Knowing your SFX library is essential to becoming an efficient SFX editor. However, it can be quite daunting at first as there are so many different types of sound for the same object. Knowing how to use your SFX library to its fullest potential will greatly increase your creativity. Our SFX Editor, Katie Jackson, sat down to teach us a few tips and tricks to make the most out of your SFX library.
New to the library: First steps to getting to know your library
There’s a few ways to get familiar with your library depending on your circumstances. If you’re in the process of building a library, try to familiarize yourself with every bundle you buy, one at a time by looking at the sound effects list. If I find a great sound that I love but don’t need immediately, I will mark it in my library as a different color so it stands out in my list of sounds. If you’re working with an existing library that is brand new to you, it will take some time to get to know it well. Be patient, mark files you love, and try to remember keywords for things you like! For example, searching ‘pat’ in one library may work great, but come up with no results in another library. Be flexible, and instead search for keywords like: grab, cloth impact, touch, etc. When in doubt you can always record something and expand your library!
What if you Can’t find the right keyword for a specific SFX?
If I am unsure of what to search for, I try to think of an adjective that describes what I’m looking for. Searching ‘creaky’ will bring up results made of wood, plastic, metal, leather, etc. and you may find something great that isn’t the correct material but still sounds right. Try to describe the size, weight, texture, material, and speed of what you’re looking for. If I don’t find what I needed using the phrase “dumpster hit” I could search things like: heavy, metal, impact, ring out, hollow, or container.
Building layers for SFX: How many layers do you normally put on your sfx?
This varies greatly depending on what I am designing. It’s important not to overcut or use layers that aren’t adding anything to your build. It’s mostly about making something sound the way it should rather than worrying about how many layers a build is. I think if you’re cutting something really special, eight layers is probably the maximum before reassessing and replacing with better elements, if the build doesn’t sound complete. If I’m cutting something simpler, I’ll probably achieve it in four or less. If it’s a simple soccer ball kick, I’ll need one or two at most. Don’t get wrapped up in how many layers you think it should need, focus on what sounds good and what is working in your editorial.
How fast can you normally find and place a SFX?
I can find and place one sound effect in a matter of seconds if I know what to look for. Creating a new sound from several files can be much more time consuming, but is what makes your editorial so unique and distinct. If I’m designing something very special to the show, I typically take a few hours and check back through it the next day to make sure I really like it and it’s serving the story well.
How have you built your sfx library?
It’s so important to be both purchasing and creating to expand your library. Recording and rendering builds you’ve created will give you sounds that no one else has and are totally unique to you. When you feel like there’s something missing and would be hard to create from scratch, there are tons of libraries out there to add to your collection. Shop around and build the best library for your needs over time.
What is your Favorite type of sfx to make or favorite show to make sfx for?
I love creating new versions of classic cartoon sound effects! It’s so fun to reference the classics and take inspiration from those, but then to design an innovative language of cartoon effects for a new world. Centaurworld was an incredible opportunity to do just that!
What is the hardest type of sfx to make?
Human vocalizations are difficult to cut if you truly don’t have the materials you need. In the sound effects world, we have to stay away from distinct English words but sometimes we need something very close, so in that scenario recording something new is your best option. Boom Box did just put out a very helpful library for many of those kinds of vocalizations which has proven super handy in my editorial already.
How do you organize your session?
I like to work linearly with a realistic expectation of how much material I can cut per day. If I have a very design-heavy episode or scene, I’ll adjust accordingly. Sometimes if there’s a really important build that lasts the entire episode I will start with that so I can spend a lot of time designing it and utilizing it throughout. Then I’ll go back and cut everything chronologically.
What piece of advice would you give to a new SFX editor?
Try to avoid searching for exactly what you’re looking for. Your editorial will be individual and custom to you if you build out of elements rather than always using the same predesigned files. For example, if we have to cut a sailboat, you could just search ‘boat’ and find a few passable options. If instead you create a sailboat from scratch by searching for wood creaking, sails flapping, water splashing, and waves crashing you’ll not only have a better sounding boat, but one that has never been heard before. Your editorial skills will grow as will your own personal library!
If you enjoyed this blog, check out these:
NEW BOOM BOX LIBRARIES: WOMEN & MEN + THE HUMAN VOCALIZATIONS BUNDLE!
A BEGINNER'S GUIDE TO STARTING YOUR SOUND EFFECTS LIBRARY