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Japan Sound Effects Collection Kickstarter
The Japan Sound Effects Collection is a series of field recordings from the Kansai, Kanto, Tohoku, and Hokkaido regions in Japan. This was a solo project that I began in 2013 while I was studying Japanese at the Japan Center for Michigan Universities in Hikone, Shiga Prefecture.
In March of 2015, I managed a successful kickstarter campaign to fund a 3-month solo backpacking trip back to Japan to collect more material for the collection. At the time, it was the highest grossest Kickstarter for a sound library, raising $8,000 ($2,000 over the original funding goal). You can look at the project's official website Here .
In addition to it's commercial value, the collection acts as a sonic time capsule of contemporary Japan. With that in mind, the library features a greater depth of metadata about recording technique and location.
A screenshot from the Kickstarter Campaign page.
Demo track for the Japan Sound Effects Collection Kickstarter campaign.
Japan has an impressive rail infrastructure that, between the national and private lines, reaches practically every part of the country. Each region has different kinds of bullet trains, subways and local lines, all in varying states of repair and age.
This library's focus: train passbys, station ambiences, interior/exterior start/running/stop and every click, clack and horn that bullet trains, subways, and normal trains make.
Demo track for the Japan Sound Effects Collection Kickstarter campaign.
Some of the largest cities in the world have formed in Japan because over 2/3rds of the country is too mountainous to inhabit. The rise of these megalopoleis means that people, and the sounds they make, are in high supply.
This library's focus: small to large groups of people in settings as varied as shopping malls, city streets, and cafeterias as well as urban soundscapes.
Demo track for the Japan Sound Effects Collection Kickstarter campaign.
Japan, much like every country, has sounds that are inherently native to it which are woven into the cultural fabric, whether it be the peculiar crow cahs (ah-ho, ah-ho), the evening chorus of insects or even sounds as simple as the ones programmed into the microwave.
This library's focus: Half nature and rural ambiences. Half grab bag.
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Field recordist and sound designer Chris Trevino is looking to build a unique SFX collection that captures the sound of Japan. It’s a massive undertaking – and he needs your help doing it, so he’s launching a Kickstarter campaign to get it done. Find out what the project is all about, what Japan sounds like, and how you can help make the sound library happen below:
THE WORLD’S EASIEST WAY TO GET INDEPENDENT SOUND EFFECTS:
Bonus: Two extra libraries included for free:
This library also includes two additional releases from Mattia Cellotto - for free: Crunch Mode delivers 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust and a selection of frozen goods. The Borax Experiment gets you 158 squishy, gory, slimy and gooey sounds.
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Home Blog Chris Trevino’s Grand Plan to Capture the Sounds of Japan
I was enraptured at a young age by the games that were coming out of Japan in the 90s. The music of Nobuo Uematsu (Final Fantasy Series) and Yasunori Mitsuda (Chrono Trigger/Cross) gave me both the game and Japan bugs. These games inspired me to take up the tenor saxophone and then later choir when I was younger and made me want to be a game composer.
I started my undergraduate as an anthropology major, because of my love of cultures, but quickly discovered that I loved the ideas but was not passionate about the work. At the end of my first year, still dreaming of game music, I took summer music composition classes and my first sound design class. Needless to say, I got hooked. My love of field recording soon surfaced afterwards.
Chris Trevino, recording at the Wachifutetsu stalactite grotto
My fascination with Japan does not end with just video games. The process of learning a new culture, land, and language is one of the strongest forms of self-discovery. My fascination with Japan is both to learn how other people navigate the challenges of this world as well as to become aware of how I, as an individual and member of my culture, cope with the world. I believe that if we strive to be aware of the ways in which we and others live, the world we live in will become a more unified place.
When I lived in Japan before, I had to juggle this project with the rigors of an intensive Japanese language program. I made a point to travel as much as I could as well as record several times a week but was not able to cover as much ground as I would’ve liked.
One of my visions with this library is to highlight the diversity of soundscapes within Japan
One of my visions with this library is to highlight the diversity of soundscapes within Japan. In going back to Japan, I want to focus in on regional differences between the three smaller libraries that constitute the collection.
Right now, the uncurated library has 400 rough-edited files that take up a whooping 38Gb. I’ve broken the collection into three smaller libraries that are focused on specific elements: trains & subways, crowds & urban environments, and nature & cultural sounds. I consider each to be a standalone library, and want to take a moment to talk about each.
“Trains & Subways” is the largest of the three libraries. Japan has immense variation in its railway infrastructure. There are 6 regional rail companies that run a combination of different trains, 16 major private rail companies with their own trains, 6 metropolitan areas with unique subway systems, and 12 different models of bullet trains in Japan. I have a lot of good material from slower trains and subways. Bullet trains are much harder to access, particularly because of how expensive they are to ride. I want to concentrate on recording more types of trains for this library.
The “Nature and Cultural” sound library is the least developed out of the three. I did extensive recordings in the Taga mountains near where I lived when I was there before, but was unable to record in other regions. When I return, I want to flesh this section out especially. Good nature recordings are challenging to do and take a lot of time to properly scout and plan out. I’ve paired nature and the all-encompassing “cultural” sounds together to ensure backers get a good value. I’m in the process of working with a couple organizations to gain access to a wider breadth of cultural instruments, devices and clothing.
The “Crowds and Uban Environments” library is well developed. Large crowds are easy to find in Japan becuase of how congested the country is. I want to try to get into cafeterias/food halls, schools and smaller cafe settings to round out smaller crowd ambiences in the library. There is one organization I’m working with that may be able to get me access to some of these.
They sound like something straight out of science fiction
Bullet train passbys may be an obsession of mine now. The first time I heard one, I was boggled by how unreal it sounded. The sheer force elicits a visceral response, when you can get close enough. They sound like something straight out of science fiction, and it’s a treat to find a place where the sound shields around the tracks aren’t present.
While curating this library, I feel like I’m playing the role of both a sound editor and anthropologist. I earnestly want this collection to have a larger cultural significance. Dividing the collection into three libraries helps concentrate my efforts. This project has the potential to be of an immense scale; a lifetime’s work. Capturing the essence of a place, even a single town, is an undertaking. With reality in mind, I’m attempting to include as many region-specific sounds in the collection as possible.
I’ve never experienced a sound that is as consistent and pervasive as these chimes.
There are blind-assist chimes at almost every stoplight in Japan. Many cities here in the USA have adopted this as well, but I’ve never experienced a sound that is as consistent and pervasive as these chimes.
Whether I was in the countryside or in Tokyo, this chime could be heard as a constant element in many soundscapes. Whenever I hear that chime in a recording, my mind immediately returns to Japan.
I really want to track down more Japanese crows. The first time I heard them, I swore that it was a person imitating a crow instead an actual crow call. I had difficulty getting a clean recording when I was there last time and am eager to take up the challenge again.
I have three different setups that I’m going to be using for this project, depending upon circumstances.
My primary rig is a Tascam HD-P2 2-track recorder paired with either a Rode NT4 stereo mic or one or more of my 3 Rode NTG-3s shotgun mics tucked away in one or two Rode blimps. I’ll also have a JrF C-series contact mic, JrF induction coil pick-up, a tripod and boom pole with me.
When I want to record with more discretion, I use a Tascam DR-40 handheld recorder with a Rycote windjammer. The DR-40s XLR ins allow me to plug any of my other microphones into it, if needed. Given that many of the things I’m recording are quite loud, the DR-40s preamps work well.
In very controlled circumstances, I plug into my RME Babyface interface and record directly onto my computer.
This project is currently on Kickstarter and ends February 24th. You can also follow the project on Facebook and Twitter (either @chrisatrevino or @japansfx ).
The best way to support this project is to spread the word about it! The more people who know about it, the better chance there is for it to be successfully funded. And if you want, you can even back it, too!
If the project is successful, I’ll fly to Japan at the start of March for three months. For the first month, I’ll take advantage of the Seishun ticket, a holiday train pass offered in March that enables super cheap train transit, and will travel back to both new and familiar locales to do more recordings. Then, I’ll live in Sapporo for the last two months and do in-depth urban and nature recordings. Sapporo, on the island of Hokkaido, is one of Japan’s major outdoor havens.
I estimate that backers will receive the library in May 2016.
The recording part of this project is the easiest to account for on time. Three months is as long as my visa will let me be in Japan, and I will be out recording for most of my waking minutes during that time. When I return to the USA, the post-production work on this library is where the big time commitment is.
Three months is as long as my visa will let me be in Japan, and I will be out recording for most of my waking minutes during that time.
As a one-man operation, a project of this scale is going to take a lot of time to turn into a finished product. Unfortunately, when I get back from Japan, I will need to find other work to support myself through the project’s completion.
If the collection is successfully funded, one of the stretch goals I’m considering is to release the library earlier by using the extra pledges to support myself working full-time on the project.
When you’re ready to step up to the next level of sound effects or if your needs are limited but with a wide range—this is the pack for you. With high-quality content covering everything from ANIMALS and MECHANICALS, to EXPLOSIONS, MAGIC, WEAPONS and FOLEY, this is the perfect collection for aspiring video producers, and anyone starting out in sound design.
Animal Hyperrealism Vol III is a library containing sounds themed animal vocalisations, from real to designed creatures totaling more than 1700 individual sounds in 279 files.
The sounds were recorded in zoos and wildlife centers. The asset list includes but is not limited to: european red deers, monkeys, reindeers, hornbills camels, crickets, tamarins, boars, frogs, red ruffed lemurs, parrots, and many more.
The content has been recorded at 192KHz with a Sanken CO100K plus a Sennheiser 8050 for center image and a couple of Sennheiser MKH8040 for stereo image.
Part of the cheats section of the library features samples recorded at 384KHz. For these sounds an additional microphone was employed, specifically the CMPA by Avisoft-Bioacoustics which records up to 200 KHz. This microphone was used to record most of the library but the 384KHz format was preserved only where energy was found beyond 96KHz not to occupy unnecessary disk space.
All files are delivered as stereo bounce of these for mics, though in some instances an additional couple of CO100K was added to the sides.
The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.
In this sound pack you will find science-fiction drones and atmospheres for your next project. From dark and aggressive drones to icy or even glassy ones and to those coming from far out of space, there is something to fit your needs.
These sound effects are suitable for your next game or video of foreign planets, exploring the milky way and galaxies far beyond.
There are two versions included: 48 kHz / 24 bit and 44.1 khz /16 Bit.
Useful Sound Effects releases Creature Wings , a library that contains Wings sound effects. Sounds range from complete mixes of creatures flying by, being hit, moving in stereo, single wing flaps, multiple wing beats recorded in foley sessions with multiple materials and various speeds. Also RAW files that allow you to edit the wing sounds to your needs… Some recorded session files with a Sanken CO100K are added in their 192KHz format.
Save hours of foley sessions and editing and get started with what you were after, or let yourself be surprised and listen to wing sounds that add more character to your creature flying movement.
Over 450 files that contain in most cases multiple recordings, offering variations in speed, texture, material, EQ, FX.
UCS compliant and Metatagged files with 458 sounds, containing over 1000 sounds.
Zombie Specimens Vol. 3 comprises dynamic zombie wails, growls and vocalisations intended to fill the gap in the female and child zombie voice market.
Our Audio Craftsmen recorded and designed strange, guttural voice performances to yield 7 different characters.
The collection of vocal variations includes lamenting wails, demonic growls, aggressive grunts, mangled groans, lethargic moans and breathy hisses. Use these sounds to add a unique sense of horror to your Film, TV and Game characters, or sprinkle them into your backgrounds for an immersive, expressive effect.
Sounds have been separated into the following categories:
Zombie Specimen CMX368: This agitated teenage zombie still has some energy left to whine about how hungry she is.
Zombie Specimen ETG106: A large, slow-moving zombie who craves human flesh but is simply too lazy to go and get it! Expect long, deep moans.
Zombie Specimen HPW592: This aggressive, impatient zombie won’t hesitate to rip your head off the first chance it gets.
Zombie Specimen KPA811: This talkative small-fry is all snarls and growls, with a higher, babyish voice.
Zombie Specimen MZO492: A roaring, wailing creature unfortunate enough to have been exposed to both the virus and radiation.
Zombie Specimen QBR157: Something evil has inhabited this zombie. Demonic hisses and groans emanate from within.
Zombie Specimen RNS772: A bloated, middle-aged zombie desperate for some bloody food! (pun intended)
All sounds are delivered in 24Bit 192kHz format allowing further sonic manipulation, and have been meticulously edited and tagged with extensive UCS compliant metadata for ease of use.
A series of foley recordings used for underwater movement as well as bonus surface featured ocean sound effects added.
This is a sound library of an American 2018 Chevrolet Camaro ZL1 race sports muscle car, with a supercharged 6.2-litre V8 engine that produces 777 horsepowers.
The car has the following modifications:
Ported throttle body, ported supercharger, water/methanol injection system, upgraded air intake system, bespoke exhaust line, shorter springs. This results in an additional 127 bhp from a standard of 650.
The recording was done during the vehicle’s performance test session. The ca
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