(Editors Update — January 8, 2014: Pro Sound Effects announced it has released an additional 50 units of the Hybrid Library, available at $1,500 each through January 31, 2014. After the additional 50 units are reserved, the price of the Hybrid Library will be raised to $2,500 for qualified applicants.)
In 2012 NYC-based Pro Sound Effects (PSE) looked to its roots, and came out in support of freelance sound designers with the Hybrid Library for Freelancers & Independent Engineers.
Now, PSE is doing it again, releasing 100 additional units of its enhanced Hybrid Library, introduced this time with a brand new add-on dubbed the Expansion 1.
The Hybrid Library combines 50,000+ sound effects on hard drive and this year includes new drive design, enhanced metadata, publisher updates, and access to over 125,000 sound online.
The 100 Hybrid Library units that are being reserved for freelancers can be had for just $1,500 each ($10,000 value at market price) through December 31. Interested parties must apply for freelancer pricing – visit the Pro Sound Effects Hybrid Library page for full features, demos, reviews, and an application.
The Expansion 1 was created in survey-driven collaboration with current Hybrid Library owners, and includes 10,000+ brand new sounds in essential effects categories such as Ambiences, Cinematic Elements, Fight Elements, Foley Footsteps, Roomtones, Weapons, Sci-Fi and beyond.
The Expansion 1 is available only to Hybrid Library owners, and is freelancer-priced at $500 (as opposed to a $2500 market value) through December 31. The collection is delivered on USB flash drive. Full features and demos can be found here.
Both the Hybrid Library and Expansion 1 are curated from prolific sound effects publishers that include Blastwave FX, BOOM Library, Foundation, and Soundrangers. Their creation process is the result of close collaboration with Pro Sound Effects Hybrid Library owners.
The premium sound FX library Pro Sound Effects (PSE), based in NYC, offers some of the world’s best collections to music producers and sound designers. Just some of their catalogs include Blastwave FX, BBC, Foundation, SONOPEDIA 2.0, Soundrangers, Sound Control SE and beyond.
Now PSE is offering an exclusive free trial ($25 offer) for SonicScoop readers, between now and April 15th! Read on to cash in.
How to download any 5 sound effects from the Pro Sound Effects Online Library:
2. Sign Up with your SonicScoop Code: SONICSCOOP2012
3. Search, Preview, Download from over 120,000+ effects
Pro Sound Effects Online Library Features:
• Composed of 7 Exclusive, World-Class Catalogs*
• 120,000+ Sound Effects
• Download as 24/96, 16/48, 16/44.1 .wav files or mp3
• Embedded Metadata for easy searching
• 100% Royalty-free
• Continually Updated
• Categories span the sonic spectrum from A-Z
According to founder/recordist/editor Michael Raphael, Rabbit Ears Audio is here “to provide libraries that are not only useful to the end-user, but are also driven by our curiosity and our desire to provide something unique. Rabbit Ears libraries are intended to fill specific needs, not generic ones.”
The company offers its products at either 24-bit/192kHz, or 24-bit 96kHz.
Rabbit Ears says about Animal Bells:
“REA_008 is a collection of sounds meant to be grazed on, but be careful you might alert others you are near! This library features 16 Animal Bells made out of a variety of materials. The materials include, brass, bronze, common metals, wood, animal horns, and even some gourds.
So just imagine: ding, clank, ring, twack, rattle, clunk, click, and who doesn’t love gourds? The bells in the collection were originally designed for cow, goats, sheep, elephants, and possibly a cat or two. There is a even a Buddhist bell tossed in because it just sounds so good. Each bell was recorded from multiple perspectives with Schoeps and Sennheiser MKH microphones. It was tracked on a Sound Devices 744T with a Cooper CS-104 as a front end.
Available at 24/192 or 24/96
16 bells and over 1000 sounds”
Other libraries available from Rabbit Ears Audio include:
Every month, Matt McCorkle of EqualSonics.com brings you a day in the life of a New York City recording engineer.
THE MISSION: Build A Sound Effects and Sample Library
For this entry, I’ll be taking you on a journey far away from any type of man-made structure, much less a recording studio. We’ll be venturing into the deep wilderness of the north woods of Wisconsin. This adventure marks the beginning of a massive sound effects and sample library that I’m building.
This library will include everything from environmental ambience recordings, thunderstorms, engine noises, dishwashers cycling, kick drums, trumpet licks and pretty much anything I encounter with my equipment. It will be a sonic playground for music and sound design creatives alike, and it will be royalty-free. All of the samples will be captured at 192 KHz Sample Rate and 24 Bit Depth to try and ensure future-proofing.
The north woods of Wisconsin are vast temperate forests surrounded by hundreds of miles of wilderness. This was the perfect place to gather sounds for the initial chapter of my library: environmental. I was here to look for forest sounds, rainstorms, animals, streams and any type of environmental ambience I could capture.
I often utilize the saying “less is more” and it couldn’t have a better guide than in this scenario. I was only making day trips or night trips before I returned to my temporary headquarters, so camping equipment was unnecessary. I needed to return to civilization to charge batteries, and dump/backup captured material. Traveling light was essential.
The microphones are a stereo matched pair of AKG C414 XLS. These are excellent microphones and two of them together provide very defined spatial details. The new XLS models allow 9 polar patterns. In one such pattern, which I found extremely clever, you can place the microphone in omni and wide cardioids. It allows the microphone to operate like an omni but it places more emphasis on the front of the pickup pattern than the back. This was perfect for what was needed.
My intention was to capture an XY stereo image to place the listener in the natural setting. However, I wanted sound cues from behind the microphone to still be heard, but not as much as the ones coming from the front. The recordings must put you in the forest and that’s exactly what these microphones allowed me to do.
I use a Sound Devices 702 battery-powered digital recorder for field recording. This is one of the most powerful, feature-packed digital recorders. It employs a file-based recording system so you can easily arrange your recordings on the go. The pre-amps and A/D conversions are top notch, yielding crystal clear audio!
My choice of headphones was the Audio Technica ATH-M50. These headphones are great and fit comfortably. However, more importantly for this situation, they provide excellent isolation. This is highly desirable when recording outside, because you need to make sure that you are hearing just what the microphones are hearing.
I packed my recording equipment, cables, snacks and an 8-inch military issued combat knife. The knife, thankfully, was never used.
During some testing recording in the backyard of my temporary headquarters I realized the stock windscreens for the AKG would not make the cut for the fieldwork ahead. I needed a “buffer zone” that would allow air to flow freely around the microphone, but provide a strong shield from the wind. Otherwise, my recordings would have been engulfed by the wind.
I created a wire frame out of chicken wire that would be attached to the microphones’ shock mount. This frame allowed an inch of “windless air” between the shield and the microphone, providing the required buffer zone. Once I had the chicken wire cut and formed to fit the shock mount, I began searching for fabric to wrap around the wire frame.
To test the various fabrics I put them in front of the microphones and blew lightly into the mics, listening to which fabric minimized the harsh, moving air. I also tested the fabrics on my voice and a few other subjects listening to the high frequency attenuation. I found a perfect balance of great wind protection and minimal high frequency attenuation. Surprisingly, it was a fabric that landscapers use to put under the bed of a garden to prevent weeds from growing — it’s “Economy Weed Control Landscape Fabric” from the company Yardworks (NOTE: Be sure get the variety that only lasts 5 years. The longer-lasting kind is thicker and not usable for this application.)
To construct the windscreen: I wrapped the fabric around the wire frame, and stabilized it by weaving the wire in and out of the fabric. Once the shield was in place I put the microphones in front of a box fan in order to test out my contraption. I blasted the fan at various speeds directed at the microphones. Not only did it rid the recording of the harsh moving air, I could clearly hear the motor inside the box fan!
My first venture was a swampy, marshland and my focus was bullfrogs. Bullfrogs are loud and with a whole marsh full I knew the recording would be extremely rich. I loaded up my gear and went out into the marsh seeking a good spot to setup. I walked around listening for the most action, once I found my spot I began to setup.
I opened the tripod, fixed the stereo microphones to the top, plugged them in, turned on the recorder and set my levels. Setting levels for this type of work can be tricky… you never know exactly what’s going to happen. I set them relatively low with my pre-amp gain anywhere from 25 dB to 45 dB. This allows for great dynamic range flexibility: For example, if a little bird were to come chirp next to my microphones, I would still have adequate headroom without fear of clipping the internal A/D converters. Most of the recorded material was hitting peaks around -40 dBFS to -15 dBFS in the digital domain.
I was able to capture some great bullfrog belches and to my surprise was greeted by some wrens, blue jays, herons, and some buzzing horseflies. The next trip was venturing deep into a dense forested area.
I have included a little snippet of this and each subsequent scenario in 44.1 KHz /16 Bit Mp3 format.
Upon arrival at the forests edge I tested my equipment quickly then submerged myself into the thickness of the forest. I began listening to my surroundings hearing birds, such as the distinctive wren, the rustling of leaves, buzzing insects and crickets. I kept moving until I reached a point where I felt there was enough commotion to make a great recording. I turned on my equipment and started listening to the microphones through the headphones. I rotated the stereo pair in a 360-degree circle honing in on the direction in which to point the microphones.
I setup the microphones 6-7 ft off the ground and recorded for a minimum of 15 minutes at each location throughout the forest. This ensured that I would have plenty of material when it came time to editing.
Thunder & Rain
Periodically checking the local radar seeking out thunderstorms and to my luck I was provided with a 5 hour-long boomer! I setup my microphones under a large canopy of trees, to provide my microphones cover from the rain. Setting my Pre-amp levels low. The rain would be quiet, but the thunder would be loud and I had to be prepared. Nothing would be worse than getting an amazing convergence of clouds only to have my recording distort.
Anticipating the storm, I was setup and ready. I set my equipment to record and waited. The results were stunning.
Before leaving, I wanted to capture a few trains passing by intersections in the small towns outside the forests. It is here where the trains sound their extremely loud horns. I set out into the dead of night setting up the microphones at a train crossing. Once again I must be cautious how I set my levels: I was 8 ft in front of the tracks. Things were going to get very loud, very quickly. I settled on 18 dB of pre-amp gain.
This was an exciting adventure. Combining my love of recording and nature, it provided a challenge that isn’t offered in the day to day of a recording studio. The world is full of sounds. Perhaps you’ll notice how certain sounds can trigger memories that may have been long forgotten!
As the owner and operator of his own mobile recording studio, Matt McCorkle of EqualSonics.com is capable of bringing professional audio to anyone, anywhere, anytime. His specialties involve acoustic instrumental recordings, vocal productions, live tracking sessions, sound design, electronic music production and mixing. Whether in the studio or out in the field, Matt’s goal is simple: To create new music and sounds with passionate artists. To contact Matt, please visit EqualSonics.com.
Sony Creative Software has released a new series of broadcast-quality sound effects from production studio The Detroit Chop Shop. The new collection, officially titled “The Detroit Chop Shop Sound Effects Series”, comprises 10 complete volumes of ready-to-use sound effects.
Features of The Detroit Chop Shop Sound Effects Series:
– Broadcast-Ready – Recorded and produced by founder Ric Viers and The Detroit Chop Shop team, sound effects are delivered in broadcast-standard 24-bit/48 kHz sound.
– Extensive Range - The series includes sounds that span 10 categories, including: General Sound Effects, Action, Horror, Science Fiction, Production Elements, Transportation, Nature, Fire, Explosions & Impacts, and Industrial.
– Searchability – Sound effects are encoded with metatdata that is compatible with all popular music search engines.
Price and Availability
The Detroit Chop Shop Sound Effects Series is now available at www.sonycreativesoftware.com in several product configurations: individual titles for $99.95; Volumes 1-5 or 6-10 for $399.95; Volumes 1-10 for $799.95 (MSRP).