So, as you’ll have noticed, no new theme this month. I was away on holiday for the start of the month and so, sitting down to prep the new theme launch last night, I thought better of it in the end and decided that the remainder of the month would be better spent having another bash at an older theme that hasn’t as yet had much love: Floor & Stair Creaks.
I’m going to merge these two sets into one folder in Sugarsync so, even if you are only able to provide, say, floor creaks, you’ll still get access to any contributed stair creaks too. This is simply because the two types of creaks are so interlinked that it’s pointless treating them as separate collections.
Have a think if there’s any older buildings you can access to get some good creaks but don’t discount your own homes; creaks from all periods of housing are useful and very welcome.
I’m going to collect some sounds from my house but I’ve also managed to organise an opportunity to get into an 18th Century building in Central London in a couple of weeks time to get some good floor and staircase sounds. In this way, we can kill two birds with one stone and have our first club meet up in quite a long while too. We may not risk getting carbon monoxide poisoning this time as well, which is a bonus.
We’ve only got half an hour in there but it’s only a small building anyway so we should be ok for time. The bad news is that, because it’s a small building, it’s impractical to have loads of us traipsing around in there so I’ll have to limit it to two members coming along with me. However, if I try and schedule the record towards the end of the afternoon then, if you’re in town, we could maybe join you for a drink somewhere nearby after we’re done creaking. Remember, as long as you contribute to the club’s creaks collection then you’ll get a copy of our results anyway.
Best bet is, if you’re likely to be in the vicinity and fancy meeting up in a couple of weeks, drop me a line at firstname.lastname@example.org, I’ll give you more info and we’ll take it from there!
Just a quick post to try and minimise confusion for those currently referring to the upload instructions or legal page via the headers at the top of the website. As some of you may have noticed, these are out of date at the moment because they still relate to the old Soundcloud method of uploading that we used to use.
I’m going to try my best to get this updated over the next few days but in the meantime please bear in mind that, with regards to uploading, all you need to know is that when you’re a member you will receive an e-mail invite to your own personal folder which will then appear in a special folder within your ‘Documents’ folder on your desktop (NB. all Sugarsync shared folders MUST stay in this folder otherwise they get deleted). Whenever you want to share a track with the club, simply drag it into your personal folder (which only you and I have access to) then I will check it and move it to the appropriate theme folder, e.g. Cafe, Car Doors, etc. and then e-mail you an invite to that particular theme folder. In this way, your personal folder should always be empty unless there is an upload pending for me to check. As you contribute to more and more themes, you will end up with a collection of different theme folders within your ‘Documents’ folder which you can COPY (not move) to your FX drive, or perhaps create an alias of on your FX drive if that’s easier.
As for the ‘Legal’ page, this is exactly the same in principal, I just need to adjust it to relate to Sugarsync rather than Soundcloud.
Thank you all for your patience,
A wide variety of different crowd reactions are always useful. I think it’s great to be able to shape your FX tracklay for a crowd scene so that the sound doesn’t solely depend on the crowd ADR for energy, dynamics and narrative. Sure, you do often need to lay a more generic ‘bed’ for the crowd presence but when you add any necessary ‘ooh’s!’, ‘aah’s!’ and cheers, etc. on top of that the scene can really come to life – and also helps any crowd ADR that you do shoot to sit into the mix more naturally.
Bearing in mind that I may run a theme for large crowd reactions in the future, I’ll describe how I’m going to distinguish between the two sizes of crowd. For now (I can always adapt the collections in the future if necessary), consider this small crowd collection to be for groups of, say, 5 people (e.g. watching sport in a bar) to 200 people (e.g. cheering at a concert in a small church hall). Less than 5 people may be getting a bit to close to the realms of crowd ADR and start requiring the use of release forms, so we’ll steer clear. I may need to eventually cater for a ‘medium’ category but, for now, I’m imagining the other ‘large crowd’ collection to cover small concert halls to stadiums. Despite all my examples being interior, the crowd reactions that you share can be interior or exterior recordings.
I must emphasise that this theme is for crowd REACTIONS! General chat tracks won’t be accepted unless they contain the reactions within, in which case it’s obviously counter-productive to remove the ‘vibe’ that surrounds the important boos, cheers, gasps, etc.
That’s it! I really can’t think of any other conditions that need to be spelled out. Oh, apart from please state your location / language in your track name or metadata. This is always important for recordings shared with the Club but especially so when voices are involved.
Lastly, the more the better. If possible, it’s great to have a few reactions in a recording in case the scene calls for it. Otherwise, you end up searching for other recordings that match in terms of crowd size and acoustics, which is a bit dull.
Happy sound collecting!
Members will have noticed an invitation e-mail turn up in their inbox this week, asking them to join a new folder in the Club’s Sugarsync account called ‘NEW SOUNDS HERE PLEASE!’
Suddenly dawned on me this week that this is clearly the most convenient way for members to submit new tracks. Drag your submission(s) into this new folder on your computer and I’ll get e-mailed a notification. I can then check the track and approve it before moving it to the relevant folder and giving access to that contributor.
You don’t have to contribute via this route (yet!) – you can still upload via Soundcloud (or any other means) if you prefer but I do recommend this as the most straightforward option.
Updated ‘How to Upload Your Sounds’ page and new ‘FAQ’ page to follow very soon…..gradually getting there with all the housekeeping! A lot of adjustments I’m making for this 2012-13 season are intended to streamline my whole admin process so that even when I get really busy at work I can still keep the Club efficient and up to date. Thank you all for your patience in the meantime!
Here we go with the 2012-13 Season! Before I talk about the latest theme I’d just like to chat a bit about the new membership year.
The Club’s top contributors have already been given free membership for another year. For everyone else, and as a kind of rally call to get as many people on board as possible from the start of the season, I’m offering membership at half price until the end of May. After that, the membership fee will go back to the usual £20 for the rest of the 2012-13 season.
If you’ve contributed to the Club over the past year then you’ll need to renew your membership if you want to continue to have access to those themes. I’ll be making these adjustments over the next week or so, so please act now whether you want to renew your membership (and don’t want the hassle of downloading everything again) or whether you don’t (and want to download everything before you’re excluded).
If you’re new to the Club then now’s the perfect time to get involved. For the next couple of months, a tenner and a few of your own recordings can currently get you access to over 20 gigs of sound fx recordings made by sound professionals from all over the world.
Please bear with me over the next couple of weeks as the new membership year has coincided with me being in the depths of simultaneous temp, pre- and final mixing (don’t ask!) so chances to focus on the Club are few and far between for the next couple of weeks. Once that’s done, I’ll complete the transition from Soundcloud to Sugarsync which has dragged on over the last few months, focus on a bit more Club promotion and also I’d like to use the start of this new season to talk a bit about what the Club’s achieved over the past year and what goals I have for the 2012-13 season. Coming soon.
Right, back to the latest theme: Car Doors.
In any scene, film or tv, a car door open or close is one sound that is nearly always worth checking the production rushes for. Whenever possible, I use these real sounds from the location recordings as they sound more natural than using recordings from another time and place (ditto with any doors that aren’t part of a set). If necessary, I might beef them up or tighten them by means of parallel compression.
However, although this method offers authenticity and naturalism, sometimes it is necessary to add one more layer to infer more meaning in the sound than is inherent in it’s original state. Perhaps the car door needs to sound like more of a solid ‘thunk’ to suggest quality (and therefore wealth) or more of a hollow ‘clang’ and rattle to declare the vehicle as a complete and utter rust bucket.
So, in other words, what I’m after for this collection is car door sounds with character and meaning. Don’t share your bog standard clunks and slams; I’ll get those from the rushes and they’ll fit the picture better. Instead, please share interesting car door sounds that are descriptive of the vehicle and, by association, it’s owner.
Truck, lorry, van, etc doors are all allowed too. As I often mention, please try and get the door from different angles and intensities – namely harder and gentler opens and closes shot from exterior close, exterior wide and interior. Also, getting the boot / trunk sound is useful to complete the set. Please let me know what vehicle the door belongs to and provide a photo if possible.
Here’s to the next 20 gig! Speak again soon,
I thought it might be a good idea to double up this month as it seemed silly to stretch out two such similar themes over two months. This theme brings us the closest we have been so far to the world of foley recording.
Good floor and stair creaks, recorded from head height in order to mirror location recording, can be useful for sweetening foley or production footsteps. However, if you think a particular floor creak has potential for manipulation or as an element in a layered design then it may well be worth recording much closer – you be the judge.
If you do record some floor creaks with the intention of them being sweeteners then please record a decent amount of them. Bear in mind that, with longer scenes in particular, it’s handy to have a generous length of track available from which you can cherry-pick the creaks that suit each particular moment. Try and get a variety of intensities of creak out of your chosen surface; the shorter, subtler creaks are sometimes more useful than the big ol’ horror movie ones. Record yourself or a volunteer making the floor or stairs creak; don’t record an ambient track of the general public passing by because this will also carry extraneous noise (movement, voices, etc.) with it, which we don’t want. Perhaps remove your shoes so that your creaks aren’t spoiled by being tied to actual footfalls.
Be careful with the room acoustic: Decide whether this is useful to have in your recording or not. Remember that it is a lot easier to add reverb than remove it. Having said that, if a room has a nice acoustic, perhaps consider recording two-track mono – one closer boom and one more distant room mic. Don’t contribute stereo files; it’s just a waste of drive space. Include photos and thorough meta descriptions with your recordings whenever possible too.
Although, the images above would suggest otherwise – the surfaces do not have to be wood, they just have to creak in some way. If your floor and stair recording are from the same location and ‘match’ then please reflect this with appropriate naming but make them separate files (because they will go in separate folders – you still need to contribute to both in order to get access to both sets).
Well, that’s about as thorough a set of instructions as I can muster at 12:30 am! If I think of anything else worth mentioning I’ll add it (or tweet it) but I think that’s everything. If anyone else wants to add anything useful to this guide then please feel free to comment below.
The Night and Day collection is back in action, which means that all Club themes are now back online for members to start contributing to again – but this time with a bit of a difference.
As 2011 has passed by and the collection has grown, I’ve already begun to think that The Sound Collectors’ Club needs to find a more suitable location to store it’s collections in than Soundcloud. Soundcloud is great aesthetically and perfect for linking to other social networks and blogs, and I’ll definitely continue to use it for the mp3 samples that can be auditioned in the Browse The Collection page. However, as a means of cloud storage for an ever-growing sound fx library, it isn’t ideal – the more themes we amass, the larger the amount of ‘secret links’ we’ll have to keep hold of and keep handy for whenever we want to access the collections. Downloading and then re-loading file metadata is also cumbersome via Soundcloud. What I feel we need is a form of cloud storage which more closely mirrors the way we store our own sound fx libraries on our work computers.
In my opinion, the application that currently fulfills this brief the best is Sugarsync. There are many other similar applications but they all seem to fall down on one or more particular function that is essential for the Club to work well by this method. For example, Dropbox is great, but it requires everyone sharing a folder to have the capacity for the full size of the shared folder in their personal account, which is impractical. You can get around this by signing up for one of their Team accounts but that costs about £700 which is obviously far too expensive.
With Sugarsync, only I need to buy the amount of storage needed to hold the Club’s collections. I can then share it with all contributors, who only need sign up for the free account. You will receive an e-mail from me saying that I’ve shared a folder with you; if you’ve already signed up to Sugarsync you can access it straight away. If not, you can click on the ‘Sign Up’ link on the e-mail and then let their website lead you through the registering process before returning to the e-mail to access the shared folder.
As soon as you access the shared folder, it will be synced to your desktop – if you’re on a Mac, it will sync to a new folder in your ‘Documents’ folder. It isn’t ideal but this folder has to stay in this location in which it is created AND MUST NOT BE EDITED OR ADDED TO!!! This is because in order for you to be able to sync the folder to your desktop I have to enable you to access AND modify it. I’m pretty sure better permission controls will come along before long so that I’ll be able to let you access but not modify folders but, for now, please don’t change, move, delete or add to this folder, as it will change the folder for everyone else as well and will get very confusing. For this reason, please install Sugarsync on your personal computer rather than any shared work one that you might use, in order to minimize this risk (you can still access Club sounds via the internet on shared computers). However, having said that, I do have backups should any accidents happen and Sugarsync has quite a good ‘undo delete’ system, so it’s not quite as precarious as it sounds.
As is often the way, there are workarounds to these slight flaws: If it’s a bit of a pain having to go into your ‘Documents’ folder to access the sounds then you can, of course, create an alias of the folder in a more easily accessible location. However, for now, it’s probably a good thing that the sync folder is tucked out of the way because you’re then perhaps less likely to accidentally edit it. In my opinion, it’s maybe best to create a new ‘The Sound Collectors’ Club’ folder in your sound fx library then create new folders within that for all the sets that you have access to. Once you’ve done that you can just use the sync folder in ‘Documents’ to copy new audio to your sound fx library from whenever I tweet that new sounds have been added to the collection. Please let me know of any other non-destructive workflows you devise to incorporate the Club’s collection into your sound fx library.
So that’s the downloading taken care of! As for the uploading, we’ll stick with the existing system via Soundcloud for now – I don’t want to throw too many new systems at you all at once so I’ll probably hold fire with any new uploading instructions until the New Year. I’ll gradually start adding step-by-step instructions or even a tutorial vid to the website to explain the new process (as well as gradually sharing all the other collections) but hopefully, for now, this post will suffice in pointing you in the right direction towards setting up your Sugarsync account then syncing collections to your desktop. Obviously give me a shout if you have any problems.
However this system ends up being adapted to suit our needs, I really feel this type of cloud sharing is the future for the Club so do please give it a go. I think the ideal scenario would be for all Club members to have a dedicated folder (which they can’t erase) somewhere useful on their computer (such as in their fx library or in their menu bar like Dropbox) which auto-syncs whenever new sounds are added to the collection so that you only need to drag and drop them into Soundminer / Audiofinder / etc. from time to time. Sugarsync may just be the first but vital stepping stone towards that goal – please let me know how you get on with it.
The Club’s very first theme (from back in November) is now back online for members to start contributing to again.
I’ve re-uploaded any tracks from the old collection that qualify under the current requirements – in other words all those that have some form of vocal ident on. The contributors of these qualifying tracks have been e-mailed new secret links to the reactivated set and so can gain access immediately.
Unfortunately, if you originally contributed a track but it hasn’t been re-uploaded then you will need to contribute a new track which meets the current requirements in order to regain access to the set. If your old track does qualify but you aren’t currently a member of the Club then I’ve got your track on standby ready to add to the set should you join the Club in future.
For those who don’t remember the original brief regarding what sort of rain recordings we’re after, here’s what I originally wrote:
Rather than just ‘rain’, I should perhaps say rain on surfaces, i.e. rain on windows, roofs, pavements, etc. – whatever sounds interesting. Rain on surfaces such as corrugated iron or greenhouses can sound great but in some ways I think it’s a bigger achievement to simply get a great recording of the sound of rain on a window which doesn’t just sound like white noise.
Next up is the old Night and Day set which I’ll try and get re-uploaded as soon as possible too. Watch this space….