When editing your sounds, it's important to consider the end-user and in what context they will be using the sounds. For example, when editing our Practical Doors library, we specifically made all of the doors have a consistent level and frequency content, so that they would all feel right when placed in a scene together. You should edit your sounds in a way that makes things easy for the sound editor so that they can drop sounds into their project timeline and work within the scene with minimal fuss.

There is a lot more to editing than just chopping files, making fades and stripping silences. The editing phase is your chance to be really creative, and give your sounds that bold, dramatic feel that will make them stand out. Some techniques to implement during editing include: Play with extremes - Don't play it safe.

Embrace large dynamics and make use of contrast between quiet and loud sounds to maximise their impact. Heighten the drama - Try and edit your sounds in a way that conjures up an image, indicates some real-world physicality and motion or has a visceral effect on you when you hear it.

For example, in our gore library "Slaughter" we were editing sounds for a human body being crushed. We spend a lot of time thinking about how this would actually play out in reality, and the different phase's of the body being broken down, skin, bones, blood, guts etc. Approach editing like this took our sound from "decent" to genuinely stomach-churning, which is exactly the effect a gore library needs to have.

Fill out the frequency content - Combine and layer different recordings together so that you can fill up the frequency spectrum and give each sound that big, bold weightiness that is so characteristic of modern movie sound effects. There may be instances where editing isn't enough and you must use effects processing to create the sounds required for your library.

This is something we do quite often, especially on libraries with an otherworldly or Sci-Fi concept to them, or when we are constructing drones and atmospheres from everyday sound sources. Some go-to processing methods that we love to use are: Reverbs with long decay times. Modulation effects - Flangers, phasers, chorus. Crazy comb filters, LFOs and modulation delays.

Pitch and formant shifting. The quality control phase is super important, as it is your last chance to address any errors in your library before release and make sure that everything is sounding perfect. Once you have exported all of your sounds from your daw, listen through all of your sounds from start to finish and be attentive to any technical or aesthetic issues as you go.

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Most common issues can be avoided by paying close attention during the recording and editing phases, but it's always worth double and triple-checking in case any unwanted sounds have slipped through the cracks and made it all the way to this stage without being flagged up and corrected. Once you have checked through all of your sounds and are happy with everything it's time to embed metadata into the files.

Metadata are additional tags that you can attach to a file that makes it easier for people to find when they are searching through their sound libraries. For example, we may have a bone-breaking sound called "Bone Break Wav" but we would like to give it additional tags so that it appears in searches relating to "horror" and "gore". There are several programs that will allow you to achieve this but we use the sound effects platform Soundly, as it has a great interface and is really helpful for organising your sound effects. Within Soundly, select the sound you want to add metadata, right-click and go "edit metadata".

This will then bring up a window where you can edit both the file metadata and file originator Author of the file, in our case Audio. In the metadata section simply type your additional search tags each separated by a comma. File Name: Bone Break Originator: Audio In your case it might be "Johns Samples" etc.

By adding the metadata it makes it much easier for the user to find your sounds and gives them a little bit more information about the context in which to use them. The final stage before releasing your library is to create some killer artwork, write up an enticing description for use on online stores, and make a demo track to show off your library and get people hyped up. Artwork - We think its best to keep things simple and consistent when it comes to artwork.

Attribution information

Use an online tool to create some custom graphics that can be saved as a template for use across your future library releases. There is a range of awesome websites that allow you to make custom graphics. We use Adobe Spark as it has a large range of stock images to choose from and a user-friendly interface. Choose a background image that links to the concept of your library and then overlay some text with the name of the library. You can then finish it off with your company or brand logo in the corner to let your users know who the library is from.

Descriptor - This covers all of the text that will be used to help sell the library and is broken down into product tagline and product description. Your tagline should be short, sweet and enticing. Try and write something that will whet the appetite of a potential customer and get them intrigued about the sounds in the library.

All recorded up close and personal for use in video games, film and other media content. Recorded in 24Bit 96kHz, allowing for further sonic manipulation. Your product description goes into more detail and explains to the customer exactly what is contained within the library, and some specific technical information such as the number of files and sample rate etc. We consulted real British Armed Forces Personnel to ensure that our scripts were accurate and performed correctly by our voice talent.

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Both modern phrases and historical phrases are included, extending the libraries use beyond modern warzones. Whether you are making an FPS game featuring the SAS, a film featuring the armed forces or need voice effects for training purposes, this library covers both real-life commands as well as phrases included for dramatic effect. All lines are included clean along with a processed version to add quick army radio comms to any project, perfect for video game implementation! If you think your sound collection is in need of some reinforcements then this is the library for you!

Here are the included folders:. Whispering : Perfect for stealth mission and special forces operations, using the element of surprise. Talking: Soldiers speaking at normal levels, perfect for instructing commands or for training exercises. Shouting: Perfect intonation for heavy battle in close proximity with the enemy, lock and load!

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Grunts: A collection of grunts and efforts perfect for close-quarters combat or when a soldier is hit. The demo track should be about a minute in length and show off the full range of sounds within your library in an interesting and exciting way. Be creative and try and create something that is fun to listen to and links back to the concept of the library. Try and give your demo track a sense of rhythm and that it is building towards a climax. Even if the sounds in your library don't have a musical quality to them, injecting a bit of rhythm and bounce to your demo track will help your library stand out and give the potential customer a positive impression.

Whilst we have given you our step by step process in a general sense, below are a few extra tips that will help you turbocharge your workflow and generate consistent results over time.

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Teamwork is king - There's nothing that you can do alone that wouldn't have been done in less time and to a better standard than in a team. Develop a team of people to work on your libraries and you can complete a more diverse range of projects in less time than alone. Break up the workload - Split the different stages of the process amongst the different members of your team. Whilst one person is recording someone else can be preparing the pro tools session for editing.



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Or if one person is editing someone else can be writing the descriptions and creating the artwork. Develop a repeatable process - It sounds like a no-brainer but develop a process for creating sound effects libraries that you can repeat time and time again. This way no matter what the concept or content of the library is, everyone will be on the same page and know where they are up to in the process, and what stage comes next. Be consistent - By keeping things consistent you will be able to produce content as faster speeds.

By working in the same studio, following the same step by step process with the same team of people and equipment you are eliminating unknown variables and will over time become a well-drilled and efficient unit. If you are interested in sound design and want to know more about building sound effects libraries, check out the links below or head over to the audio store and check out some of the products that the team have created:.

Our step by step guide on how to build your own sound effects library for commercial release:. Knowing how to make cool sounds is one thing, but being able to work efficiently with them is a whole different game and shouldn't be overlooked. Time is always a critical factor in delivering great work so you should work to maintain an efficient workflow when building soundscapes. Take a car chase or fight scene for example. We know that there will be lots of similar sounds use to fill out this scene in the form of engine noise, tire squeals, punches, kicks etc.

It therefore makes sense to work with a batch of sounds you have auditioned and are happy with for each layer. These can be can quickly copied and pasted across your scene rather than sifting a gigantic library and placing sound effects one at a time. You can also use a common element to "glue" sounds together such as a low frequency sine wave layer to add some beef to punches for example.

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This can be copied and pasted in place each time the same effect happens to give a consistent tone across the scene. Implementing these techniques will give you a more architectural approach to building your scenes and maximise your efficiency. Check out this video from Pro Sound Effects where veteran sound designer Richard King talks us through how to approach a project with multiple scenes. Our top tips on action sound effects editing:. Our post on how to use subconscious sound techniques in your film:.

The 5 best online sound effects resources:. Hyperbitsmusic's 5 innovative sound design techniques:.



Designingsound's guide on adapting your sound editing workflow for your mixer:. Pro Sound Effects:. The Sound Pack Tree:.