# Sound effects for film and animation



## 3DC (Nov 16, 2021)

Can somebody point me to the most used tools in the industry for film and animation sound effects. I hear a lot can be done in DAW like Cubase Pro. 

Any pro level tutorials or courses to suggest for beginners?

Thanks for help.


----------



## Crowe (Nov 16, 2021)

> Any pro level tutorials or courses to suggest for beginners?


Does not compute. This is not a thing.

My experience over the last year has shown me that a lot of this stuff is trial and error. There are *no* pro level tutorials at all, as far as I have found.

There's some beginner stuff on Youtube though.


----------



## Satorious (Nov 16, 2021)

This is *huge* area - I don't think there are any set rules - but yes, you can do a lot of this in the DAW. I also use Adobe Premiere and Audition (being a filmmaker), but there are alternatives (many of which are free). There are thousands and thousands of tutorials on YouTube. It's more about your workflow - what works for you and then practice/experience. 

What I can point you to is a fantastic (and absolutely massive) resource of free sounds. This is aimed at games but is also relevant for film: https://sonniss.com/gameaudiogdc


----------



## Bee_Abney (Nov 16, 2021)

3DC said:


> Can somebody point me to the most used tools in the industry for film and animation sound effects. I hear a lot can be done in DAW like Cubase Pro.
> 
> Any pro level tutorials or courses to suggest for beginners?
> 
> Thanks for help.


If you are designing sound effects to match a 3D space, especially if it is for CGI, then you might want to look at Sound Particles (the product and company both have that name). It is designed for that purpose and is used professionally. I do not believe it is intended for mixing the sound as a whole but rather for the creation of specific effects, including movement of sounds in 3D.

Something like Crusher-X, a granular synthesiser, can also be us3d for this but as a more specific tool.

Krotos currently have a 50% off sale on their professional sound design software. I have a mini version of their Dehumaniser (voice effects) and it is excellent.

Boom Library have a more limited sale on a few of their largest bundles of sound effects. They have many excellent sound effects and also sell some effects plugins.

Unreal Engine is a development environment designed for computer games but which is also good for sound and visual 3D animation. It is free to use, though for some professional purposes (chiefly, they want a percentage of fincial rewards from computer games that incorporate their programming).

Steinberg advertise Nuendo rather than Cubase for audio post production on film - I imagine this would cover all audio mixing on film.

Ina-GRM, I think, have some spacial effects. They have a suite related to spatial location, I believe.

Other than the DAW and sound effect design, along with key sound effects from rustling clothes and shuffling feet, by way of backgroud room tones, through weather, gunfire, and sci-fi effects, the most important tool for sound will be the reverb. It needs to be able to simulate a wide variety of environments, distances and motion. For live action, you need to be able to get it to match the actual reverb of the real location. There are some really high end reverbs for this sort of work and I wish I could remember their names for you (and me). I have DearVR Pro by Dear Reality, which is good but limited in variety. It is much better for music, as is Cinematic Rooms by Liquidsonics (probably the leading industry tool for this purpose).

That’s all I can think of right now. I don't know about courses. There certainly are routes to qualifications in this area so I should think that there are some decent paid online courses.


----------



## Bee_Abney (Nov 16, 2021)

And check out this thread on reverb: https://vi-control.net/community/th...im-thinking-of-buying-a-reverb-thread.116917/

@Trash Panda there lists these reverbs:
Panagement
2cAudio Precedence/Breeze
Virtual Sound Stage 2
EAReverb 2
SP2016
DearReality VR Pro


----------



## d.healey (Nov 16, 2021)

3DC said:


> Any pro level tutorials or courses to suggest for beginners


If you're a beginner you should start with beginner level courses, no?


----------



## Bee_Abney (Nov 16, 2021)

d.healey said:


> If you're a beginner you should start with beginner level courses, no?


A beginner at professional sound editing would still want a course aimed at professional sound editing. Which just leaves me wondering at whether there are courses aimed at amateur sound editing... YouTube videos, I guess. They might be less interested in 7.1 surround and so on than a professional (beginner or veteran) would be.


----------



## Zoot_Rollo (Nov 16, 2021)

https://www.udemy.com/topic/sound-design/


----------



## Bee_Abney (Nov 16, 2021)

Zoot_Rollo said:


> https://www.udemy.com/topic/sound-design/


Cool!


----------



## Crowe (Nov 16, 2021)

I've tried a few of those and none of those are very good or anything you can't find in basic tutorials on Youtube. It's all purely about types of synthesis, not about actual Sound Design techniques useful for film. Maybe some types of animation.


----------



## Bee_Abney (Nov 16, 2021)

Crowe said:


> I've tried a few of those and none of those are very good or anything you can't find in basic tutorials on Youtube. It's all purely about types of synthesis, not about actual Sound Design techniques useful for film. Maybe some types of animation.


Pity.


----------



## Zoot_Rollo (Nov 16, 2021)

Crowe said:


> I've tried a few of those and none of those are very good or anything you can't find in basic tutorials on Youtube. It's all purely about types of synthesis, not about actual Sound Design techniques useful for film. Maybe some types of animation.


very true - some of the courses touch on SD techniques, but agreed, you may as well search YT for free.

i have a couple of their comp courses that are quite good.

this looks interesting, i don't have it - yet - BF perhaps?



https://www.udemy.com/course/from-silence-to-sound/


----------



## digitallysane (Nov 16, 2021)

I do animated films (as writer/director) and I use to sketch temp soundtracks (both music and sfx/foley) which I then pass to the composer and sound designer.
I use Nuendo for this, as its workflow is great in combination with editing software that I use for assembling the initial animatic and then the edit.
I use Boom Library stuff and recently I used UVI Walker quite a bit for steps for some crowd scenes.
The people I collaborate for composing and sound design are using Nuendo, Logic and a bunch of synths and libs (no idea what).


----------



## Bee_Abney (Nov 16, 2021)

Zoot_Rollo said:


> very true - some of the courses touch on SD techniques, but agreed, you may as well search YT for free.
> 
> i have a couple of their comp courses that are quite good.
> 
> ...


Do you know and like his work? If so, then this does look good. Hopefully it is short because it is well organised and presented.


----------



## timprebble (Nov 16, 2021)

I would suggest trying to find a mentor... Thinking about who will mix your work may lead to useful contacts for this. Some useful advice in this article:




__





Career Advice: part 2 – Music of Sound






www.musicofsound.co.nz


----------



## Crowe (Nov 17, 2021)

I'm playing around with the idea of maybe finding one or two people to go through this learning journey with. Somewhat like a book club or something.

It's pretty daunting having to go at this alone.


----------



## Bee_Abney (Nov 17, 2021)

Crowe said:


> I'm playing around with the idea of maybe finding one or two people to go through this learning journey with. Somewhat like a book club or something.
> 
> It's pretty daunting having to go at this alone.


That's a great idea. I'm not sure how much time I can put in, but it is definitely something I'm working on.


----------



## digitallysane (Nov 17, 2021)

Crowe said:


> I'm playing around with the idea of maybe finding one or two people to go through this learning journey with. Somewhat like a book club or something.
> 
> It's pretty daunting having to go at this alone.


It's just a field like any other, takes some time.

Forgot to mention in my prev post that a resource that I like a lot is ThinkSpace Education from the Guy Mitchelmore guy on YT. Bought some courses and like those quite a bit:





Short Course Overview | ThinkSpace Education


At ThinkSpace Education, we offer a range of self-study short courses. These courses cover topics from music composition, technology, and business.




thinkspaceeducation.com


----------



## Crowe (Nov 17, 2021)

digitallysane said:


> It's just a field like any other, takes some time.
> 
> Forgot to mention in my prev post that a resource that I like a lot is ThinkSpace Education from the Guy Mitchelmore guy on YT. Bought some courses and like those quite a bit:
> 
> ...


It's actually not really a 'field like any other'. The books I've gathered on Sound Design actually don't teach you much in the way of practical skills. Even the most popular books are largely tales of how people became Sound Designers but keeping useful technique-related advice to themselves. It's maddening.

My university courses and books didn't have this problem. There's thousands of advanced guitar courses, thousands of piano books giving you useful exercises. Sound design? Almost nada that's actually useful.

I've invested quite a bit of money in material that has ultimately proved pointless. I'm a bit salty about that, I suppose.

EDIT: I must probably add that I don't count 'general synthesis' under the type of sound design we're talking about here. There's plenty on synthesis in general.


----------



## Bee_Abney (Nov 17, 2021)

Crowe said:


> It's actually not really a 'field like any other'. The books I've gathered on Sound Design actually don't teach you much in the way of practical skills. Even the most popular books are largely tales of how people became Sound Designers but keeping useful technique-related advice to themselves. It's maddening.
> 
> My university courses and books didn't have this problem. There's thousands of advanced guitar courses, thousands of piano books giving you useful exercises. Sound design? Almost nada that's actually useful.
> 
> I've invested quite a bit of money in material that has ultimately proved pointless. I'm a bit salty about that, I suppose.


If we are looking for some kind of training, we can break it down into parts. Maybe there could be some good courses on those elements. So, sample editing, for instance. Surround sound. Physical modelling. Did doing that help at all? Or are all these elements poorly served.


----------



## Bee_Abney (Nov 17, 2021)

Or else do it by product.


----------



## Crowe (Nov 17, 2021)

Bee_Abney said:


> If we are looking for some kind of training, we can break it down into parts. Maybe there could be some good courses on those elements. So, sample editing, for instance. Surround sound. Physical modelling. Did doing that help at all? Or are all these elements poorly served.


I've gone at it by taking a very specific type of Sound Design as my focus, in this case Horror and Suspense. I've been able to find some interesting videos and articles on it and have applied them to my experiments and recordings.

So yes, individual elements are represented if you know where to look, but it causes you to be stuck to youtube and requires application of searching skills and you kinda have to guess at what it is you need. That's fine of course, but it means that things take time, you have to gather information piecemeal after all.

It's why I'm certain that tackling it as a group or unit could be useful in the right circumstances. I know that having to focus my research and experiments into one direction has caused me to develop tunnelvision and neglect other facets. There's also the very annoying fact that I don't know what I don't know. There's no source that takes you by the hand. That's the frustrating part.


----------



## Bee_Abney (Nov 17, 2021)

Crowe said:


> I've gone at it by taking a very specific type of Sound Design as my focus, in this case Horror and Suspense. I've been able to find some interesting videos and articles on it and have applied them to my experiments and recordings.
> 
> So yes, individual elements are represented if you know where to look, but it causes you to be stuck to youtube and requires application of searching skills and you kinda have to guess at what it is you need. That's fine of course, but it means that things take time, you have to gather information piecemeal after all.
> 
> It's why I'm certain that tackling it as a group or unit could be useful in the right circumstances. I know that having to focus my research and experiments into one direction has caused me to develop tunnelvision and neglect other facets. There's also the very annoying fact that I don't know what I don't know. There's no source that takes you by the hand. That's the frustrating part.


Yes, not easy. Perhaps we could get a sound design category instituted here or on another forum.


----------



## Bee_Abney (Nov 17, 2021)

3DC said:


> Here are my 3 main parts I guess:
> 
> We are strictly talking about sound effects for film and animation so all tools or plugins should focus on this. This alone is huge topic so wondering into synthesis and effects for music production is counter productive.
> 
> ...


How much for the course? There's gap in the market...


----------



## Bee_Abney (Nov 17, 2021)

3DC said:


> Are you going to make it? Cool.
> I would say online courses are around 50$ these days unless you are planing to do something more advanced then you can charge whatever you want I guess.
> I have several books about the subject for "analog" or "foley" part but I am very weak in digital part of sound effects. That's why I started this thread.


Is that the time? I think I’m needed somewhere else. Good luck with the video...!


----------



## Crowe (Nov 17, 2021)

I might, one day, once I feel I'm adequately versed in the subject.

Working on a youtube video 'series' thing detailing how to be bad at things though. This'll probably come up some day. Hopefully. Once I get my ass into gear.


----------



## timprebble (Nov 17, 2021)

Crowe said:


> My university courses and books didn't have this problem. There's thousands of advanced guitar courses, thousands of piano books giving you useful exercises. Sound design? Almost nada that's actually useful.



And you'd be wrong, you just haven't found them yet. I've read most of these & collected up & blogged this list a decade or more ago... Back then there were very few resources about sound design online, now there are many.... Keep in mind this is not a new field - sound editing and sound design has existed for many decades, and many techniques precede digital/DAWs etc...

Here are a few very relevant books I highly recommend:

*The Practical Art of Motion Picture Sound* by David Lewis Yewdall

*Audio-Vision* by Michel Chion

*Soundscape* by Larry Sider

*Sound-On-Film: Interviews with Creators of Film Sound

The Sound Effects Bible* by Ric Viers

*The Foley Grail: The Art of Performing Sound for Film, Games, and Animation* by Vanessa Theme Ament

*Sound Design: Expressive Power of Music and Sound* by David Sonnenschine

*Dialogue Editing for Motion Pictures*: A Guide to the Invisible Art by John Purcel

*Film Sound: Theory and Practice* by Elisabeth Weis & John Belton





And a great quote from THE FOLEY GRAIL:








Some people think sound design is about what plugins you use...


----------



## timprebble (Nov 17, 2021)

3DC said:


> Here are my 3 main parts I guess:
> 
> We are strictly talking about sound effects for film and animation so all tools or plugins should focus on this. This alone is huge topic so wondering into synthesis and effects for music production is counter productive.
> 
> ...




"Foley" is actually performing sound effects to picture in sync, on a foley stage.
Footsteps, spot effects with props, rustles. Its all about performance and character.

It is not stage 1. Stage 1 is a spotting session with director

Foley does not usually start until very late in a film's post schedule due to the desire to record foley to a locked picture (or at least a fine cut, as conforms are inevitable)


----------



## Bee_Abney (Nov 17, 2021)

timprebble said:


> And you'd be wrong, you just haven't found them yet. I've read most of these & collected up & blogged this list a decade or more ago... Back then there were very few resources about sound design online, now there are many.... Keep in mind this is not a new field - sound editing and sound design has existed for many decades, and many techniques precede digital/DAWs etc...
> 
> Here are a few very relevant books I highly recommend:
> 
> ...


Thank you for this list. It's wonderful how this forum can put us in touch with people who know more about an area or aspect of sound.


----------



## timprebble (Nov 17, 2021)

Bee_Abney said:


> Thank you for this list. It's wonderful how this forum can put us in touch with people who know more about an area or aspect of sound.



For some background, I retired from film sound design a few years back to make HISSandaROAR my full time occupation... My film sound career = 40 feature films as sound designer/sueprvising sound editor (from no budget indie up to us$30mill studio films like 30 Days of Night, Boogeyman etc) as well as hundreds of hours of series TV, docos, short films etc... and a few animated shorts... Those projects scaled from minimal team of me (sound designer/FX/AMB) and a DX editor, through to supervising a team of 10 or more on larger projects...

*But regardless of scale, sound design is about story.*

(FWIW i do plan to launch a study course in sound design for film, and I intend to do it by walking through the entire process. From reading a script, pitching for work etc through all stages of sound editorial, conforms, predubs, mix, M&E, deliveries etc... If I try to create it as one huge study course, it would be very expensive (due to the time involved) and would take me a year or more to create. So my plan is to create it the way some people have written books, ie one blog post/bird at a time.

I used to do this to a degree on my blog (eg 100 sounddesign posts) but best of all was back when I used to have virtual interns, and I documented the entire process with them on Taika Waititi's film BOY. So it is that kind of approach, including providing source material for exercises (eg how to cut a fight scene, with a little fight SFX library & a video to work to)

It won't launch until 2022 & will be hosted at my HISSandaROAR site (need a lot more than youtube for it) I'll add a comment here when it starts...


----------



## Bee_Abney (Nov 17, 2021)

timprebble said:


> For some background, I retired from film sound design a few years back to make HISSandaROAR my full time occupation... My film sound career = 40 feature films as sound designer/sueprvising sound editor (from no budget indie up to us$30mill studio films like 30 Days of Night, Boogeyman etc) as well as hundreds of hours of series TV, docos, short films etc... and a few animated shorts... Those projects scaled from minimal team of me (sound designer/FX/AMB) and a DX editor, through to supervising a team of 10 or more on larger projects...
> 
> *But regardless of scale, sound design is about story.*
> 
> ...


Brilliant news. The modular release is perfect for many reasons - better for you and us. 

By the way, it has been some years since I saw it, but I still remember the great sound on 30 Days Of Night. You could hear the cold.


----------



## timprebble (Nov 17, 2021)

Bee_Abney said:


> Brilliant news. The modular release is perfect for many reasons - better for you and us.
> 
> By the way, it has been some years since I saw it, but I still remember the great sound on 30 Days Of Night. You could hear the cold.


Thank you. Funny to think back to then - I only started to fully appreciate the community of sound recordists and designers around the planet, on that particular film. We worked on it during summer in NZ 2007, so there was no way for us to record snow, ice etc.... We did experiments first with rock salt, and then in foley, and achieved plausible ice/snow foots using corn starch, which had been wet & then dried so it had a crust... But I posted a photo on my blog of our experiments and a sound recordist in Sweden saw my post, commented he was a recordist & there was a big storm approaching so he could do some recording for us! This was back in Feb 2007 (this blog post) and we got help from so many people...


Another aspect of 30 Days that was really brilliant (and 100% due to the director) was the vampires screeches. David Slade (dir) taught the vampire actors to screech on the inbreath. If you try it, a screech on the inbreath sounds so much more intense & constricted... When we came to work on the vampires final vocal sound design I sat in on ADR sessions where we got a range of 'character' voice actors to try ideas eg gargle yoghurt & then screech/slurp etc... We also got a few heavy metal singers in, to see what they could do - one singer claimed she could sing tritones & she could definitely somehow make multi-pitched screeches...


sorry this is getting offtopic...


----------



## Bee_Abney (Nov 17, 2021)

timprebble said:


> Thank you. Funny to think back to then - I only started to fully appreciate the community of sound recordists and designers around the planet, on that particular film. We worked on it during summer in NZ 2007, so there was no way for us to record snow, ice etc.... We did experiments first with rock salt, and then in foley, and achieved plausible ice/snow foots using corn starch, which had been wet & then dried so it had a crust... But I posted a photo on my blog of our experiments and a sound recordist in Sweden saw my post, commented he was a recordist & there was a big storm approaching so he could do some recording for us! This was back in Feb 2007 (this blog post) and we got help from so many people...
> 
> 
> Another aspect of 30 Days that was really brilliant (and 100% due to the director) was the vampires screeches. David Slade (dir) taught the vampire actors to screech on the inbreath. If you try it, a screech on the inbreath sounds so much more intense & constricted... When we came to work on the vampires final vocal sound design I sat in on ADR sessions where we got a range of 'character' voice actors to try ideas eg gargle yoghurt & then screech/slurp etc... We also got a few heavy metal singers in, to see what they could do - one singer claimed she could sing tritones & she could definitely somehow make multi-pitched screeches...
> ...


I love hearing about this stuff. The screeches were particularly special. There was an alienness to the sound, making what could seemed animalistic into something more like a force of nature.


----------



## Zoot_Rollo (Nov 17, 2021)

great thread!

thanks for joining in @timprebble


----------



## Zoot_Rollo (Nov 17, 2021)

timprebble said:


> And a great quote from THE FOLEY GRAIL:
> 
> 
> 
> ...



makes me want to sell everything.

funny, I've recently been going through mixes and tracking with stock plugins to see how close I can get compared to my 3rd party collections.

it's embarrassing to hear how sometimes it's better.

watch for my blowout sales!


----------



## Crowe (Nov 17, 2021)

Zoot_Rollo said:


> makes me want to sell everything.
> 
> funny, I've recently been going through mixes and tracking with stock plugins to see how close I can get compared to my 3rd party collections.
> 
> ...


I'd like to point out that in the 'Favorite Sound Mangling tools' thread, Timprebble has a pretty nice list of (to me) somewhat expensive Sound Design Plugins. So I don't think 'selling everything' is the answer here.

Thanks for chiming in Tim! It's nice to have someone who knows what they're talking about share some advice. I notice that there are a couple of books I haven't tried yet in that list, so I guess it's back to reading!


----------



## Zoot_Rollo (Nov 18, 2021)

Crowe said:


> I'd like to point out that in the 'Favorite Sound Mangling tools' thread, Timprebble has a pretty nice list of (to me) somewhat expensive Sound Design Plugins. So I don't think 'selling everything' is the answer here.
> 
> Thanks for chiming in Tim! It's nice to have someone who knows what they're talking about share some advice. I notice that there are a couple of books I haven't tried yet in that list, so I guess it's back to reading!


hyperbole as a comedic device


----------



## Crowe (Nov 18, 2021)

Drat. Once again foiled by my lack of a sense of humour.


----------



## Wally Garten (Nov 18, 2021)

Commenting just so I get Tim's reminder if he starts a course.


----------



## timprebble (Nov 18, 2021)

Thanks for encouragement all... 

Two ways to reliably keep in the loop with progress with this (& everything else HISSandaROAR) is:

1. via HISSandaROAR email newsletter - can join here: http://eepurl.com/j5ZL
2. via rss HISSandaROAR feed is here: http://hissandaroar.com/v3/rss
(I'm a big fan of rss - there is no social media algorithm getting in the way, or trying to sell ads etc)

I am aiming to have the first post up before end of year, and from New Year to then be posting weekly, at a minimum.... Also any freebies etc come via the newsletter (& the end of year present this year is going to be special: test recordings from my pair of new Sanken CUX100k microphones which are flat up to 100kHz!!)

@Crowe re plugins I own, I hear you! For example I could never afford to buy SoundMiner Pro when starting out, or for many years after... but once I could justify it due to confirmed work, it paid for itself on the first project with time saving and achieving more/better work in the available time.
But it is one aspect of the course I will avoid as much as possible ie reliance on expensive plug ins and tools. Learning how to edit and manipulate sound will be the basis - and while I use ProTools, the techniques apply to any DAW. I also believe WHY is as important as HOW. A list of plugins or techniques means little without the motive and intent.


----------



## Bee_Abney (Nov 18, 2021)

timprebble said:


> Thanks for encouragement all...
> 
> Two ways to reliably keep in the loop with progress with this (& everything else HISSandaROAR) is:
> 
> ...


I have subscribed to the newsletter. I am looking forward to the first class. 

Do you prefer to be addressed as Professor or Master?


----------



## timprebble (Nov 18, 2021)

Bee_Abney said:


> I have subscribed to the newsletter. I am looking forward to the first class.
> 
> Do you prefer to be addressed as Professor or Master?


hah neither thanks  I am of the belief that there are no experts or masters, we are all beginners (and maintaining access to your own 'beginners mind' is creatively invaluable, lifelong) - it is just the amount of experience that varies... Unfortunately there is no substitute for experience, but thats also why I think providing exercises for each person to complete will be useful as it provides some insight into how to approach sound design.

re Professor, Academia is fascinating eg in all my time working in film I never once heard a director, or picture editor, or sound designer or music editor or re-recording mixer refer to 'diegetic' music (it is always referred to as 'source music' eg 'does this bar scene have any source music?") But the term is common in academic film studies. I think the reason why is that studies are often in the past tense and about analysis i.e. analysis of work that has already been completed. For the people making the actual work at the time, I have never once heard the word 'diegetic' used.

But re master/expert etc - in the course outline I will explain that while there are established ways of doing things, that does not mean they are the only way. What works for me, may not be the best for your specific use case... but being aware of method/s means they can be adapted and evolved. 

If you'd like a little exercise in the meantime, ages ago I took a shot from a film I worked on, and asked each person applying for a virtual intern position to describe in words how they would design the sound for the shot. What elements would you need? As I had edited sound for the scene I knew how I approached it, what worked, what didn't and what really contributed the most.
If you're interested to try here is the shot:



Spend five minutes and describe how you would design sound for that shot...

My answer is HERE


----------



## Bee_Abney (Nov 18, 2021)

timprebble said:


> hah neither thanks  I am of the belief that there are no experts or masters, we are all beginners (and maintaining access to your own 'beginners mind' is creatively invaluable, lifelong) - it is just the amount of experience that varies... Unfortunately there is no substitute for experience, but thats also why I think providing exercises for each person to complete will be useful as it provides some insight into how to approach sound design.
> 
> re Professor, Academia is fascinating eg in all my time working in film I never once heard a director, or picture editor, or sound designer or music editor or re-recording mixer refer to 'diegetic' music (it is always referred to as 'source music' eg 'does this bar scene have any source music?") But the term is common in academic film studies. I think the reason why is that studies are often in the past tense and about analysis i.e. analysis of work that has already been completed. For the people making the actual work at the time, I have never once heard the word 'diegetic' used.
> 
> ...



I’ll give this a try, thanks.

Prior to watching the clip, I’m going to guess that your answer was to make it black and white and treat it as a silent movie. Add bouncy piano music.


----------



## timprebble (Nov 19, 2021)

Don't worry about #4
my voice (& the NZ mashing of vowells) will not be involved....


----------



## timprebble (Jan 19, 2022)

OK first EDU sound editing post is online now, it is an introduction and outline of what I plan to cover in the sound editing course over the coming year, and how.






EDU001 SOUND EDITING | HISSandaROAR







hissandaroar.com






I've had a few requests now, so I will set up a seperate HISSandaROAR email list, 
solely for the EDU posts. That seems best for anyone who doesn't use RSS.
Will add a link here once its set up.


----------



## timprebble (Jan 26, 2022)

timprebble said:


> I've had a few requests now, so I will set up a seperate HISSandaROAR email list,
> solely for the EDU posts. That seems best for anyone who doesn't use RSS.
> Will add a link here once its set up.


OK I've updated the HISSandaROAR Mail list, so there are two options now:

*LIBRARY Release News* - estimate 1-2 emails per month
*EDU Sound Editing 101 Posts* - estimate 1-2 emails per week

Join and/or update your preferences:






Hiss and a Roar


Hiss and a Roar Email Forms



eepurl.com


----------



## Bee_Abney (Jan 26, 2022)

timprebble said:


> OK I've updated the HISSandaROAR Mail list, so there are two options now:
> 
> *LIBRARY Release News* - estimate 1-2 emails per month
> *EDU Sound Editing 101 Posts* - estimate 1-2 emails per week
> ...


I’ll double check my preferences. I hope the big kids don’t bully me after class!


----------



## exceptionso (Aug 9, 2022)

I think you need courses, real courses, not YouTube stuff.


----------

