Post Magazine

May 2015

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Page 35 of 51 34 POST MAY 2015 ove them or hate them, one thing is certain — commercial sound libraries provide easy and inexpensive ac- cess to useful and hard-to-get sound ef- fects. When sound designers use them in combination with custom recordings and creative layering and processing, those raw commercial effects, available to any- one, are transformed into unique sounds that not just anyone can make. Jeff Shiff- man at Boom Box Post says, "The libraries we're purchasing are recorded by some of the best sound recordists and engineers around. I trust them for their recording expertise and I trust myself to take those sounds and make something different and interesting happen with them." TEENAGE MUTANT NINJA TURTLES Jeff Shiffman has been the supervising sound editor/sound designer on Nickel- odeon's animated series Teenage Mutant Ninja Turtles since Season 1. Recently, he and supervising sound editor Kate Finan opened Boom Box Post (www.boombox- in Burbank, CA, conveniently located just blocks away from Nickelode- on and other animation studios. With a focus on design, they provide creative sound services for animated series, films, and interactive media. Boom Box Post has four Pro Tools 11 audio suites networked together via an Apple AirPort Time Capsule. In addition to sharing videos, and sessions, Shiffman notes, "The editors we work with are expected to create original material for our series. We have our library of original sounds networked to foster an environment of shared creativity." For an upcoming episode of TMNT, Season 3, Shiffman describes a scene in which a main character is injured and an- other character has to heal the injury us- ing supernatural powers. Shiffman chose L When combined with custom recordings, commercial sound libraries are helping sound designers deliver some unique and powerful results SOUND LIBRARIES IN THE MIX! BY JENNIFER WALDEN Boom Box pitches down gong and cymbal sounds to highlight the camera moves featured in TMNT.

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