How to succeed in Theatre sound design & Podcast audio production Asbjoern Andersen


Want to start 2020 by growing - or kicking off - your audio business, learning new areas of audio-related work, and adding multiple revenue streams to insulate you from the ups and downs of the audio industry? That's exactly what the Sound Success Series is about:

In these 3 new interviews, you'll hear what it takes to get started and succeed in theater sound design from Kirsty Gilmore, podcast sound design from Jeff Schmidt, and podcast production from Matthew McLean:


By Jennifer Walden and Asbjoern Andersen, images courtesy of Kirsty Gillmore, Jeff Schmidt, and Matthew McLean
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Theater Sound Design – insights from Kirsty Gillmore:

 

Theatre Sound Designer Kirsty GillmoreAbout Kirsty Gillmore:

Kirsty is an award-winning sound designer and voice director, based in London, UK. Her sound design work for theater and opera has included dance-music themed climate change drama, gender-swapped Shakespeare and immersive dystopian soundscapes for baroque opera (which worked surprisingly well). Kirsty is a guest tutor in sound design for the Royal Central School of Speech and Drama and the Royal Conservatoire of Scotland.

Find out more about her work at www.soundswilde.com.


 
• What theater sound design entails:

As a theater sound designer, you’re essentially responsible for everything the audience hears in the performance space, including what they hear (music, sound effects, soundscapes) and how they hear it (sound system). You’re in charge of choosing and installing the sound system —speakers, sound desks, interfaces and convertors, playout/cueing software, microphones, radio mics, foldback, cables, computers, outboard equipment (FX units, dynamics processors), etc. You also need to create or source the sounds, which includes soundscapes, sonic textures, sound effects and music. If there are live sound effects or Foley involved, you’ll also need to work out the best way to achieve these as well.

 
• What it takes in terms of skills and gear:

Theater sound design covers both live sound and studio sound skills. Sound theory knowledge is fundamental, so make sure you’re very confident with the basics, particularly signal flow, gain staging, and processing.

On the live sound side, you need to be comfortable with installing and operating theater sound desks (DiGiCo, Yamaha and Avid are all frequently used digital consoles), speakers and microphones — both wired and radio mics. Developing good relationships with hire companies is a must, and as you start to work on larger-scale shows, knowing great production sound engineers will be a lifesaver. Acoustics knowledge will come in handy when you need to consider audience coverage when positioning speakers. The standard playback software used in theater is QLab (Mac) and getting up to speed on how to operate and programme this is a must (if you’re a hardcore PC user, Show Cue System (SCS) is an alternative to QLab.) Many designers also use Ableton alongside QLab for live looping and playback.

With computer-based audio routing systems, such as Dante, becoming industry standard, it’s become almost mandatory to have IT networking skills as well.

You’ll also need your own home studio or access to a studio-setup to create, find, edit and mix the sound effects, soundscapes, ambiences and sonic textures required for a show. The DAW or software you use to make sounds is usually down to individual preference, unless you’ll be sharing files with a composer, in which case you may need to agree on a preferred system. ProTools, Logic, and Reaper are all widely used.

In the current climate of budget cuts and arts funding reductions, many theater companies look to save costs by combining roles and hiring a composer/sound designer or video/sound designer.

Having related skills such as composition or video design can be very useful. In the current climate of budget cuts and arts funding reductions, many theater companies look to save costs by combining roles and hiring a composer/sound designer or video/sound designer. While you should never agree to do two roles for the cost of one, having additional skills can give you the edge in certain situations. And if you’re planning on going into sound design for musicals or opera, score reading skills are essential.

On top of all of this, effective communication, project management and time management skills are also extremely important. The sound designer’s job involves a lot of expectation management, often with people who have varying levels of understanding about sound. Theater is a high-pressure environment and all the creative and technical aspects need to come together in a short space of time — anything from a few weeks (for very large shows) to a few hours (for small-scale and fringe theater). Being able to troubleshoot, work under pressure, and endure long hours are part and parcel of the job. You’ll also be expected to manage the sound team — anything from a single operator for smaller shows up to 3-4 or more people for large shows and tours.

 
• How to learn it:

There is no “one way” to start working in theater sound design. The traditional way to get into it is through formal study in theater sound or technical theater at a drama institution or similar. Such institutions will offer placements in theaters and with designers as part of the training, which allow you to build industry relationships.

However, many sound designers come from other disciplines, e.g. live sound, composition, lighting design, and learn on the job. Working in support levels in theaters, e.g. casual sound operation of show, will lead to connections with directors and producers, which can lead to sound design opportunities. Designing for fringe and low-budget shows in smaller theaters and spaces which can’t afford more seasoned designers is an established way to build experience and a portfolio.

Working as an assistant or associate for more experienced designers is also another way of to building experience and connections. These roles are often advertised by word-of-mouth or through social media networks.

Working as an assistant or associate for more experienced designers is also another way of to building experience and connections. These roles are often advertised by word-of-mouth or through social media networks. You can also form new connections and find out about opportunities by joining your local theater or live sound professional organization or network (online and in person).

 
• How to find work:

Theater sound designers are generally self-employed and work on short-term contracts for venues and production companies. Jobs are occasionally advertised on arts jobs sites and theater company or venue websites. The more usual way to get work is through developing solid relationships with directors, producers and venues, which leads to being recommended for work. About 20% of my theater and opera sound design work has come from applying for formally advertised positions. The rest has come through direct approaches from directors, venues and producers who have either worked with me before, have heard my work on other productions, or have had a recommendation from another designer or theater practitioners.

 
• Essential advice for working and making it in theater sound design:

If you’re at the very beginning of a career in theater and you’re fortunate enough to be able to afford formal study, look for institutions that offer degrees and courses in theater sound. Otherwise, look for opportunities to assist or do other entry-level technical theater jobs at your local theater, amateur dramatic group, school or technical college. Get to know new theater companies and offer to do their sound.

Go and watch theater, of all sorts, at all levels. Listen to the sound design and pay attention to the system design as well as the sounds and sonic palette — what works? What doesn’t?

… it’s worth investing just as much time in creating connections and relationships as it is learning about new tech.

Building your portfolio and career takes time and patience. Theater sound is a pretty tight-knit and small community and it’s worth investing just as much time in creating connections and relationships as it is learning about new tech. Join professional networks and unions and take advantage of the networking and learning opportunities.

Be open to working with new and interesting companies and productions.

Be aware that you’ll probably need another way of generating income while you build your sound design career. Fringe and small-venue shows won’t be able to pay much, and will still require a decent investment of time. You need a side job (or jobs) flexible enough to allow you to pay the bills and still keep working in theater.

 
• Further reading and resources:

Sound Design for the Stage (Gareth Fry)

The Art of Theatrical Sound Design (Victoria Deiorio)

Association of Sound Designers (ASD) – UK professional industry body for theater sound professionals and students. Advice, industry directory and an archive of professional seminars on various theater sound topics

Theatrical Sound Designers and Composers Association (TSDCA) – US professional body for theater sound designers and composers


 
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Podcast Sound Design – insights from Jeff Schmidt:

Podcast Sound Designer Jeff SchmidtAbout Jeff Schmidt:

Jeff is a creative director for media with a focus on audio storytelling.

Jeff’s cinematic Audio Design has been a distinguishing feature of widely acclaimed audio series that have racked up over 100 million downloads in the last 2 years alone, including the two most downloaded new shows of 2018 (according to podtrac) Gladiator and Dr. Death. Four of those series have been or are presently in development as television series.

His other audio-rich series include: Inside The Exorcist and Inside Jaws in collaboration with series creator, Mark Ramsey, POPS! The Incredible Story of Louis Armstrong staring Reno Wilson, The Undercovers starring Ed O’Neill highlighting the true stories of undercover DEA agent Edward Follis who risked his life in the field fighting international drugs and terrorism, Aftershock, a full cast fiction audio thriller starring Sarah Wayne Callies (The Walking Dead, Colony), David Harbour (Hellboy, Stranger Things) and Jeffrey Dean Morgan (The Walking Dead). Learn more about his work at jeff-schmidt.com


• What podcast sound design entails:

Since the space is still maturing, it’s constantly changing and expanding. In my podcast work the term “Sound Design” often includes almost everything audio related: dialogue recording, editing, and processing, to recording, editing and designing original sound effects, music supervision, and editing, composing, final mix and mastering. I’ve been using the term “Audio Design” to make this distinction where “sound design” is a specific function under the broader approach of “Audio Design.”

I don’t know if it will always be this way. I suspect as the space grows and projects get more ambitious the film/TV approach might be needed. I can already see myself hiring Foley artists, for example, to really elevate the immersion of these series.

 
• What it takes in terms of skills and gear:

The gear is mostly the same you’d use to create sound for any other media — a DAW you’re proficient with, shaping tools like plug-ins and apps to modify recorded sounds to fit the creative vision, recording equipment to capture original sounds, sound libraries, etc…

Since there’s no visual reference, the audio has to stand on its own and communicate more clearly

Being skilled and creative across several aspects of Audio Design is pretty essential. That means having a great ear, taste, and sound design chops. It also helps to understand how sound design for audio-only is different than for visual media. Since there’s no visual reference, the audio has to stand on its own and communicate more clearly – the sounds themselves have to be able to conjure images in the listeners head while trying to avoid using the most stereotypical version of a given kind of sound.

Equally important (at least to me and in my work) is being really into stories. Audio series are very character and story-focused because it tends to be a more intimate medium. The ability to choose and cut the right music to “score” the emotional beat of the story, to create pace, tension, release and pull it all together in the final mix is vital.

 
• How to learn it:

Like most creative work you really learn by consuming the work of others and then doing it yourself. Since the podcast space is still emerging, many audio people working in it will come to it from other media like Film, TV, and Radio.

…it’s important to…figure out what works and doesn’t when using only sound to tell engaging and immersive stories.

There are now a number of studios being established where you could potentially land a gig and hopefully work with more experienced designers. Either way, it’s important to take the skills you’ve honed elsewhere and figure out what works and doesn’t when using only sound to tell engaging and immersive stories.

 
• How to find work:

I’d start by finding out who makes the shows you really admire and reaching out to them. Most of them have or will have multiple shows in development. There are several radio groups that have robust podcast efforts underway – the homegrown efforts of Public Radio, for example, and then via acquisitions of established podcast studios by the commercial broadcasters. I’m confident most podcast studios and networks would consider fitting quality designers onto their teams.

It’s important to note that there is still not a lot of series that require heavy sound design. I’ve been fortunate that I’ve been able to put out more projects that ask to push that boundary and there are ambitious sounding series coming out more frequently – but they are still the exception right now.

 
• Essential advice for working and making it in podcast sound design:

It’s essential to have a demonstration of your work, preferably in audio-only. If you haven’t done enough of it yet to have something to show, I suggest creating your own. If you can’t write and don’t know a writer that can give you something to work with then “borrow” the writing — a poem, or a novel — and design it for audio-only (as long as it’s for demonstration purpose only). This is a lot like taking film and TV scenes and game trailers and doing a custom “re-skin” or “re-score” as a demonstration of your skill.

From there, you could ask a network or studio you’re interested in working with if they can give you a tryout. Maybe they’ll send you a scene or two to design if they have a need. Create Google Alerts for Podcast & Sound Design. There was a flurry of jobs posted recently at a number of studios.

I also suggest striving to be at least as curious about how storytelling works as you are about how sound design works.

 
• Further reading and resources:

I cannot recommend Rob Byers’ NPR training enough. Even if the NPR style is not what you’re looking to do, the basics of good audio is fundamental and this is essential reading for beginners.

All the books about podcast sound design are being written as we speak! But for a primer, I cannot recommend Rob Byers’ NPR training enough. Even if the NPR style is not what you’re looking to do, the basics of good audio is fundamental and this is essential reading for beginners.
Beyond that, I personally read as many articles, blogs, and interviews with sound designers, composers and mixers as I can. (A Sound Effect Blog, Designing Sound, Soundworks Collection, Tonebenders podcast, etc..). But I also read, watch and listen to a lot about story. That includes writing advice, screenplays, interviews with directors and producers for insight into how they work and how it can relate to my work on podcast series.

You can apply a lot of general sound design, mixing and composition skills across media. Discovering where they meet and where they diverge is a big part of the fun.


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

 

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Podcast Production – insights from Matthew McLean:

Podcast Producer Matthew McLeanAbout Matthew McLean:

Matthew is an audio drama writer and producer at The Podcast Host. He specializes in audio production and sound design and enjoys writing “how to” articles on podcasting.

In his spare time, he works as a manservant to a grumpy adopted three legged house rabbit called Willy, and his wife Lucy.

Learn more about his work at The Podcast Host
 
 


• What podcast production entails:

I suppose that, when working with others, there’s a lot of education involved. It can almost be a consultancy-style job.

For example, you need to set expectations that you can’t magically transform phone call audio into studio quality audio.

You often need to educate folks on things like equipment, technique, and recording environment. Most podcasters don’t get into podcasting because they’re interested in audio. They do so because there’s something they’d really like to talk about.

If you can help them to record the best possible sounding source material, you can go and make it sound great.

… bad sounding podcasts are going to struggle more and more as the space becomes busier

But if they’re handing you terrible recordings and saying “clean this up as best you can” then nobody is winning. Repair work isn’t half as satisfying as enhancement work, and bad sounding podcasts are going to struggle more and more as the space becomes busier.

 
• What it takes in terms of skills and gear:

I’ve mentioned doing everything you can to avoid repair work, but sometimes there’s no alternative. It’s still a vital part of the job.

If a client has grabbed a quick interview with a top celebrity on their phone recorder, you can’t just say “well actually, you should’ve recorded this in a proper studio.”

A lot of the time you will be fixing things, so it’s important to learn about things like EQ and noise reduction.

Gear-wise, you really only need a computer and a DAW. Audacity is free, and many folks start with that. I personally use Adobe Audition. Reaper seems to be popular these days too.

 
• How to learn it:

You can learn mainly by playing around with your editing software. Pull audio files of varying quality in there and play around with different techniques and presets. See what everything does, and can do.

Also, accept that you’re not going to learn everything at once. Learn new things in small doses; don’t get bogged down watching hours of YouTube tutorials without putting stuff into practice.

Definitely run your own podcast too. That’ll teach you a lot about the process from planning to publishing.

 
• How to find work:

Many freelancers will create a website, upload some portfolio pieces and pricing info, then start to market themselves. This could be anywhere from social media to platforms such as Fiverr.

If you start your own podcast you can be the ‘sponsor’ of your own show. You can talk a little about your podcast production service at the beginning, middle, or end of your episodes.

Folks can reach out to podcasting companies too, to ask if they’re looking for help. It’s good to be able to offer more skills than audio production though. You’ll have a better chance if you’re also a practiced writer and a bit of an all-arounder.

If you start your own podcast you can be the ‘sponsor’ of your own show. You can talk a little about your podcast production service at the beginning, middle, or end of your episodes. You might even offer a special discount code for your listeners to help get those first few clients.

 
• Essential advice for working and making it in podcast production:

On the one hand, be flexible in terms of the types of jobs you’ll try your hand at. If a client wants advice on content or interview skills, can you lend a hand there? If they’d like show-notes written, or help publishing episodes, can you chip in there?

On the other hand, make sure everything you take on is scalable and sustainable. If you have a day job or are at college or university, be mindful of how much you’re doing. If you’re working alone and you somehow get 50 new client inquiries, you’ll have a bit of thinking to do. Set strict boundaries for when you’ll work, and when you won’t.

Don’t get pulled into that belief that you need to work 20 hours a day. Are you really doing your best work in that 19th or 20th consecutive hour? The idea that you need to out-work everyone else with the hours you put in is an old and tired one – literally.

If you look after yourself as best you can, you’ll do better work for the folks who hire you.

 
• Further reading and resources:

We have a vast amount of free how-to content over at ThePodcastHost.com. Our Podcast Production section would be a good place to start.

There’s also a handy guide on how to get a job in podcasting which might be useful for folks. There are some more tips and advice in there.


 
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A big thanks to Kirsty Gillmore, Jeff Schmidt, & Matthew McLean 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

• 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

• 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

 
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  • 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
  • Trains Wooden Roller Coaster Play Track 50+ sounds included, 125 mins total $111

    This is a sfx library of a classic wooden roller coaster built in 1932 that is in operation at Bakken theme park in Klampenborg, Denmark. It was recorded in 5 takes with four onboard microphones, multiple stereo rigs placed around the track and a 4 channel sps200 ambeo microphone placed in the middle of the coaster for the first two takes, above the cart in the station for the 2nd, 3rd and 4th takes, and the last take underneath the photobooth hill next to the station.

    Sounds included are hill pass-bys, climbing, large bank turn, driving through tunnel, onboard sounds, and 4 channel atmos recording.

    This is a great library for designing trains, subways, future machines, and of course, roller coasters. All are recordings contain no park patrons while the park was closed. On one or two of the recordings (while the cart is off mic ) has some light construction noise from park cleaners, this does not affect the usable and editable coaster sounds. I have included a few cut plane by’s and atmospheres that were picked up in-between takes.

    If you are curious if a certain sound will work for you please send me a message at peterseeba@gmail.com

    Wooden Roller Coaster was recorded with Sound Devices 788, Mixpre3, Zoom H4,H5,H6 with a variety of microphones from DPA, Sennheiser, Line Audio, Soundfield and with wind protection from Bubblebee Industries, Rycote and Cinela.

    Add to cart
  • Destruction & Impact Bullet Impacts Play Track 320 sounds included $35

    Prepare for impact! This EFX Bullet Impact collection features a huge number of impacts into cars, metal, walls, water, body impacts, as well as passbys, ricochets and underwater passbys.

    A must-have for for actual bullet and combat sounds – and for adding oomph to many other types of impact sounds too!

    Add to cart
 
Explore the full, unique collection here

Latest sound effects libraries:
 
  • 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)

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  • 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!

  • Environments Mauritius Play Track 75 sounds included, 260 mins total $30 $22.50

    Country, town and city ambiences from the beautiful Island of Mauritius, situated in the Indian Ocean to the east of Africa. The pack covers a range from town and city traffic and restaurant and market crowds to calm ocean waves and the native birds, insects and other wildlife that can be found on the island.

    Please note: Some of the recordings were made at 44.1k and some at 96k. They have all been resampled to 48k for the download but the 96k recordings are also available as a separate download.

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  • Environments Spring Waterfalls Play Track 17 sounds included, 83 mins total $15 $10

    Several waterfalls and rivers recorded in the Vosges Mountains in France.
    It tooks place in three different location: Cascade Charlemagne, Pont des Fées, Saut des Cuves.
    For almost every place, several microphones placements were used at close, medium and far distance.
    In addition to the 2 stereo microphone pairs, a hydrophone track is also available to allow you to modulate the low end and to add more movement.

    Gear used:
    Sound Devices 788T
    MKH8020 stereo pair
    MKH8040 stereo pair
    JRF hydrophone
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    OFF
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