Hope its ok to start such a thread but hopefully people can add to it as new sound FX libraries are released...
I know a few people with some very exciting projects coming to fruition very soon
Anyway, I've just released Library 2 on HISSandaROAR
SWISH: To audibly cut the air (2000+ 96k swishes)
Check it out (& failing all else grab a copy of the the free CD quality promo)
After downloading the Max pack I'd like to report that they sound awful, are priced unreasonably, and are poorly organized.
Please nobody else buy them. I should be the only person in posession of these horrid, nasty sfx.
</sarcasm>
Best $50 I've spent in a long time! Thanks Tim, great work!! I've spent a lot of time recording, editing and organizing my own sfx so I realize how much work this must have been.
I for one would love to see more of stuff like this. Rather than pay thousands for large libraries, I love being able to spend $50 here and there for specialized libraries. Don't get me wrong, I know everyone needs the General series, but this is fantastic stuff.
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Dave K.
Freelance Sound Designer & Mixer
Just bought your Vegetable Violence library today, as well as Chuck's library, hope to pick this one up soon! Love your session pics. Looks fun, albeit a bit painful at times...
I've just proposed a future library for HISSandaROAR of DOORs...
But I need help recording it; ideally I'd love 100 people to each record 10 doors,
so if you have a record kit & are interested have a read here:
I've just proposed a future library for HISSandaROAR of DOORs...
But I need help recording it; ideally I'd love 100 people to each record 10 doors,
so if you have a record kit & are interested have a read here:
If you know anyone working on a zombie movie (or any creature vocals)
then you should definitely check it out.... and failing all else grab yourself
a copy of the free library!
I have one question out of curiosity: Why do you record @96k? I read that you use a neumann RSM wich doesn´t really have a response beyond 20k (actually it´s already at -10dB at 20k and falls off pretty steep from 10k at 10dB/Oktave. It acts like a steep low-pass @10k ).
Isn´t that a waste of space since the RSM doesn´t pick up things beyond 20k?
I have one question out of curiosity: Why do you record @96k? I read that you use a neumann RSM wich doesn´t really have a response beyond 20k (actually it´s already at -10dB at 20k and falls off pretty steep from 10k at 10dB/Oktave. It acts like a steep low-pass @10k ).
Isn´t that a waste of space since the RSM doesn´t pick up things beyond 20k?
Thanks!
First off ALL of Chuck's Libraries ROCK! Kudos man for sharing with all of us at such great prices. I've bought every one of Tim's and Chuck's libraries to date and use them extensively.
96k: I've found that when your out in the field recording its usually best to capture at the highest possible resolution your recorder is capable of. Its going to offer the highest flexibility after the fact. You usually only get one chance to capture the perfect sound, or your on an expensive recording session (guns/cars/etc). So why not capture at the best you can regardless of the frequency response of your mics.
I also think that if you plan on pitch shifting, or running your recorded FX through your arsenal of sound design tools its best to start at the highest resolution to help retain/maintain your "money" frequencies (low end/high end detail) present in the original recording.
Certainly 96k..192k eat a ton of drive space however space is soo ridiculously cheap nowadays it only makes sense to capture at the best our devices can.
I'm sure Chuck has more to say about his specific philosophy.