Last week we announced we’re giving away over 2 GB of free sound clips as part of our website beta test. We’re releasing one pack each week that you can add to your sound library.
That post had an overwhelming response! Thank you for the retweets, comments, and for testing out the site.
Today we’re offering a second collection of sound fx you can download, free of charge.
Recently we shared that we are making some big changes here at Airborne Sound. We’re taking a new direction with the website and our sound library.
Part of this is the new design you see on the site. Another aspect is a different philosophy of sharing sound. We’ll share details about this soon.
Right now we’d like to invite you to be part of this evolution, as site beta testers.
Gathering sound effects is addictive. Recordists always have an ear open wherever they travel to capture more audio. It’s the same for sound editors. Tempting libraries are released every month. The result?
The need for storage space explodes. I wrote about one storage solution a few years ago: Drobo hard drive arrays. And while the Drobo worked well for some time, I stumbled across a better solution: the Synology family of NAS storage boxes.
What is NAS? Why is Synology better for field recordists and editors? I’ll explain all of this, and share my experience using the NAS in today’s post.
Today we’ve taken down the Airborne Sound store. Don’t worry, we’re not disappearing forever!
Why are we doing this?
Field recordists are a unique crowd.
We don’t quite fit with theatre mixers, or sound recordists on set. Sound designers and Foley artists are a closer match, but they record sound effects indoors instead of in the wilderness we explore.
The craft of field recording is a narrow one. Recordists often have to assemble tools meant for other disciplines. Sound quality is essential, of course, but so are other traits required for capturing sound as we record clips beyond the studio: mobility, durability, and reliability.
When mastering field recordings I use a basic Pro Tools set up. It worked well enough for years, but I longed for something modern that would complement the field recording craft more closely.
I had heard about the Apogee Duet years ago. It was introduced in 2007, and updated in May of 2011 with new software and hardware. I decided to take the plunge and upgrade my gear.
I’ve been using the Duet 2 for about a month now. I’ll share my impressions, and explain how it can help field recordists master their tracks.
How do you create a sound library? Which tracks should you record? What clips will be prized by fans?
This is a common question for people who want to build and share a sound effects or music collection. There are vast numbers of clips already online, and it’s natural to want to learn more before beginning.
I remember thinking this myself as I began building the Airborne Sound library. I had done work for various clients, and began to see how extensive the sound fx and music library business actually was. This is how I first met Norwegian composer and sound designer Bjorn Lynne.
Bjorn has designed, recorded, and composed thousands of songs and sound fx. He has a large empire of websites and composers networked on the popular stores shockwave-sound.com, and 1soundfx.com.
So, to learn more about creating and sharing digital sound, I went to the source. I asked his perspective on crafting a valuable sound library, sharing it with others, and doing this all while maintaining a personal connection to his work.
In this post, I’ll share Bjorn’s thoughts, and how you too can do the same with your sound library.
Earlier in January I published an tantalizing find: a way for sound editors to archive their editing sessions to the cloud.
The Gobbler app was created specifically scan your hard drives for Pro Tools, Logic, and Garage Band sessions, then gather all related files and tuck them neatly away in the cloud. It works only when your bandwidth is idle. Restoring sessions is a snap. I’ve used it for about a month now, and I enjoy it. Read the mini-review to learn more.
While Gobbler is a great solution, it is limited for field recordists. It only backs up sessions and related files. They support many formats. However, it can’t be used to simply back up an entire sound library to the cloud. Also, it can become pricey.
So, while I still use Gobbler for my sessions, I have been exploring other ways to archive my sound libraries.
Today I’ll share the current method I use. It incorporates two technologies: Amazon Glacier, and an app called Arq. It allows me to back up drives in one step for less than a couple cups of coffee a month.
Not familiar with these names? I’ll explain them, and the cheap and easy way you too can archive your sound effects collections to the cloud.
We’ve reached the final article in the series of copyright and sound effects libraries.
Previously we’ve looked at the basics of copyright, how copyright affects using sound libraries, how copyright works with your own sound effects collection, and copyright hazards while field recording.
You have a sound library. You want to share it. However, you know you need to protect your hard work. How do you do this?
Today’s article will explain how to protect your library while sharing sound effects. I’ll include specific steps you need to take.
Are you editing a feature film with dozens of reels and thousands of sound effects? Are your hard drives becoming cluttered with back up sessions for every picture change?
Maybe you’re working with a score of musicians worldwide while creating an orchestral opus. You need to share your work, but are too busy to create FTP credentials and track exchanging stems.
Does this sound familiar? You’ve likely you’ve found that your sessions bloom in size as you add sound fx, loops, and samples from external hard drives and network libraries. And, as more people collaborate, sharing work becomes more complicated.
This is common for sound creators. Most are used to this, and can accommodate for fractured media storage and workers spread across facilities, cities, and countries.
What’s not so common is a method for backing up, or sharing these projects. It’s tricky: how can you track and archive your work when the media and workers are so disparate?
Gobbler was created specifically to help pro audio teams solve this problem. This post will look at how Gobbler works, and why it is helpful to sound editors.
I’ve just started using Gobbler, and today I’ll share my first impressions. I haven’t completely run it through its paces yet, but wanted to publish this mini-review of Gobbler early. Why? I want to let you know of a limited promotion they’re offering, which ends January 2, 2013.
Here’s the pitch: if you sign up before then, you get five gigabytes of storage and transfer bandwidth for free. And, if you sign up by clicking this link, you’ll get an extra 512 megabytes tacked on, for a total of 5.5 gigabytes.
You are a field recordist. You’ve finally crafted a sound effects library. You’ve spent hours in the studio. You’ve wandered for days in the wilderness, capturing sound clips. You’ve tweaked, massaged, and sculpted your collection while editing and mastering.
You’ve protected your sound library using copyright. Now you’re ready to share it.
Wait. Are you sure?
Sound library owners often make two fatal errors before releasing their sound library. Today we’ll look at these errors, and learn how to avoid them.
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