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SFX Library Wanted - Traffic sounds recorded from indoors

Eneco

New Member
Hey everybody,

I know this is mainly a forum for composers, but maybe some of you are also doing some work as sound designers like myself.

I'm looking for a SFX library, which has recordings of cars passing by and general traffic sounds recorded from indoors. Like when you work in an office downtown or live in an apartment next to a busy street. I hear sounds like this constantly in movies and series.

I know this can somewhat be faked with a normal traffic ambience using EQ and reverb. But it doesn't sound that convincing to my ears (at least when I do it :grin:)

Does a library like this exist? Couldn't find anything on asoundeffect.com or through Google so far.
 

Stringtree

Senior Member
I looked through what I got recently, but THERE'S TOO MUCH STUFF!!

Really, if you do this kind of thing, check out:



I got 1.2 TB of high-quality SFX, ambiences, and room tone for $23, and if that's too much for you, there's an additional discount. Stereo, 5.1, all sorts of pristine, modern stuff. Good luck!
 

Manfred

Human
A Sound Effect (website) currently has “Filtered Sounds” on sale for $20. Its a collection of sounds that are “off stage”. I think there are traffic sound(s). They also have traffic/car sounds that could be used...check it out.
 
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Eneco

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I looked through what I got recently, but THERE'S TOO MUCH STUFF!!

Really, if you do this kind of thing, check out:



I got 1.2 TB of high-quality SFX, ambiences, and room tone for $23, and if that's too much for you, there's an additional discount. Stereo, 5.1, all sorts of pristine, modern stuff. Good luck!
I'm not looking for a general Sound FX library, as I got this already covered. I really only need some traffic sounds recorded from indoors.
A Sound Effect (website) currently has “Filtered Sounds” on sale for $20. Its a collection of sounds that are “off stage”. I think there are traffic sound(s). They also have traffic/car sounds that could be used...check it out.
Thanks, that is a very interesting library even though it doesn't have the type of traffic I'm looking for. I might get in anyways for the other cool stuff.
 

Manfred

Human
I'm not looking for a general Sound FX library, as I got this already covered. I really only need some traffic sounds recorded from indoors.

Thanks, that is a very interesting library even though it doesn't have the type of traffic I'm looking for. I might get in anyways for the other cool stuff.
I purchased it to for that reason. Best!
 

gsilbers

Part of Pulsesetter-Sounds.com
well, thats the trick and most, if not all movies have just the eq and verb.
but also its 3 layers of others ambiences, plus dialog plus music plus fx.

normally the trick is to have a car passing by be at the exact moment there is some sort of pause on all other elements. so the audience knows there are in a city or whatever. Just like theres is always a cat meow when you see a cat even though its clearly no meowing. its one of those things that just work.

Also, there is normally a layer of "air" where you can blend to add some upper freq back.
Once dialogue, music, several layers of ambiences and sfx are mixed in, then itll work.

It does sound appealing to have that at your disposable but in reality audiences dont care that much. its like that saying in pop music mixing: just making sound like a record dummy, not like a real live band. I think thats how the saying goes .

And having done sooooo many fuking network tv shows , speed trumps everything else. just make it work and move on. That sort of level of quality is just absent in post. Or more acuratly; it should already be at par with whats been released. And if all movies and shows have that eq and verb just do that and move on. Theres some amazing trick some of these mixers do which im always amazed so maybe in some of the DAC or FB gorups they might help.

with that said, if you find one and you want to use it then go for it. Say something like using that sort of recordings in a post magazine and get more gigs.. more power to you.

Also, keep in mind that if its traffic outside the window, would it be a city and you are in a 13th story building?. is it the suburbs and near a highway?. and so on. For me its just using the metadata tags and checking a few options that kinda match and using them. and add my normal 3 layer/8track config to have every scene have enough options for the mixer to use. And copy paste that onto every scene remotly closly resembling the one i worked but tweaking it a bit if necesary. that way i can build enough time to finish ambiences for two 60min dramas in a day. next day its one dialog editng session and on sunday dye my hair black cuz of the stress i got my hair turned white thinking ill be missing a deadline which normally was 2 days away, every day :/

That my take at least and the context im coming from so maybe something inbetween will work :)
 
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timprebble

Sound designer, Composer, Sound library developer
That my take at least and the context im coming from so maybe something inbetween will work :)


Having worked on lots of TV sound post I have to agree with the pragmatism aspect, and years ago came up with the saying, that when it comes to TV sound post, "it is not how good you are, its how good you can be in the time available"


But collecting ambiences like this are invaluable in the long term scheme of things, and knowing their character so you know what suits & will work rapidily.
I have a collection of INT traffic ambiences, and all are specific to the room acoustic, location, proximity to traffic, time of day etc... It is hard to generalise so best to record & collect them whenever you have the opportunity. And if you live in a city then you have a lot of opportunities! Collecting wildtracks from every production is invaluable too as those match real locations (if not sets)

Some of the Altiverb IRs are also useful for this ie using EXT traffic recordings and making them feel like they are through a wall/window etc... IRs can sometimes be faster & more realistic than using EQ & Verb per se....

Thankfully on film sound psot the schedule is longer and I always allocate time to recording specific new material for every film, which usually just isn't possible on TV schedules. And sometimes you accidentally capture gems!! One time I was recording INT Cafe sounds in an old wood cafe right beside a main traffic route. A diesel bus pulled up outside and the low frequencies made the entire cafe shake! Captured it on a stealth pair of mics FTW!
 
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Eneco

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@gsilbers @timprebble Thank you very much for tuning in and sharing your knowledge. Lots of great advice :thumbsup:

As there is a library for almost everything nowadays I thought there is maybe one for that purpose too. But obviously I found a missing spot in the world of sound libraries. Having a dedicated library would just speed up the workflow and make things easier. As for now I will keep working with Altiverb and some EQ.
 

timprebble

Sound designer, Composer, Sound library developer
@gsilbers @timprebble Thank you very much for tuning in and sharing your knowledge. Lots of great advice :thumbsup:

As there is a library for almost everything nowadays I thought there is maybe one for that purpose too. But obviously I found a missing spot in the world of sound libraries. Having a dedicated library would just speed up the workflow and make things easier. As for now I will keep working with Altiverb and some EQ.
I hear you. For exactly the same reason when I lived in apartment & noticed how the sound of traffic would change when it rains, I recorded & released a library of WET TRAFFIC (although it is all recorded EXT, some was recorded from 4th floor balcony)

So another possible option/search term worth hunting for might be rooftop ambiences, but again it may be too specific eg a friend & great recordist Michael Raphael released a huge library of quad NYC Rooftop Ambiences...




If you pursue some recording, it is worth doing long run times. For example I recorded half an hour of rush hour traffic, from a block or so away from activity and then spent some time processing it for distance and tagged the files so they sorted together. That made it so easy to edit without repeats/looping etc, and could easily cut from EXT to my processed INT, in sync with the material.

I love editing Ambiences for film - ever edit has a cadence, and layering can build malleable worlds... I documented my approach to AMB for film a while ago here:
 
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Eneco

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Again, thanks for sharing all your insights on field recording and editing. Great to get some tips and tricks first handed. Guess I will do some reading now and dig deeper into designing some indoor traffic ambiences myself.
 
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