Asbjoern Andersen


To say that the Star Wars Battlefront game from DICE / EA has been highly anticipated is probably a bit of an understatement. In addition to the fact that it looks fantastic and, well, it’s STAR WARS! – part of what built this excitement were a series of excellent-sounding trailers and cinematics.

To get the inside-story behind the trailer sound, I managed to get in touch with the team at Source Sound Inc who did the sound for them.

And in this special A Sound Effect interview, Charles Deenen, Csaba Wagner and Thomas Brewer take you behind the scenes on the Star Wars Battlefront trailer sound – and shares what it was like working with those iconic sounds.

 

Video Thumbnail

The Star Wars Battlefront Reveal Trailer

 

Hi guys, please introduce yourselves:

CD: It’s a pleasure to chat to you guys. My name is Charles Deenen, Director for Digital @ Source Sound Inc. in Los Angeles, California, and Sound Sup on the SW BF trailers. Sound team consisted of Csaba Wagner, Braden Parkes, Colin Hart, Tim Gedemer, Mike Schapiro, Travis Prater, Erik Norris & Brent Burge. Mixing was done by Tom Brewer and myself. Music was a mixture between the classic Williams, Gordy’s music, and some trailer music adds. We had access to the game sounds as well as some part of the Lucas FX, so major credit also goes to Ben Minto, David J & the original SW Skywalker team. We worked on the SW BF trailers, cinematics, website and more. All-in-all over 100 short movies with an equivalent greater length than a feature film.

CW: I’m Csaba Wagner, co-supervising sound designer on the Star Wars Battlefront cinematics and trailers. I’ve been working as a sound designer for movies and games for 5+ years here in LA.

TB: I’m Thomas Brewer, Re-recording mixer on Star Wars Battlefront Cinematics and Trailers. I’ve been working in sound for Trailers, Games, Film and Television in Hollywood for more than 20 years, and I’ve been working for Source Sound for more than 13.
 

Star Wars Battlefront is arguably the most anticipated game in years. How did you get involved with the project?

CD: Well, I was fortunate to have worked @ EA for 9 years through which I got to know many of the wonderful folks involved with these titles. Previously I worked with this team on Battlefield trailers. You start to get a trust and short-cut language which helps speed up workflow. They knew what we could do, and that we’d take utmost care of their project. Ben Minto & Neel Upadye ended up hiring us for the Trailer Campaign, Cinematics and much more.

CW: Charles and I have been working together for several years. When he told me that I could work with him on the reveal trailer for Star Wars Battlefront, I got extremely excited, because I’m a huge Star Wars fan. I’m pretty sure I’ve seen the original trilogy hundreds of times.

TB: When Charles came on board at Source Sound, he immediately started lining up bigger and bigger titles, which lead to some fortunate timing and turning some heads… eventually opening up the conversation of this one being an option. I feel really fortunate that this one materialized for us. I couldn’t be more excited!
 

What’s your workflow on a project like this?

CD: CW: On the reveal trailer we had to be very careful how we approach things. We wanted to keep the characteristics of the original sounds we all know and love, but we also wanted to take a modern twist on them. Our goal was to keep the sounds recognizable but make them big, punchy, and heavy. We applied the same recipe for the other trailers as well.

Our goal was to keep the sounds recognizable but make them big, punchy, and heavy

The other important thing was to make sure the edit was clear and tactile. I carved things out for the biggest events and you only hear the things that are crucial to tell the story. The mix of the Reveal trailer (by Charles and Tom) took this even further, making things even punchier.

TB: As an example, for the reveal trailer, the designers had been doing these really great temp mixes of the effects and foley as we went along so that created a great starting base and gave us a heavy understanding of all the materials we had already laid out before us. I started working those effects against some temp music to get the timing of everything worked out until Charles edited in the final John Williams and Gordy Haab music. After that, Charles and I worked back and forth to hone the mix down to be very precise about what the ear should follow and what part of the sound was telling the story. Both the sound design and the music were so great and detailed that each could completely stand on its own.
The sound design, many times very musical and tonal, was completely capable of carrying the emotion of the scene, so the challenge became the hand off between it and the music, not making the switch between them jarring or having the mix become overwhelming if both were playing at the same time. While we originally built the session as a 5.1 mix, the initial delivery was stereo. We later went back and turned the mix into an immersive Atmos mix, which was an incredibly fun and rewarding process.
 

When working with a gameplay trailer such as this one, how do you strike a balance between using the actual in-game audio vs adding extra elements?

CD: CW: We had the chance to get some of the game assets that were created by the super talented Ben Minto and his team. When you work on a trailer, it is inevitable to add extra elements and / or alter the in-game sound effects to have the emotional effect that the trailer demands. With each trailer, we made sure that the characteristics of the sounds remain the same, whilst we stylized them to suit the style of the trailer.

TB: I think the key is working the in-game audio against the trailer music and using that process to tell you if the in-game effect can work in the context of the trailer. In the case of Star Wars, we had a lot of great in-game source to work with. Csaba would cut in options, and Charles and I would try the different versions in the mix to see which ones gave us the best clarity and punch.

We were very careful to not ignore very key sounds that have long been established in this franchise

At times the driving music or pace of the trailer wouldn’t allow an in-game effect to work on its own without help, so it would get redesigned in order to accomplish the same intention. That being said, we were very careful to not ignore very key sounds that have long been established in this franchise. They were as key to sonically tying the trailer to the game and to the overall franchise as the music was.

Video Thumbnail

The Star Wars Battlefront Gameplay Launch Trailer

 

The trailer features so many iconic sounds – did you get to work with the original Star Wars movie material, or did you re-create them?

CD: We had the privilege to use some of the famous sounds from the original movies, but they were enhanced, cleaned up & remastered where needed. In many cases we used the original material as source, but then split out tonal from noise layers. Then we kept the tonal layers, and added higher fidelity noise layers. This was mainly done to give the ability to control the dense sound mix that often happened or was requested. We always tried to stay faithful, but enhanced it enough so that it punched more, slight bit more “2015”, was bigger feeling etc. This is a choice we made starting from trailer 1. We waited what the response was, and it was overwhelmingly positive. So our Path to the dark side had been chosen.
 


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

 

Latest releases:  
  • Environments Sci-fi World Swarm Play Track 141 sounds included, 120 mins total $39 $34

    The latest installment in the Epic Stock Media Sci-fi World Sound Effects Series has landed on planet earth. Sci-fi World – Swarm presents a meticulously designed ambience loop library inspired by an insect-like alien race and their quest for dominance in the galaxy. Sci-fi World – Swarm is a collection of over 2 hours of interior and exterior sci-fi background loops.

    With a selection of 141 designed sci-fi loops, you’ll be able to create new worlds effortlessly. Dramatic room tones, custom sci-fi interior and exterior scenes, ambient sounds like; alien cave, energy lab, transport hangar, termite mounds, and Queen’s chambers are all ready to mix, match, stack and layer for the perfect vibe in your production.

    Loops are approximately one minute in length and the ambience loop files include one or two minimal or alt mix versions. Also, sounds are pre-mixed and mastered to high volume so you can mix your tracks for optimal immersion and sonic dynamics without losing fidelity.

    Product details:

    • Sci-fi Ambience Loop Library
    • Includes a variety of locations, tones, and ambiences
    • 24 ambiences loops like alien cave, energy lab, hangar, sub bay & more
    • 49 minimal versions or alt mixes of full loops
    • 68 loop-able layer loops like Queens Chamber, Termite Mounds, Insect Engines & more!
    • All royalty free SFX

    Of course, it’s ready to use in any multi-media production. All of the recordings are royalty-free and RTU-OTB. Need more ambience loops? Be sure to check out Swarm sister sound libraries – Sci-fi World Colony and Sci-fi World Guardians Ambience Loop Libraries.

    13 %
    OFF
    Ends 1580511599
    Add to cart
  • Environments Sci-fi World Guardians Play Track 141 sounds included, 120 mins total $39 $34

    Sci-fi World Guardian is a library geared towards multiplayer games, space, dystopias, utopias, fantasy, magical places, serene game moments, RPG, MMO, and sci-fi games all alike and showcases sounds like automated shipyard, electron flow, data mining, engines, mothership hums, conversions, moons of Venus, deserted area, bioengineering lab, desolate space, holy house, a variety of pulses, tech-based loops, winds, & more.

    Each loop is game ready, seamlessly loopable and around 1 minute in length. Each main ambience includes 1-2 alt mix versions + you get a variety of layers to accent your scene and games ambience. Having both full ambiences, alt mixes and layers allows you to truly orchestrate your game’s background sound how you want it. If the full loop has too much going on, then try using the minimal version without the sound you don’t like or by stacking a layer loop to boost the dynamic of the atmosphere.

    Product Details

    • Sci-fi Ambience Loop Library
    • Save time, energy and get quality game audio assets!
    • Includes a variety of locations, tones, and ambiences
    • 25 ambiences loops like an alien cave, energy lab, hangar, sub bay & more
    • 50 minimal versions or alt mixes of full loops
    • 66 loop-able layer loops like Queens Chamber, Termite Mounds, Insect Engines & more!
    • All royalty free
    • RTU-OTB (ready to use out of the box)

    13 %
    OFF
    Ends 1580511599
    Add to cart
  • AUDIO LAYERING WIZARD


    SoundWeaver helps you design new sounds from existing audio material in less time.

    CREATE MORESKIP THE BUSYWORK

    USE CASES

    • Produce more assets and increase productivity on tight schedules
    • Set up your sound design session with ready-to-use sound combinations
    • Generate variations with ease instead of manually tweaking everything
    • Find new combinations, discover and create new flavors and variety within your library

    WHAT DOES SOUNDWEAVER DO?

    • SoundWeaver automates and randomizes certain parts of your sound design workflow.
    • SoundWeaver searches your sound library with the help of keywords or folder paths and picks matching sounds for your project.
    • Sounds are automatically sorted, grouped, layered, aligned and split into regions (if files contain multiple variations).
    • Now you can pitch, offset, gain, shuffle and randomize individual sounds, groups or the whole project. The possibilities are endless.
    • Take snapshots of your favorite combinations and settings. Create as many variants as you like and return to them later in the process.
    • Drag’n’drop the project into your DAW for further editing or export the final mix.
    • SoundWeaver can generate countless variations from your project during export via pitch, offset and take randomization.


    HOW SOUNDWEAVER HELPS YOUR WORKFLOW

    MORE VARIETY ON TIGHT SCHEDULES
    We all know the situation: A client has asked for 100 new sound assets, 10 variations each, delivered as soon as possible.
    Creating variations in particular requires a lot of meticulous pitching, shifting and switching out elements within your original design.
    With just a few commands, SoundWeaver will automate all of those time-consuming steps for you and generate as many suggestions as you like – so all that’s left for you to do is have a quick listen and keep the ones you like best.
    Focus on your creative process while SoundWeaver takes care of the rest.

    INSPIRATION THROUGH NEW COMBINATIONS
    Speaking of creative process: Once your library has grown beyond a certain point, there is only so much experimenting you can do manually. SoundWeaver’s powerful Randomize feature often generates combinations we’d never think of trying in the first place.
    This opens up a world of new possibilities and is a great way of starting a project.
    Already have an idea? Tell SoundWeaver to build on it and create different flavors.
    Starting empty-handed? Let SoundWeaver set up your session by putting all layers in place.
    Done, but missing that special something? Try out more unlikely sounds with just a few clicks.


    SOUNDWEAVER At A Glance

    KEY FEATURES

    • SoundWeaver automatically picks, slices, aligns and layers sounds
    • Search by keywords, folders or drag’n’drop
    • Pitch, offset, gain, shuffle and switch out individual sounds, groups or the whole project
    • Each of the previous parameters can be randomized.
    • Export: Drag’n’drop the project into your DAW
    • Export as: Individual layers, groups or mixdown
    • Export features: Generate variations using pitch, offset or random takes
    • Take snapshots and return to your favorite combinations, parameter settings and sounds at will

    TECH SPECS

    Format: Standalone Application for Windows & Mac
    Required Hard Disk Space: 30 MB
    Manual: PDF
    License Agreement: PDF
    Available As: Download

    REQUIREMENTS

    SOFTWARE
    SoundWeaver is a standalone application and works without any host audio software.

    SYSTEM
    Windows 7 (64-bit), 8 GB Ram, Intel® Core i5
    Mac OS X 10.9, 8 GB Ram, Intel® Core i5

    ILOK
    SoundWeaver requires a free iLok account

    Available licensing options:
    Machine License activation and USB Dongle (iLok 2 or higher)

    20 %
    OFF
    Ends 1581116399
    Add to cart
  • City Life Buenos Aires Ambiences Play Track 71 sounds included, 200 mins total $39.99

    Buenos Aires Ambiences features 71 beautifully and professionally recorded ambient sounds of downtown Buenos Aires, Argentina, with their rich and unique Spanish dialect, a variety of perspectives, locations, and times of day, everything is categorized with metadata input via Basehead Ultra, and mastered in Protools HD.  We originally recorded over 80gb of data which translated to 42 hours and meticulously cut it down to 6.5gb/3 hours and 20 min of the best and most useful ambiences.

    Included is: City airs, botanical gardens, parks, markets, cemetery, city plazas and squares, nature reserve, busy and quiet streets, traffic, crowds, early morning bird chorus, evening airs, construction, airport, department stores, cafes, restaurants, library, church and cathedral, train station, public transit, museum, roomtones, rain.  And a variety of each, with different perspectives and amounts of walla and voices.

    Thank you and we hope you enjoy our recordings

    Buenos Aires Ambiences includes 3 hours of beautiful ambiences of downtown Buenos Aires, Argentina, with a massive variety of locations and times of day, this album will not dissapoint!

    Add to cart
  • The Siemens Valero is a high-speed train that is an engineering marvel and a staple of modern high-grade national and transcontinental rail transport, with various versions zipping across the UK, the EU, Russia, and the far reaches of Asia including China. This is a train capable of 290 kilometres per hour (180 mph), it is the high-speed joiner of distant cities such as Moscow and Saint Petersburg. For our recording project, we captured it across a comprehensive range of its speeds. Sennheiser Ambeo microphones were used throughout.

    Recordings were made inside carriages, inside a compartment, down gangways, across the ever-dramatic space connecting railcar vestibules, and also less glorified but vital locations, e.g., the loo. All relevant background sounds are there, including door movements, passenger chatter, objects in motion, and the sounds of the restaurant car. For the characteristic sounds of a great ‘iron horse’, inside and out, this is it. Flysound… Putting the ‘track’ into soundtrack!

    Add to cart


Need specific sound effects? Try a search below:
 
Want more stories like this? Follow A Sound Effect:
 
                              

It must have been a somewhat special feeling working with the original sounds?

CW: I remember I used to make lightsaber-buzzing sounds with my mouth as a kid. To me the sound of the lightsaber is like music. So, it was amazing to finally listen to and work with those incredible sound effects.

TB: When we got to listen to many of the original sounds isolated, I was a little taken aback at the level of emotional response I had. Just listening to the breathing of Darth Vader alone made the hair on the back of my neck stand up. Many times sounds from older movies can be very dated, but most of the original sounds from Star Wars seem timeless.

CD: Since I didn’t grow up with Star Wars (as I kid I hardly ever saw movies), my experience was a tad bit different. I learned quick though, and it was incredibly fun to hear and see how Ben approached the original material. For me that’s the case with anybody’s work that we get the opportunity to dissect.

I’m happy to say that even though we recreated or replaced a fair bit of sounds, the user base experienced it as “authentic”

I feel this also gave me a “benefit” in some ways. I wasn’t emotionally attached the sounds, and would (hopefully) make choices that will make the aural experience better, vs having to stay 100% faithful, especially since the SW BF scenes didn’t all “map” to the movies with the action we were seeing (the movies are not in 1st person as an example). I’m happy to say that even though we recreated or replaced a fair bit of sounds, the user base experienced it as “authentic”
 

Of the sounds you had to re-create, what was one of the most interesting ones to do – and how did you go about making it?

CD: It was amazing to see how “common” a lot of the sounds started. Some of the “base” or element sounds have made it into commercial libraries over the years, so it was a challenge to find the element that would get us to 90%. Recreating the elements that made up the composite allowed us to make new movements, new POV’s etc. That said, the original Burtt composite was magic, so we tried to start with that magic as often as possible as the core element. Let’s say we went through a lot of flangers, phasers and detuned speed playback :)

I recreated some of the tonal elements of the AT-AT’s foot creak, for which I used the recording of an old oven that I had in my previous apartment

CW: Charles recreated the tonal sound of the speeder bikes which was excellent to achieve the sensation of high speed during the chase scene of the reveal trailer. I recreated some of the tonal elements of the AT-AT’s foot creak, for which I used the recording of an old oven that I had in my previous apartment. That sound is the most audible during the destruction scene of the AT-AT in the Reveal trailer.
 

Any personal favorite sounds or parts in the trailer?

CD: In the reveal trailer, the crash of the AT-AT sounds intimate, big, and there was one teaser (I sadly can’t recall which one) that had some great ship movements, very authentic sounding, yet 90% new. Favorite one is the Jakku Teaser where it was fully san-music. There was a 5-minute reveal trailer that only a handful of people saw during the reveal of the game. It had an awesome “under AT-AT” moment.

Video Thumbnail

The Jakku Teaser

CW: I’m in love with the scene where the Millennium Falcon shows up in the final moments of the reveal trailer. But my personal favorite is the destruction of the AT-AT. For the falling of the AT-AT, I had a metal creak recording which had somebody talking in the background. I decided to drastically slow down that part of the recording, which worked amazingly for the moments before the AT-AT hit the ground. It sounds like it’s moaning in pain.

TB: Besides working with the amazing music, my favorite sounds were those of the tie fighters. They cut through anything we worked with and always made the tie fighters sound like they were fast. I also liked the foot stomps of the AT-AT. It was a fun challenge to get them to sound big without the use of a sub woofer, but when I mixed them in Atmos, the entire room shook, and there was no doubt we were underneath a gigantic Imperial construct.
 

What is it about that original Star Wars soundscape that makes it so unique – and why does it hold up so well after all these years?

CD: I think since many sci-fi movies reach for “sci-fi” or over-processed sounds, they tend to sound a bit artificial. The human connection to those sounds is not instant.

This familiarity, as well as the injection of human performance into the sounds, is what holds up so well and allows one to connect with it

By creating them from common sounds, less synthetic, mic recorded randomization (vs created randomization) it instantly feels familiar. This familiarity, as well as the injection of human performance into the sounds, is what holds up so well and allows one to connect with it. Naturally people loved the movie as well, so the sound-scape becomes a big part of that love. The sounds had “air”, a sense of true realism, with the sensibility and wit of Burtt injected into them. Believability of the sounds in this case was critical to making you think this 1/100th size model flying into a bright light-bulb was truly the real deal.

CW: In my opinion, Ben Burtt really changed how we “sound editors” think about sound. It’s always been inspiring how he layered recordings of everyday objects to create something that sounds totally new and unique. I think the reason why these sounds hold up so well after all these years is they are all very carefully chosen and have the emotional effect that the movies demand. For example, I always have a huge smile on my face when I hear R2D2’s beeps, and I get tense when I hear Darth Vader’s creepy breathing.

TB: If you muted these sounds in the original movies, you’d actually be missing a lot of the story. With most of these sounds having roots in the organic world, they took on their own essential role of storytelling and conveying emotion, by giving life to the hundreds of inanimate objects in the Star Wars Galaxy. They didn’t just fill the space so that you could hear what you were seeing; they were many times the voice of the unwritten or unspoken. For example, it’s how we knew that R2-D2 was happy or scared. With all that, the simplest explanation for Star Wars soundscapes’ iconic and timeless status is that the sounds themselves became a character in a masterful story that itself has stood the test of time.

 

Please share this:


 

A big thanks to Charles Deenen, Csaba Wagner and Thomas Brewer at Source Sound Inc for the story behind the Star Wars Battlefront trailers. Find out more about Source Sound here, and learn more about Star Wars Battlefront here.

 
 
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:
 
 
  • British Stately Home is a collaboration between two award-winning sound designers, Stefan Henrix (Chernobyl, Batman Begins) and Steve Fanagan (Room, Frank). It is a collection of 256 files recorded at 24bit/96kHz, totalling 18.6GB. The recordings are a mixture of mono, stereo, LCR and 5.0 files. In some cases there are multiple perspectives on the same recording (close, mid and wide). There are also Impulse Responses from several of the building's more characterfully reverberant rooms, which have been recorded from different perspectives and edited for use with Altiverb.

    Sounds for this library were recorded over two days in a beautifully maintained rural British Stately Home; a late-18th-century neo-classical mansion. We set out to record any and all aspects of the building and its surroundings. The collection includes doors, windows, fireplaces, clocks, drips, keys and various unusual, period specific props we came across.

    The interior of the building was one of the quietest places either of us have ever recorded and the Roomtones we've captured here are some of the most still and neutral recordings we've both made.

    All of the sounds are authentic and the spaces we recorded in are reverberant, have their own ambience, and have coloured each of the recordings with the natural acoustic of this magnificent building.

    We often set-up with multiple mics to capture different perspectives of the same recordings and these will hopefully offer the user interesting options as they work with these sounds.

    At times we have left our own movements at the beginning and end of recordings, as they captured something of the building's unique acoustic and have proven useful to both of us in our own film work with this library. This is a diverse and versatile library and the recordings take well to pitch and time shifting, and to other plugin manipulation.

    Equipment Used: Sanken CMS-7S, DPA4060, Sennheiser MKH60, Rode NT4, Sound Devices 702T, Sound Devices USB Pre-2, Roland R26

    Add to cart
  • Ice Frozen Play Track 809 sounds included $45 $23

    Frozen is a collection of ice impacts, scrapes, debris, slides and more taken during a miserably cold winter in the arctic tundra of Massachusetts. These recordings were meticulously recorded, edited, named, renamed, edited again, re recorded, then re-renamed (you get the point) to give you the best quality ice library you can get.

    The library roughly is broken into two sections, raw and processed. Raw is designed for sound designers to go wild with: stretch, distort, compress, and more to your hearts content. The processed section is for designers and content creators on the go. If you’re on a tight deadline, pulling some sounds that are already going to get you close to where you need to be is imperative. These processed versions play very nicely even when not designing ice.

    49 %
    OFF
    Ends 1580511599
    Add to cart
  • Inspired by app market hits like Clash of Clans and Candy Crush, we present to you Mobile Game – a truly fun and genuinely gameplay inspired sound effects library. Filled with a thorough selection of popular game ready audio assets, Mobile Game gives you sounds that you can quickly implement inside any game to give it a familiar “hit app” game feel.

    • Includes 578 files
    • All files in .Wav 96k 24bit
    • Plus game ready mp3 files
    • Inspired by today’s best App Games
    • Includes Soundminer metadata
    • 891.9 MB of samples

    Mobile Game features sounds such as:

    Bubbles • Building • Coins • Crafting • Mechanisms and Contraptions • Musical Stabs • Objective Completes • Pick Ups • Potions • Tonal Designed Organic fx • UI/Menu • Upgrades

    10 %
    OFF
    Add to cart
 
Explore the full, unique collection here

Latest sound effects libraries:
 
  • Environments Sci-fi World Swarm Play Track 141 sounds included, 120 mins total $39 $34

    The latest installment in the Epic Stock Media Sci-fi World Sound Effects Series has landed on planet earth. Sci-fi World – Swarm presents a meticulously designed ambience loop library inspired by an insect-like alien race and their quest for dominance in the galaxy. Sci-fi World – Swarm is a collection of over 2 hours of interior and exterior sci-fi background loops.

    With a selection of 141 designed sci-fi loops, you’ll be able to create new worlds effortlessly. Dramatic room tones, custom sci-fi interior and exterior scenes, ambient sounds like; alien cave, energy lab, transport hangar, termite mounds, and Queen’s chambers are all ready to mix, match, stack and layer for the perfect vibe in your production.

    Loops are approximately one minute in length and the ambience loop files include one or two minimal or alt mix versions. Also, sounds are pre-mixed and mastered to high volume so you can mix your tracks for optimal immersion and sonic dynamics without losing fidelity.

    Product details:

    • Sci-fi Ambience Loop Library
    • Includes a variety of locations, tones, and ambiences
    • 24 ambiences loops like alien cave, energy lab, hangar, sub bay & more
    • 49 minimal versions or alt mixes of full loops
    • 68 loop-able layer loops like Queens Chamber, Termite Mounds, Insect Engines & more!
    • All royalty free SFX

    Of course, it’s ready to use in any multi-media production. All of the recordings are royalty-free and RTU-OTB. Need more ambience loops? Be sure to check out Swarm sister sound libraries – Sci-fi World Colony and Sci-fi World Guardians Ambience Loop Libraries.

    13 %
    OFF
    Ends 1580511599
  • Environments Sci-fi World Guardians Play Track 141 sounds included, 120 mins total $39 $34

    Sci-fi World Guardian is a library geared towards multiplayer games, space, dystopias, utopias, fantasy, magical places, serene game moments, RPG, MMO, and sci-fi games all alike and showcases sounds like automated shipyard, electron flow, data mining, engines, mothership hums, conversions, moons of Venus, deserted area, bioengineering lab, desolate space, holy house, a variety of pulses, tech-based loops, winds, & more.

    Each loop is game ready, seamlessly loopable and around 1 minute in length. Each main ambience includes 1-2 alt mix versions + you get a variety of layers to accent your scene and games ambience. Having both full ambiences, alt mixes and layers allows you to truly orchestrate your game’s background sound how you want it. If the full loop has too much going on, then try using the minimal version without the sound you don’t like or by stacking a layer loop to boost the dynamic of the atmosphere.

    Product Details

    • Sci-fi Ambience Loop Library
    • Save time, energy and get quality game audio assets!
    • Includes a variety of locations, tones, and ambiences
    • 25 ambiences loops like an alien cave, energy lab, hangar, sub bay & more
    • 50 minimal versions or alt mixes of full loops
    • 66 loop-able layer loops like Queens Chamber, Termite Mounds, Insect Engines & more!
    • All royalty free
    • RTU-OTB (ready to use out of the box)

    13 %
    OFF
    Ends 1580511599
  • AUDIO LAYERING WIZARD


    SoundWeaver helps you design new sounds from existing audio material in less time.

    CREATE MORESKIP THE BUSYWORK

    USE CASES

    • Produce more assets and increase productivity on tight schedules
    • Set up your sound design session with ready-to-use sound combinations
    • Generate variations with ease instead of manually tweaking everything
    • Find new combinations, discover and create new flavors and variety within your library

    WHAT DOES SOUNDWEAVER DO?

    • SoundWeaver automates and randomizes certain parts of your sound design workflow.
    • SoundWeaver searches your sound library with the help of keywords or folder paths and picks matching sounds for your project.
    • Sounds are automatically sorted, grouped, layered, aligned and split into regions (if files contain multiple variations).
    • Now you can pitch, offset, gain, shuffle and randomize individual sounds, groups or the whole project. The possibilities are endless.
    • Take snapshots of your favorite combinations and settings. Create as many variants as you like and return to them later in the process.
    • Drag’n’drop the project into your DAW for further editing or export the final mix.
    • SoundWeaver can generate countless variations from your project during export via pitch, offset and take randomization.


    HOW SOUNDWEAVER HELPS YOUR WORKFLOW

    MORE VARIETY ON TIGHT SCHEDULES
    We all know the situation: A client has asked for 100 new sound assets, 10 variations each, delivered as soon as possible.
    Creating variations in particular requires a lot of meticulous pitching, shifting and switching out elements within your original design.
    With just a few commands, SoundWeaver will automate all of those time-consuming steps for you and generate as many suggestions as you like – so all that’s left for you to do is have a quick listen and keep the ones you like best.
    Focus on your creative process while SoundWeaver takes care of the rest.

    INSPIRATION THROUGH NEW COMBINATIONS
    Speaking of creative process: Once your library has grown beyond a certain point, there is only so much experimenting you can do manually. SoundWeaver’s powerful Randomize feature often generates combinations we’d never think of trying in the first place.
    This opens up a world of new possibilities and is a great way of starting a project.
    Already have an idea? Tell SoundWeaver to build on it and create different flavors.
    Starting empty-handed? Let SoundWeaver set up your session by putting all layers in place.
    Done, but missing that special something? Try out more unlikely sounds with just a few clicks.


    SOUNDWEAVER At A Glance

    KEY FEATURES

    • SoundWeaver automatically picks, slices, aligns and layers sounds
    • Search by keywords, folders or drag’n’drop
    • Pitch, offset, gain, shuffle and switch out individual sounds, groups or the whole project
    • Each of the previous parameters can be randomized.
    • Export: Drag’n’drop the project into your DAW
    • Export as: Individual layers, groups or mixdown
    • Export features: Generate variations using pitch, offset or random takes
    • Take snapshots and return to your favorite combinations, parameter settings and sounds at will

    TECH SPECS

    Format: Standalone Application for Windows & Mac
    Required Hard Disk Space: 30 MB
    Manual: PDF
    License Agreement: PDF
    Available As: Download

    REQUIREMENTS

    SOFTWARE
    SoundWeaver is a standalone application and works without any host audio software.

    SYSTEM
    Windows 7 (64-bit), 8 GB Ram, Intel® Core i5
    Mac OS X 10.9, 8 GB Ram, Intel® Core i5

    ILOK
    SoundWeaver requires a free iLok account

    Available licensing options:
    Machine License activation and USB Dongle (iLok 2 or higher)

    20 %
    OFF
    Ends 1581116399
  • City Life Buenos Aires Ambiences Play Track 71 sounds included, 200 mins total $39.99

    Buenos Aires Ambiences features 71 beautifully and professionally recorded ambient sounds of downtown Buenos Aires, Argentina, with their rich and unique Spanish dialect, a variety of perspectives, locations, and times of day, everything is categorized with metadata input via Basehead Ultra, and mastered in Protools HD.  We originally recorded over 80gb of data which translated to 42 hours and meticulously cut it down to 6.5gb/3 hours and 20 min of the best and most useful ambiences.

    Included is: City airs, botanical gardens, parks, markets, cemetery, city plazas and squares, nature reserve, busy and quiet streets, traffic, crowds, early morning bird chorus, evening airs, construction, airport, department stores, cafes, restaurants, library, church and cathedral, train station, public transit, museum, roomtones, rain.  And a variety of each, with different perspectives and amounts of walla and voices.

    Thank you and we hope you enjoy our recordings

    Buenos Aires Ambiences includes 3 hours of beautiful ambiences of downtown Buenos Aires, Argentina, with a massive variety of locations and times of day, this album will not dissapoint!

  • The Siemens Valero is a high-speed train that is an engineering marvel and a staple of modern high-grade national and transcontinental rail transport, with various versions zipping across the UK, the EU, Russia, and the far reaches of Asia including China. This is a train capable of 290 kilometres per hour (180 mph), it is the high-speed joiner of distant cities such as Moscow and Saint Petersburg. For our recording project, we captured it across a comprehensive range of its speeds. Sennheiser Ambeo microphones were used throughout.

    Recordings were made inside carriages, inside a compartment, down gangways, across the ever-dramatic space connecting railcar vestibules, and also less glorified but vital locations, e.g., the loo. All relevant background sounds are there, including door movements, passenger chatter, objects in motion, and the sounds of the restaurant car. For the characteristic sounds of a great ‘iron horse’, inside and out, this is it. Flysound… Putting the ‘track’ into soundtrack!

 
FOLLOW OR SUBSCRIBE FOR THE LATEST IN FANTASTIC SOUND:
 
                              
 
GET THE MUCH-LOVED A SOUND EFFECT NEWSLETTER:
 
The A Sound Effect newsletter gets you a wealth of exclusive stories and insights
+ free sounds with every issue:
 
Subscribe here for free SFX with every issue

One thought on “Behind the excellent Star Wars Battlefront trailer sound design:

Leave a Reply

Your email address will not be published. Required fields are marked *