The Boom Box Post blog provides insights into the creative sound design process of Boom Box Post's owners and employees.
From through the holidays, our entire Boom Box Library site it 40% off.
Everything is on sale including our latest releases, Shopping Carts and Futuristic Weapons, and our top sellers like 1966 Ford Mustang and Magic Chimes. Don’t miss out on our biggest sale of the year!
We recently brought on a new Boom Box apprentice. It is our pleasure to introduce Isabel Roney! We had a chance to ask her a few questions to better get to know her. Continue reading to get to know her better.
Weaponiser, a plugin from Krotos, was created to assist in the building of gunshot effects, but with a better understanding of how to use it, Weaponiser can be beneficial to all kinds of builds from customizing a one time effect to providing slight alterations to repeated sound events. Using Weaponiser you can even quickly build a multi character Foley Libraries!
Happy Holidays to all of you editors, mixers, engineers, recordists, professionals, prosumers, students, freelancers, and everyone in between. Whether you want to impress a special sound/post production person in your life or you work in the sound world and are having trouble filling out your holiday wish list we have you covered!
From now through Cyber Monday, you can add our Black Friday/Cyber Monday discount at checkout to snag 25% off your full order. Just use discount code BFCM.
Everything is on sale including our latest releases, Shopping Carts and Futuristic Weapons, and our top sellers like 1966 Ford Mustang and Magic Chimes. Don’t miss out on our biggest sale of the year!
The Futuristic Weapons sound effects library features a wide-sweeping collection of high-tech sci-fi weapon sound effects. Each weapon sound effect has been sound designed from the ground up to match the life, characteristics, and personality of one of our five Robotic Creations robots. Because the robot personalities range from Mimo, the friendly robot buddy, to Firewall, the gigantic mech suit, the range in weapons is extreme. You’ll find sounds like a zip line, boomerang, water gun, laser blaster, futuristic gatling gun, mayhem blasts, and everything in between.
So I’m getting in to work, normal day, pretty routine. Except I see this shopping cart in the corner next to our parking lot. It gives me pause. In my nearly two decades in this business, I’ve always struggled to find good shopping cart sounds.
We are extremely proud to announce the release of our latest Boom Box Library: Shopping Carts!
The Shopping Carts SFX Library contains a wide variety of professional shopping cart sound effect recordings including rolls, crashes, drops, stutters, basket seat movements, skids, shakes, and more.
I went back and forth about whether to write this post. I hope that I’m a good boss, but I’ll leave that to those who work with me here at Boom Box post. But, I can say with certainty that I’m always trying to become a better boss.
The most important part of our job is to make our clients happy. Generally, every talented editor I’ve worked with is more than capable of taking direction from clients’ spotting notes and applying them to their editorial in a successful way. The tricky part comes when clients still have notes after the first pass of editorial is complete. We always preview our editorial with clients before we move onto the mix and they almost always have editorial notes. It’s highly important that we address these notes appropriately so the client knows we’re eager to help support their creative vision.
When we decided to take the plunge and build a brand new studio from the remnants of an old auto body shop, what started as a simple gear list quickly evolved into a studio with multiple Dolby Atmos-ready mix stages. We had the pleasure of working with the stellar team at Westlake Pro in helping us make our initial concepts into a reality. Our new Boom Box Post studio includes three Atmos mix stages, three 5.1 surround sound suites, eight production suites, and a multitude of client amenities. If you are curious how this all came to be, we highly recommend going to our friends at Westlake Pro’s website and reading their article. They dive into greater detail on their process and the gear needed to make it work!
Recently we published a blog that listed classic toon sound effects and the emotion they convey to the audience. Our hope was that it would be a helpful tool for anyone stuck in the editorial process. This is part 2! Continue reading to find out how our editors approach the following emotions with classic toon sound effects: Scared, Disgust, Love, and Bored.
Job interviews are a challenge. As much as you know you deserve the job, those interviewing you do not (yet). A job interview is a sales pitch; the product you are selling is yourself. No worries, you know yourself really well! You just need to bring your story forward in the best way possible.
A common practice I see among newer editors is cutting directly from a sound effects library, and leaving it at that. Depending on what your library is like, that’s not always a bad thing. Some libraries are putting out some incredible content right now, and sometimes you find exactly what you’re looking for. However, the plop-and-drop method of cutting sound effects doesn’t always get the job done. A lot of projects call for a more custom sound palette than what you’d already find sitting in a library. Certain scenes, certain moments, sometimes even full series or projects call for a more specific, bespoke approach.
Working with sound for animation provides us with interesting opportunities to bring to life scenarios totally incomprehensible to our day to day lives. One of our sound effects editors, Peter, was recently tasked with one such opportunity. Peter needed to combine the destructive natural sound of a tornado with the clinical inorganic sound of a machine. Keep reading to hear about his process.
A radioplay is a vital step exclusive to the animation pipeline; however, there is a lot more to the process than simply editing one together. In this post we outlines the basics of a radioplay and their importance in the production workflow.
The first mix of any project, especially long-term projects like a television series, is always the hardest. Everyone involved in the sound package has done their best to put creative high-quality sound into the session. The mixing team have put in the effort to create a mix that they believe is of a quality that could air on television right out of the box. But, then the clients step into the room.
As a mixer, I try my best to do justice to the content. I use all of my tools to achieve balance and clarity. But the clients always have their own unique agenda of what’s important to the story for them, which plot-points need a little extra clarity from the sound, or which emotional beats are essential for the music to carry. There is no knowing these priorities and sensibilities until you’ve sat down in a room with the clients and gone through their notes one by one.
Tess was tasked with designing a laser beam for a spaceship that would intensify over time. It was important to the story that the laser was not only intense, but extremely hot in temperature.
Recently, Vivian created a sound build involving a character magically growing three stories tall! Find out about her process and what techniques she utilized.
Like many, I find it a bit difficult to set aside time for ear training, so I was looking for a more on-the-go alternative, preferably something I could do from a mobile device. It could be just a couple minutes a day, on a lunch break, at the gym, or waiting in line somewhere. Consistent ear training can really help you develop your skills over time. Like anything in life, consistency is one of the biggest factors in personal growth, so I find convenience and accessibility to be big factors in whether or not I will be able to consistently practice something. With so many people streaming from their phones, tablets, laptops, etc., I think ear training on any device has actually become increasingly helpful.
