Archive for the ‘Other’ Category

2+ Users? Multi-User Licensing for Sound Effects Libraries

September 30th, 2010

Blastwave FX enjoys a wide range of users/clients, from the eccentric hobbyist spider videographer (yes, BUGS!) to the largest multinational post production, broadcast, videogame and new media companies, and everything imaginable in between.sound effects library

Beyond individual users (who only have two hands!), many people (= lots of hands!) wish to share Blastwave FX libraries within their organization, whether it be 3 sound designers connected to shared storage or 1000 editors downloading from  footprinted servers across the globe.

That said, many are unaware of the following fact:

If you have 2 or more users you need a Multi-User License. If you have 2+ users and wish to share and/or access sound effects libraries on shared storage (hard disk, server, SAN etc.), you require a Multi-User License. Multi-User Licenses usually entail additional fees – similar to software. This is detailed in Blastwave FX’s End User License Agreement.

Think about it – if you purchase 1 copy of Final Cut Pro software that certainly does not mean you are entitled to install FCP software on all of your colleague’s computers!

This works the same for sound effects libraries created by all major publishers. Unfortunately, 2+ multi-user licensing is a fact that many sound effects users are unaware of.  Many assume “royalty-free” and “buy-out” mean that when you purchase the product, say SONOPEDIA, the purchase price alone licenses you to share with any number of people you work with on any given media production. Perhaps sound effects publishers are not doing a good job educating and communicating this fact – so here goes a humble start – a blog entry meant to get the ball rolling.

Pro Sound Effects (PSE) is the master distributor and licensor for Blastwave FX. As the master licensor, PSE charged with setting up, issuing and administering multi-user licenses. PSE administers licensing and distribution for Blastwave FX and similar variations of duties many other sound effects libraries, depending on the situation.

Have a question on Blastwave FX multi-user licensing or multi-user licensing in general? Contact us at
We’ll be glad to walk you through all of the various sound effects licensing options.

Additional Blastwave FX licensing information and resources:

Blastwave FX Multi-User Licensing Homepage

Click here to download the Multi-User Licensing Overview & Fee Structures

Click here to download an Example Blastwave FX Multi-User License Agreement:

douglas Other

Inside Blastwave FX: Past, Present & Future

July 26th, 2010

New to Blastwave FX? Haven’t hung out with us in a while?  Well here are some highlights of what we’ve been doing with sound effects , and what we plan on doing!

Sound Design Competitions (Past): The Blastwave FX and Avid Competition and Giveaway garnered over 100 entries from over ten countries from the UK to Japan and Argentina.  German sound designer Martin Schütze took the grand prize which included SONOPEDIA, but it was nearly a tie with David Barnaby from California and Malgorzata Polit from Italy.  One of our judges included none other than Skip Leivsay, sound design guru for pictures such as A Serious Man and No Country for Old Men.

Sound Design Competitions (Future): We are working on the next sound design competition, meanwhile if you have any ideas or requests for theme of the competition we welcome your thoughts. (email

Download Sound Effects (Past):  We currently have two free download packs available with a total of over 100 sounds.  If you haven’t been rendezvous-ing with us for a while, make sure you check them out!

Download Sound Effects (Future): We will be offering the free download pack #3 in August, so stay tuned for more ear-caressing sounds, yours to use as you please.

F.A.Q. : What does the “HD”refer to in HD Sound Effects Libraries? Well, though most of us know it refers to High Definition, this term can be ambiguous or sometimes insulting, for example when digital radio stations use the term but are broadcasting highly compressed audio.  For Blastwave FX, HD means that we used top recording equipment, with refined recording techniques (head of Blastwave FX Ric Viers has his secret techniques, maybe one day he’ll share), and at 24bit 96 kHz (high bit depth and sample rate).

Laura Sinnott Other

Sound Review of ABC’s “V”

July 15th, 2010

V premiered in the fall of 2009 and has just finished its first season. It is a remake of a 1980s science-fiction miniseries of the same name, and is about the arrival of “Visitors” or “V’s” on planet Earth. The V’s are an advanced, alien race who seemingly look and talk just like humans. They arrive under the pretense of peace, but unbeknownst to the citizens of Earth, they are in fact a reptilian species with ulterior motives. The supervising sound editor on V is Gregory M. Gerlich, and the score is composed by Marco Beltrami. Elizabeth Mitchell plays Erica Evans, one of the key protagonists. (She is easily recognizable as Juliet from another one of ABC’s shows, Lost.)

First off, V’s score. Most of the show’s underscoring consists of low brass played in minor keys to create an air of an ominous, looming threat. This is particularly effective when we are with the human characters on Earth, because it serves as a sort of aural reminder that the V’s are always watching from the massive “mothership” that looms above. Drums in V are loud, thundering ones that are used to either give importance to a scene or intensify it. The strings in V are used more inside the “mothership” – the long, high-pitched notes played by multiple string instruments help create an eerie effect which is appropriate when aliens are on screen. V‘s title sound is surprisingly similar to that of Lost. When the title slowly appears on screen, it’s accompanied by a high-pitched string “squeal” as the note bends to get progressively higher. This is repeated in every episode and the effect is almost identical to Lost‘s.

What Makes V’s score unique, however, is the inclusion of pulsating, electronic bass. This thick, digital sound does what tribal drums do for Lost – places the viewer in a setting. (In this case, a futuristic world where aliens are now a part of daily life.) The thumping bass sounds build tension and are particularly prominent in action sequences and fight scenes. It also helps sell the series’ fictional technology, because with futuristic technology, of course, must come futuristic underscoring! Also unique to V is an eerie, vocal chant in the score, particularly aboard the mothership. Combined with strings, they produce a good contrast to the brassy Earth scenes.

The sound effects in V are quite unique, and do fit the visual effects quite nicely. In one scene, an alien craft flies around off-screen. “Whooshes” and electrical fuzz accompany the on-screen flashes of green light to create a more or less believable “UFO effect”. In another well designed scene, a tiny robot “bug” is inserted under someone’s skin (a-la-Matrix). The metallic sounds of the bug’s legs wriggling around work very well and once it is under the victim’s skin, it really sounds like it is eating away his flesh. A whole host of metallic sounds are used in V for the array of weapons used by the characters on the show. Of course, this must include the metallic “shink” of a sword being brandished, a ridiculous necessity for every sword fighting sequence ever made!

One of the greatest accomplishments of the sound design in
V is the acoustic environment within the mothership. Contrasting sharply with the noisy, ambient sounds of Earth, the mothership is a sterile, quiet environment. This fits what we see on screen very well as the interior of the mothership is depicted as a large open space, bright lights and an abundance of the color white. Whenever characters speak to each other inside the mothership there is slight reverb or echo, creating the illusion of being in this huge empty space. The viewer is fooled into believing that this computer-generated environment really exists around the characters that they are seeing. This notion is further sold by the prominence of footsteps in this environment. V’s can be heard walking into and off the screen, and no-one’s footsteps are as prominent as the tall, high-heeled ones of Anna, the series’ antagonist.

V Leader Anna

V Leader Anna

Anna’s voice is extremely well done. Her voice digs itself underneath your skin, and this is attestable to her pronounced sibilance. This “hissing” is almost snake-like, and for Anna, being the leader of a reptilian race of aliens, is highly appropriate. When she addresses human cities from the mothership, however, her voice takes on an extremely different texture and personality. In this case it is soothing, monotonous and almost hypnotic. She reassures the people of Earth that the V’s come with no intention of harm, and listening to her speak, it is difficult not to believe her. When she broadcasts, her voice sounds ad if it has a shadow – it leaves a ghostly trail. Her tranquil voice is symbolic of the Visitors’ intent with the human race – to hypnotize them all into an emotionless state of “bliss”.

Technologies on the mothership make some rather strange sounds. Holograms pop up and whoosh back down all over the place, and glowing translucent balls that act as communication devices make horrible grinding sounds even though they seem to have no moving parts whatsoever. In one scene, a tiny, round flying robot makes bleeps and bloops, reminiscent of R2D2. It seems believable until the tiny robot enters and exits the screen in a flash, creating a thundering, bass-y “whoosh”. It’s almost as though the Enterprise has just flown by! A smaller, more humble “whiz” would have been more believable and much more appropriate.

Looking past minor flaws like those, V has quite a well designed soundscape. The unique properties of the score give the show a nice flavor. The aural environment inside the Visitors’ mothership contrasts with that of Earth very effectively, but individual sound effects are most of the time hit or miss because of the strange sci-fi technology invented for the show. Granted, it is not easy to design sounds for fictional, futuristic objects like some of the things seen on
V, and for that, one must applaud the sound team.

Now, if only the writing and acting were worthy of applause too.

Catch the latest episode of V on Hulu:

sikandar Other

Why Blastwave FX Libraries?

January 18th, 2010
SONOPEDIA A lot of sound designers ask us what the difference is between SONOPEDIA and other general sound effects libraries.  Here are some highlights:

  • Sounds change with Time: Our sound effects were recorded within the past four years, and new sounds are being created constantly.  Older libraries from other publishers won’t have sounds necessary for contemporary realism and maximum impact – times change and so do the sounds! For instance, older libraries won’t have the foley sounds from typing on a macbook pro simply because the computer didn’t exist back then!
  • Your library grows as we grow: If you purchase a Comprehensive Lifetime Sound Design Solution, you will receive quarterly updates as long as Blastwave FX exsits. It’s not just a one-time purchase but a ‘sound’ investment.  (Yeah, yeah, bad pun. Couldn’t help it.)
  • Times change, technology changes too: Other libraries were recorded onto magnetic tape, then transferred to digital formats.  Our sounds were all recorded and mastered in high definition, 24 bit 96 kHz. Pristine! Clean! Crisp! Love those high frequencies and the larger dynamic range…
  • Fresh sounds, cutting edge results: Many sound libraries from other publishers have great quality sounds, but those sounds are overused and often recognized.  If your company boasts cutting edge and unique styles, using a ‘dog bark’ you’ve heard in hundreds of other programs simply won’t do.  Blastwave FX libraries are a remedy to over-used sound effects.

Laura Sinnott Other