful, that way you have somewhere to pull sound effects from to mix and match and create your own, unique soundscapes.

 
• How to learn it:
• Get on-set, work on low-budget projects.
• Take unpaid work until you feel confident in your abilities.
• Watch YouTube tutorials.
• Join the FB360 Spatial Workstation Facebook group.
• Practice by doing — play around with different ambisonic microphones, plug-ins, and SDKs.

 
• How to find work:
Short term/contract work is available, but is currently harder to find. Team up with a developer and start playing around with spatial tools; network and connect with XR content creators. There are always projects in need of audio, but the budget is often a limiting factor.
As the industry reorganizes itself as we head into 2020, stay on top of current trends in tech and entertainment; the future of audio is immersive and interactive.

 
• Essential advice for working and making it in VR/AR/MR sound design:
Stay on top of new software and workflows — there are constantly new microphones or ambisonic plug-ins or SDKs being released. Be aware of what’s out there and take time to experiment and get to know the main ones, so that you can recognize each one’s strengths and weaknesses and make sure you’re using the best tools for that specific project.
Reach out to 360 production companies or groups that are just starting to expand into VR content.
Half our job has been educating on not only what spatial audio is, but what it can bring to a production
 
• Further reading and resources:
Designing 3D audio combines a heavy scientific focus with room for creative experimentation. Brush up on basic psychoacoustic concepts: how humans hear and perceive certain auditory events. This has been helpful in designing a mix that influences the listener to engage with the full 360 degree space.
The Spatial Audio Facebook group has also been an invaluable asset; updates to software and proprietary plugins are announced, and the community is very open to new research and real-time troubleshooting.


About Helena McGill and Anna Woźniewicz:
Helena and Anna are the co-founders at Noctvrnal, an audio post production studio based in Los Angeles that specializes in interactive audio for XR, location-based experiences, and installations.
Noctvrnal is bringing immersive sound design to the forefront of virtual and augmented reality by pushing the boundaries of current techniques and harnessing psychoacoustic research to create a powerful listening experience. The team is passionate about creating new worlds through sound, and their work has been featured at MIT, Yale, USC, and VRLA.

www.noctvrnal.com
Noctvrnal_VR on Twitter

 

A big thanks to Steve Keller, Steven Saltzman, Helena McGill & Anna Woźniewicz for sharing their valuable insights with us!

 

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Succeed in sound:

• How to Set (and Get) the Right Price for Your Audio Work

• 10 Essential Tips for Game Audio Freelancers

• How to be a successful sound designer – with Scott Gershin

• 5 Useful Tips for Upcoming Sound Designers and Sound Editors

• Sound Opinions: How to get game audio pricing right

• Building a successful audio post studio – with Kate Finan and Jeff Shiffman

• Rebuilding your studio: Goals, tips and lessons learned

• Creating audio for games – with Martin Stig Andersen

• A life in sound: How to foster creativity and protect yourself from burning out – with Chance Thomas

• Tips and thoughts on running your own audio post production house – with William McGuigan

• 30+ year audio veteran Andy Greenberg, on building client relationships in the advertising industry

• 7 Sound Alternatives to Working For Free

• Audio Outsourcing Success: Essential Tips, Thoughts and Working Practices from Adele Cutting

 
 
The sound success series:

• How to succeed in UI/UX Sound Design, ADR Recording, & Audio Programming

• How to succeed in sound design for Film, Documentaries, and Trailers

• How to succeed in sound design for Games, Animation, and Television

How to succeed in Field Recording, Foley, and Teaching Sound

• How to succeed in Audio Branding, Music Editing, and sound for VR

• How to succeed in Theater Sound Design, Podcast Sound Design, and Podcast Production

• How to succeed in Sound Editing, Sound for Advertising, and Production Sound

 
Breaking into audio – guides and resources:

• The ‘Quit Aspiring’ book – by Adam Croft

• How to get hired in game audio – thoughts and insights from your potential employer’s perspective

• 4 Effective Ways to Break into Game Audio

• Tips for Creating a Perfect Resume for Audio Industry Jobs

• Yet Another Game Audio Hiring Article – by Ariel Gross

• 5 Tips for Getting a Job in the Audio Industry

• Applying for a job in game audio – by Matthew Florianz

• Freelance Game Audio: Getting Started and finding work – by Ashton Morris

• How to get started (and make it) in game audio – 10+ fundamental questions answered by Akash Thakkar

• Courses: How to network and get paid for your work in the game industry – by Akash Thakkar

• How to Craft a Perfect Cover Letter for Audio Industry Jobs
 
 
Finding those audio jobs:

• Get the weekly Audio Jobs newsletter

• Join the Audio Jobs Facebook group
 
 
Showcasing your work:
 
• Get a free profile on Soundlister

• Upload your demos to Soundcloud

• Upload your demos to ReelCrafter
 
 
Networking:
 
• Find game audio community groups around the world

• Find interesting audio events around the world

• Find other audio pros around the world
 
 
Coping with a layoff - and how to bounce back:

• How to prepare for – and power through – a layoff in the game audio industry, with Brian Schmidt:

• How to Survive a Game Audio Layoff – insights from Damian Kastbauer

• What it’s like to be laid off from your video game studio

• What To Do Before and After Being Laid Off

• Facebook Group: Survival Skills for Creatives
 
 
Education and knowledge:
 
• Get an audio mentor at the Audio Mentoring Project

• How To Learn Game Audio Online – A talk with Game Audio Educator Leonard Paul

• Read the 100s of sound stories and guides on the A Sound Effect blog (search for stories here)

• Browse Industry Data: Game Music and Sound Design Salary Survey Results

• Browse 100+ Sound Design Guides

• Essential books about sound – for film, games and audio post production

• Get tips and ideas for making your own sound effects

• Discover 1000s of sound libraries from the independent sound community

• Take online courses in Wwise, FMOD Studio, Unity, Pure Data & Unreal at the School of Video Game Audio
 
 
Getting into independent sound effects:
 
• DIY SFX libraries - Your guide to your first sound effects library

• Sound effects survey results: Here are 90+ ideas for new SFX libraries

• How to create an indie sound bundle

• The quick-start guide to adding sound FX library metadata

 
↑ Back to top


 
 
THE WORLD’S EASIEST WAY TO GET INDEPENDENT SOUND EFFECTS:
 
A Sound Effect gives you easy access to an absolutely huge sound effects catalog from a myriad of independent sound creators, all covered by one license agreement - a few highlights:
 
 
  • Horror Giant Pinecones Play Track 500+ sounds included, 44 mins total $79

    • In Giant Pinecones, get a visceral collection of scraped and eviscerated pinecones from the gray pine trees of Northern California. Scrape the razor-sharp hooks of the cone petals and hear guttural scrapes crackling with energy. Hear rolling cones popping and fluttering with rich stuttering tones. Hear fully open cone pedals squeaking with woody vocalizations like supernatural animals and hardy crunches filled with organic grit.
    • This library offers you an extensive collection of sounds from a unique organic sound source. Digger pinecone sounds are incredibly soft and intimate in real life, but when recorded from two inches they morph into a unique wooden sound source brimming with powerful glitchy and stuttering textures.

    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 to offset my field recording travel for this library.

    KEY FEATURES:
    • Woody vocalizations
    • Rolling, scraping, and stuttering textures
    • Visceral and guttural scrapes
    • Fluttering and popping textures
    • Rich crunches
    • Chalkboard-like squeaks and squeals
    FILE LIST & METADATA:
    • View larger version or Download CSV
    • A spectrogram is included for each audio file. Double click on the photo to enlarge.
    MORE INFO:
    • Read 40+ testimonials 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 MKH8040 and MKH30 in MS
    • Sound Devices MixPre-6
    Add to cart
  • Sci-Fi Advanced Propulsion Play Track 1191 sounds included $99

    ADVANCED PROPULSION is a next-gen sound design toolkit built for creating dynamic sci-fi vehicle engines and passbys. The designed engine sounds are all seamless loops, making them perfect for use with various plug-ins and interactive applications. All raw source material used to design the engines is included, giving you maximum creative flexibility.

    Add to cart
  • Footsteps Human Stampede Play Track 13 sounds included, 18 mins total $7

    Human Stampede was recorded across multiple marathon races and captures the sound of footsteps of large crowds of runners. The idea was to capture long takes in stereo with minimal or non-existent crowd chatter to get stereo recordings that are useful for scenes of riots, warfare or even a plain old fun run.

    Add to cart
 
Explore the full, unique collection here

Latest sound effects libraries:
 
  • Spatial Roomtones & Interiors is an immersive collection of audio backgrounds for cinema, VR, videogames and any audiovisual or creative purposes.

    The audios provided in this library are high quality recordings with Zoom H2n recorder in propietary Spatial Audio mode, horizontal-only ambisonic alike mic layout stored in an AmbiX format. W, X, Y channels of AmbiX provide immersive audio through the horizontal plane and they allow to decode the recording into Mono, Stereo, Binaural, Quad, 5.0, 5.1, 7.1 and more layouts with dedicated Ambisonic processors. Z channel is empty.

    The library comes with 5.0 and Stereo version of the AmbiX original recordings.

  • The following is a 2016 Bell 407 GX Helicopter single license
    sound effects library with Metadata (1.8gb compressed .zip file, 2.5gb Uncompressed).

    All 17 wave files at about 85 minutes long are in 24 Bit, 96 kHz. The Onboard 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 ready to use stereo mix versions of the Onboard recordings. External recordings are in mono, stereo, and Ambisonic Format B wave files.

    Onboard Settings:

    Channel 1 Front Left
    Channel 2 Front Right
    Channel 3 Rear Left
    Channel 4 Rear Right

    Notes: If you need specific shots of this helicopter, Watson is available for hire to re-record this or similar sounding aircrafts.

    Special thanks to James, his crew, and to Chad Dion (photographer)!

    Definitions
    External = Sounds recorded from outside of the aircraft (flybys, etc)
    OnBoard = Recording perspectives on and in the aircraft

  • Recording of a 1972 Porsche 911 ST vintage sports car with a 2.5 liter 6 cylinder boxer dual ignition engine and race car tuning 280 hp.


    The German 1972 Porsche 911 ST sound fx collection includes 468 sound files in 45.46 gigabytes of audio. It features the sound of a vintage sports car with a 2.5 liter 6 cylinder boxer dual ignition engine and race car tuning 280 hp.

    The bundle gathers 20 synchronized takes from both onboard and exterior perspective. The 18 onboard takes feature microphones positioned in the interior (including an Ambisonic perspective), engine, and at the exhaust while driving with gearshifts, ramps, and steady RPMs. The 7 exterior perspectives showcase departing, arriving, passing by, and reversing at slow, medium, and fast speeds. Also included are idles, performed effects of doors, gearshifts, pedals, and more, and impulse responses of the cabin interior.

    The package downloads with Pro Tools and Reaper mixing sessions, custom mixes of the onboard microphones, professional embedded metadata, and translation import files in 7 languages.

  • Recording of a 1978 Japanese Yamaha ET 340 snowmobile with a 338cc, 2 stroke, 2 cylinder engine.


    The 1978 Japanese Yamaha ET 340 snowmobile sound collection gathers 174 clips in 8.47 gigabytes of field recordings. It showcases the sound of a 338cc, 2 stroke, 2 cylinder engine in 23 channels of audio.

    The sound pack includes 9 synchronized takes of onboard and exterior driving. The 11 onboard perspectives features recordings from the engine, exhaust, and front shield while the skimobile drives with steady RPMs and ramps. The 5 exterior perspectives arrange microphones at three positions to capture driving at slow and fast speeds on straightaways and around corners. The package also includes custom mixes of the onboard perspectives as wells as performed effects of switches, the throttle, and more.

    Each sound is embedded with with seven languages of Soundminer, iXML, BWAV and Mac OS Finder metadata.

  • “The Shoe Collection: Soft Hardwood – Men’s Boat Shoe“ by Periscope Post & Audio, provides 22 high quality footsteps on soft hardwood floors with the boat shoe.  The audio files are recorded at 24bit, 192k with mono and stereo recordings.  The Sennheiser MKH-60 was used for the mono files with a slightly more distant mic placement than the stereo files, which were recorded with the Sennheiser MKH8050 and the Sennheiser MKH-30 near the shoe.  From different walking speeds, to jogging, sprinting, jumping, hard stops, scuffs, and more!  There are several performances with each file to fit the right action you need.  That’s a whopping 454 footsteps between the mono and stereo files!

 
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