Discover the latest industry news and audio post production.
SoundBits' fun library Tiny Transitions takes the concept of their other 'Whoosh' based products, this time offering a less intrusive pallete.
November 23, 2021
Company: SoundBits
Product: Tiny Transitions
Price: $39.60
Our Rating: 4.5/5
When opening the library, we were surprised by the myriad of samples, extensive enough to cover most bases within this theme. We put the library through it's paces in a Pixar style animation film we are currently working on.
The library provides stellar quality 96KHz 24Bit samples, neatly organised into folders for both the 'Designed Sounds' and the 'Source Sounds' with extensive metadata. 565 sounds are provided - carefully edited to allow for the rather compact size of 770MB.
As usual with the nature of whoosh libraries, users may find better results by trying out a bunch of sounds, rather than relying fully on metadata mining.
One thing noted by SoundBits when sending us the library was that they took some of our feedback on board from the previous product review - we mentioned that it may be a good idea to offer a library of some miniature whooshes; great plus for customer service!
When listening, be prepared for cute, animated zips and whizzes - that work surprisingly well when layered with SoundBits 'Whooshes & Impacts' libraries. Definitely do not expect a thin and synthesized sound though, despite the title. This library has heaps of varied content, sounds akin to everything from dragonfly wings passing by to cyborg computer startup screens.
Offering the Source Sound content makes for a very generous package at the asking price, and offers a wider variety to users. So where would you use this? Simple. User interfaces, small creatures, robotic movement and layers to more aggressive libraries + more.
Tiny Transitions has that awesome signature SoundBits sound - well designed sonic glitter that has a clear base in reality somehow. The source sounds are painstakingly recorded with a Sonosax SX-R4+ and Sennheiser MKH8050+MKH30 M/S rig before the design begins deep in the SoundBits lab somewhere in Germany (you can feel that German accuracy and efficiency).
On the project we used the library on, it worked great for adding a little spark to duller moments, or offering a new layer to a deeper whoosh (our favourites are the LF_Whoosh sounds in Whooshes & Impacts 2). Another thing that is great about this library is the experimentation it encourages. It won't be the only layer in many cases but it will add that last piece of swagger that makes your clients smile in the studio.
One small thing that bothers us about SoundBits libraries is the artwork. It is not bad artwork by any standard, but it really does undersell the content. Considering there are over 500 micro story moments on offer here the artwork doesn't reflect that - and I think it is something that SoundBits could look into improving to match how well designed their sound content is.
One more thing to suggest here, would be to split the elements into frequency content (like on Whooshes & Impacts 2). It's not really an issue because of the 'micro' nature of the sounds, but it would be a nice touch nonetheless.
The robotic creature like movement sounds in here are so unique and interesting that I would like to see a future library that focuses on small animal movements from SoundBits. Even though that is only one part of the content on offer here, it really does stand out as unique and new.
SoundBits libraries are always a no-brainer purchase as inspiration tools, and we will be using this extensively in more projects to cover UI, Sci-Fi, Animal and layered elements - go grab it today. You will find both expected and unexpected sounds here and the price is reasonable enough to warrant a purchase from most Sound Designers.
5 Copies of Tiny Transitions are available to win for
all who like the 344 Audio Facebook page at:
and all who subscribe to SoundBits Newsletter at by the 25th June 2017:
The prize winners will be announced on the 344 Audio Facebook Page!
Mattia Cellotto's latest library Polarity is a real shock to the system with it's intense electricity based effects.
November 23, 2021
Company: Mattia Cellotto
Product: Polarity
Price: $90
Our Rating: 4.8/5
The library was recorded at 192KHz with a Sanken CO100K, a couple of Sennheiser MKH8040's and a LOM Elektrosluch 3+ for electromagnetic interferences. The recordings were taken in Italy and the UK (much to our excitement!)
On opening our review copy, the library was split into six sections, with sounds numbered by their variation along with extensive metadata.
Everything here is clearly labelled, and well edited into sub themes, making it a breeze to find that perfect electrical sound punch for your project.
A handy useful information .pdf is a nice touch from Mattia - explaining the mic positioning and file naming conventions to the user. The behind the scenes video (featured at the bottom of the review) is also a very useful, and adds value to the hard work behind this library.
The metadata names for many of these sounds along with the artwork, give the user fond thoughts of Frankenstein being electrically charged and brought to life!
The content here just oozes with fizzy quality and abundance. Everything is on offer, from aggressive electrical sounds, to warm and soft hums, zaps, tesla coils. There is even a 'Cheats Section' where electricity sound is created from miscellaneous items such as tape, dry ice and synthesizers. Another nice touch is the variations of each sound on offer, which all have personalities of their own.
As well as the base content, Mattia also generously recorded some vintage devices (phones, rusty levers, telegraphs etc.) and machines which add immense value and continuity when combined with the wonderful electrical elements!
The way the library sounds is truly magical. Full in all frequencies, without being harsh or over emphasised (clearly due to the great recordings). It sits well in a mix, with sounds for big electrical moments such as Thor's hammer hits and softer hums that would work great within a Sci-Fi ship's engine generator. Basically, if there is an electricity sound you are imagining, it's very likely in here and I promise it will get your film scene fully charged up.
The Cheats Section is great for layering with other electrical sounds to add a high texture, and the Jacob's Ladder effects are our favourite show stoppers. The theme was met extremely well and Mattia clearly spared zero Watts when working on this - giving users an all in one solution to electricity that has a touch of class throughout every carefully chosen sound.
This library is very impressive and is a testament to how one can take a theme and really put time and design into the sounds recorded and the overall aesthetic. There are no real mishaps to be found in the quality or consistency of what you get here for your hard earned cash.
One thing that I felt was lacking slightly was the use of more complex synthesis. There are some great Granular style glitch effects but base elements made from synthesis would have been a nice detail to fill this lavish library out further.
The price is rather high, but it reflects the high level of detail and care put into making this library what it is - a masterpiece.
Usually specific themed libraries like these are not worth purchasing unless you have a scene that requires them, but for this product, you should definitely make an exception. It can be used in a wide variety of circumstances and it will definitely be our go to electricity library from now on.
Grab the FREE exclusive mini library below to hear why this library is so special.
Badlands Sound never fail to bring smiles to Sound Designer's faces with their forward thinking, affordable libraries.
November 23, 2021
Company: Badlands Sound
Product: Resonance
Price: $12
Our Rating: 4.3/5
Badlands like to organise their samples into one folder, which makes sense with their libraries being quite compact in terms of file numbers. Everything here is neat and tidy, each file all around 1 minute in duration. With a total of 25 minutes of content, all in stunning 24 Bit 96kHz WAV fidelity, this library is a must have for all you drone lovers. Every time we receive a Badlands library, the quality of the theme, marketing materials and sounds offer exceptional value (just look at that artwork). We put it through it's paces in a recent Horror film, which was very much grounded in reality, an interesting test for a drones library.
The 25 files on board this library cover a variety of styles and feelings, many quite simple and straight forward, minimal. The reason they are minimal however is because the quality is excellent and doesn't need to be masked with too many elements. Resonance is useful in many applications such as Sci-Fi, Horror and Psychological Thriller film scenes. Everything from pulsating tones to lift an extra terrestrial planet BG, to ringing akin to the presence of supernatural spirits.
What adds much more value for money and usefulness, is that the sounds were mostly created by manipulating voices. This gives them a certain context grounded in reality, which is where many Sci-Fi films are headed; this library would be useful in films like Arrival and Interstellar. It has that misty soft and juicy ethereal quality, which enhances otherwise static moments under dialogue and action. Everything here sits nicely, in a way that feels homemade and not overly processed.
One thing that could have pushed the theme to the next level, is making it much bigger and breaking it down into sections relating to the sound source. Sections could include: voices, metals, liquids, plastics etc. This is definitely reflected in the price, and what you get is well worth a couple of coffees.
The content here is lush and consistent, adding an extra minute to each file would have also gone a long way to extend it's usage.
If you are a forward thinking Sound Designer, these will be a great asset in your toolbox for scenes bordering on the futuristic and supernatural, but it won't draw attention to itself. It is extremely well priced, yet with our discount code you will get an extra 30% off for a limited time!
Get Resonance for 30% off: Use Code: pulse
At 344 Audio we provide Sound Design for Films and Visual Media, but really enjoy the moments where a completely new and abstract project comes our way. InTouch was a very unique concept for us, as our Sound Design is now used and experienced within a physical product.
November 23, 2021
"InTouch is a conceptual tool comprised of 20 magnetised spherical and hemi-spherical shapes that make up a molecular model of dopamine. Like a modern day worry bead, InTouch is dedicated to sensory experience. As each magnet connects, a sound is triggered.
While there is no optimum state to be in, at different times we will want the user to be able to shift into one that is appropriate to the task at hand, whether sleeping, working on a project or relaxing. This is where InTouch comes in. We tell stories by engaging the senses: as the user connects each form together, they become the composer of their own experience. The combination of the action of completing the dopamine model, the pleasure received from the clicking noise of the magnets and the resulting sound turn the experience into a performance that can help ease tension and reduce anxiety.
InTouch is intended to not only describe what happens in the brain when we discover new things, but prescribe an alternative
experience as a method of relaxation."
Product Creator, Olivia Somary
During our Sound Spotting Session, we spoke with Olivia about the experience that InTouch should offer for end users. It needed to be immersive and trigger relaxation and focus in the brain, without using cliche sound effects such as rainfall.
Together we decided that binaural beats and ambient synthesised soundscapes would be the best option to offer both a modern and accessible feeling to the product, we thought a lot of people wouldn't have tried binaural beats too, and that their effects could really enhance the products goal for end users. We built a small team for the project to help create a collaborative and varied soundscape.
Using Binaural Beats made from sine wave generators in Pro Tools, we conducted research to discover which frequency gaps offered the correct emotional and physical responses. These were given an auto-panning effect, to ensure that when stacked, they would move and shift around the headphones that the user wears, giving another element of randomness.
Here is a binaural beat frequency we used to invoke a sense of hypnosis:
The multiple binaural beats emotional/physical responses created included:
The ambient soundscapes were much more complex, but had to fit musically with the binaural beats, even if everything was connected and triggered by the user. The Sound Design team sat in a studio session together and decided which musical key our soundscapes would sit in, as well as the direction that each team member would offer with their sounds.
Here is one of thousands of soundscapes that users can generate with the product:
Various themes were explored for the soundscapes, including:
Olivia wanted to use the Soundplant engine, to ensure simple and stable operation, a product able to work on almost any computer system.
Using Soundplant, the device was able to trigger our sounds whenever shapes were connected by the user (at their own discretion). The files were created in a way that there were likely hundreds of thousands of possible variations in timing and timbre which only added more interest and longevity to the product. The sine waves were brought into the engine as singular frequencies, which meant they could be triggered at any point and binaural beating would occur, because of the frequency gap between the waveforms.
The product now triggers the binaural beats when users connect the base shapes and the ambient soundscapes when they trigger the smaller shapes providing a fluid and dopamine inducing experience that puts you InTouch with your brain.
Here's what Olivia thought about the experience:
"It has been a pleasure to work with Alex. He introduced me to Binaural beats and combined them with ambient sounds to give my project a whole new dimension. Together we have composed a conceptual creative tool for relaxation - a device I would not have been able to create without Alex’s extensive knowledge and insight! Thanks again!"
We would also like to give a special thanks to the Sound Design team:
Lead Sound Designer
Alex Gregson
Assistant Sound Designers
George Lloyd-Burman
James Ellis
Daniel O'Connor
Phil Batley
InTouch was a wonderful experience for the team and it was a pleasure working on such a unique product with Olivia. We can't wait for the exhibition/demonstration coming soon which we will definitely be attending and providing updates on.
If you enjoyed this article please check out our ultimate guide to audio post- production: https://www.344audio.com/post/the-ultimate-guide-to-audio-post-production-sound-design
At 344 Audio we like to lend style and flair to every project, that's why with RRAFAYC we forged Sound Design elements from Custom Forest Recordings and Effects.
November 23, 2021
During our remote Sound Spotting Session, we spoke with the Director Katie Smith about the world that she wanted to create. It was important that we construct the sound around the children characters' perspective of a large isolating forest, in which these children are trying to escape their adult pursuers. This film includes themes of childhood innocence, wonder, exploration, conflict and disease, all of which play a pivotal role. It was also important to note the difference between the adult assailants scenes and the children's scenes.
Katie asked us not to hold back with Sound Design on this project, we needed to add a sense of urgency in some scenes and downright fear and abandonment in others. We knew that this called for some custom recordings and because the world had to feel isolated, we planned to use only sounds from the forest in our design. We visited a large reservoir/forest area in the British Countryside, that had enough character to work and was silent enough to gather clean material. We hit trees, whooshed sticks, stamped in mud and recorded various ambient sounds to lay on the film.
With a clear plan in place and lots of material for inspiration, it was time to start tracklaying.
We were able to use 100% production dialogue for this project - which was necessary to ensure the children's performances were kept intact, any problem lines had almost identical takes to replace them, which was nice. We also were very light handed with noise reduction, using it only where absolutely necessary, to preserve the warmth and depth of the audio. Due to the nature of the forest, we did have to remove a lot of harsh twig snaps, but did so with minimal effect on clarity.
One storytelling tool that was very useful was the passage of time and location within the forest. 90% of the film is set within this deep and huge rural environment, with time shifting to the evening as the film progresses. The forest allowed us to build sounds to sell this, Crows, Ravens, Foxes and Owls covered the adult's scenes with a sense of mystery, fear and anger, while Robins, Frogs and Various Tweeting Birds offered a sense of innocence to the children initially, progressing into the darker tone of Crickets and Marshland sounds as time passed, showing the isolation of the children group, as they part ways.
Our custom recordings were used numerous times to accentuate moments and bring subtle detail to shots. Everything from the initial title sequence that had its 'pencil drawing' sound made from a pitched up foot scraping a tree to slow motion shots accentuated with pitched down impact sounds of hitting trees with branches and whooshing sticks past the microphone to create cinematic transition elements. We even designed a car engine with a pitched down Bear Growl as it creeps towards the children in pursuit. There were also some much softer and delicate sounds to design, the stunning meteor shower VFX shots were covered with fireworks sounds that had Doppler pitch shifting and subtle flangering. Manipulated sounds of wind chimes and bells were added, which gave some 'sparkle' to the intense night sky. Here is a sound we designed from hitting a tree with a branch, it was used as part of a slow motion shot:
We mixed the film in stereo and wanted to add a sense of 'width', as per Katie's instructions. The background sounds had to surround the audience, so we extended the stereo field and had lots of layers of animal and weather effects panned around in different scenes.
We also did some interesting things with the score, filtering it down in certain shots and heavily accentuating low frequencies in others to create a pumping sensation.
The mix also had to sell the dialogue and foley to the audience in this heavily forested area. To achieve this, we used a combination of delays and convolution reverbs, with forest impulse responses loaded. Automation of distance perception with EQ and Reverb also provided a sense of realism and hyperrealism in certain shots.
Run Run As Fast As You Can was a pleasure to work on and we are already working with Katie again which is great news. You can expect to see the film at a festival near you soon!
If you enjoyed this article please check out our ultimate guide to audio post- production: https://www.344audio.com/post/the-ultimate-guide-to-audio-post-production-sound-design
