sound effects bundle

Wear a tight black body fitting suit and stand on the top of the Empire state building, and mount a nice mic on the 5th story.

Swing down, record:D
 
yeah That black outfit is out of control

gotta have that sound bundle though...still searching.
maybe for my Yamaha S90-- plug-in
 
I would be surprised if they used much of any bundle. It sort of depends on when they are cutting the trailer but many times they are using sounds from the film and poss some of the same editors. If the trailer is done very early there may not be much of the track in place so the trailer folks may be a bit on there own but usually the FX that are supposed to come from the movie come from sound editorial. So those sounds are likley unique to the show. There is a strong bias against using CD libraries on films. Not that they don't get used but they are often altered and manipulated. It's not so much about quality, though that is a consideration, but because A you want your film to sound unique and B a lot of the best CD sounds are used so much that editors actually recognize them in other peoples tracks. You just don't want other editors say "oh he used SI60013 track 45" You want them to go "that was really cool how did you do that".

So you will as a rule never find the coolest sounds in any CD library.

Oh and the last point, one that I have made before. Those great "movie" SFX are built not found. That whoosh you like is probably not A sound but a bunch of sounds on different tracks that are mixed to make the sound you hear. For instance a typical action film punch uses four tracks. I know of a film that had almost a hundred tracks of gunshots, explosions and debris.
 
I do agree that the sounds are very cool.

Watch the trailer without sound... its very tame.
 
I'm not sure who this is directed at but... Most FX's are built by layering sounds and EQ maybe some pitch shift. When there is a lot of "designy" stuff and such other than a few plugins like GRM that can do some really weird stuff the first thin most folks grab is a sampler. Soft samplers are pretty popular now but the big two were Synclavier and EMU E4. Personaly after having a number of soft samplers (and having them get orphaned) I bought a used E4. What originally went for in the $8000 range can now be bought for $250 - $450 on eBay and that is about the same price as a soft sampler and is OS proof. But again most of what folks use a sampler for is pitching and layering. Very few folks in sound for films have much "sound" experience prior to working in film (I'm only talking about post folks here, I suspect this isn't nearly as true in production). It's sort of surprising but true, and it makes a lot of sense when you look at the history and that everything was on mag until quite recently. Fades (editorial) are still called scrapes because that is how they were done on mag, you scraped off part of the oxide coating. Sound editors were much more the carpenters that put the bits and pieces in place and the mixers were the folks who did the magic. This has changed a lot with DAWs and with a change in the thinking about film sound that happened in the 70's and 80's. So Synths are not usually a first choice since unless you are just using the presets you sort of need to know some sound theory to get much out of them. Now most sound folks know their tools really well but they don't have a lot of sound theory, additive synth VS subtractive synth etc. The other problem with synths is that it can be hard depending on what your trying to do to get a sound to sound "real" is a big hunk of it is synth. So most sounds, even SiFi ones are made by manipulating recordings.


nycfilmmaker said:
I hear you. do you use a synth?
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