WINGS! The New Sound Library by Bonson.

When you think of the most talented people in the industry, often they are equally skilled in self promotion. But what about the skilled sound designers that hide in the shadow, only producing noise through a .wav. The humble creators. Bless you.

One of those lab rats is the anonymous One of the best sound designers I know and have had the opportunity to record (and be recorded by). With an impressive credit list, you have undoubtedly heard his work. That said I’m proud to interview on his first large sound library release: WINGS!

WINGS is your first large sound library release. I had a chance to listen to it and the first things I noticed is how good the designed elements are. Was any reference material used and what inspired the processing?

Thanks for the compliments Alex. I spent a lot time researching. I watched and analyzed as many movies as I could that contained wings… Jurassic Park, A bugs Life, Harry Potters, LOTR, etc, etc. I tried to cover all angles with as much variations as possible. There’s nothing more frustrating than having to produce a sequence for a film or video game, and not having enough source material!

I began my career in post-production doing TV commercials and after 10 years I made the switch to Video Games (and have been there for the past 10 years). I understand very well the difficulties of working under pressure with the high expectations of clients. I wanted to create a good enough sound library that you could just grab a sound and use it in your production. Or if time permits use the Source category to build and customize your our wings. By no means did I invent this structure, there are great sound libraries that apply this concept. I honestly think that it was the proper way to release WINGS. More work for us, but worth it!

How many recording session did it take to collect all of the source material? Did you record in different locations? How many people were involved?

We had one giant day of foley recording. There were four of us working in one of the best foley studios here in Montreal. There was one engineer, one foley artist, one foley assistant and myself coordinating it all. Before we start recording I send reference material to all the people involved. I let them know what i’m looking for and what to avoid. Organized in an Excel documents with descriptions, video references, etc, etc. They do their research and come back with new ideas, sound props and whatever we could use to generate a wide range of interesting sounds. It was a very collaborative effort.

We ended up with a ridiculous amount of objects to record. From real feathers to umbrellas, leather jackets, mini electric fan, huge heavy blankets. In some cases we needed three people just to grab the blankets and another one to create the movements! Apart from the foley session I’ve been recording material for over a year, around the time I started envisioning the project. I ended up with a huge 32GB session that needed to be edited. The final collection has 4.31 GB for the 192 kHz version. This is the “crème de la crème” of the recorded material.

WINGS is an original concept and finding good source material has always been a challenge. On The Secret World I remember having to record all of my own sounds because pre-existing libraries didn’t have the amount of variation needed for games. What was your inspiration?

My inspiration came from my own experience of not having a single Wings library available. This resulted in having a lack of good sounds to do my 9-5 job (I’m a full time senior sound designer for video games). Also talking with friends, colleagues and hearing their own experiences just like you. Here are some of the props we used.

What type of equipment was used? Can you share any good discoveries or tips?

We use Pro Tools HD and record at 192 kHz, 24 Bits using Neumann TLM 170, DPA 4006, and some of my personal microphones like : Sennheiser MKH 8040, MKH 30, MKH 416 into my Sound Devices 702T. When I was planning the foley session, I didn’t want to overkill with microphone options, but rather focus on a good fat clean sound. As opposed to having several microphones with different perspectives.

For this reason when we recorded the props, all microphones were tested. We changed perspectives, patterns, positions until we found the specific sound we’re looking for. In many cases it was simply one or two microphones. Using different perspectives is great for other types of sources, but for WINGS I wanted to keep it simple and efficient. We then record a single prop using that layout. Once we move on to another prop, we listen if that configuration still works. Or back to the drawing board until we find what we want. Once we find the desired sound, that’s when the magic happens.. We start doing single movements, then doubles, arrivals, passbys, hovers, etc, etc. I rediscovered my love for foley, and now more than ever admire the people doing it professionally (the engineers and foley artist). In my opinion Foley is like playing an instrument, you can have 10 foley artists use the same prop and end up with 10 different versions. A good tip: Get the best foley artist and engineer that you can afford, it is worth every penny.

I noticed has a few other library packs, the HOCKEY360 and FREE libraries. Can you tell us anything about the HOCKEY360 library?

Sure. The Hockey 360 Library is the product of several recordings I did in Montreal, in one of the biggest indoor stadiums. I recorded with binaural microphones, it’s a perfect fit for this kind of ambience. I’m now working with a Binaural Head. I have the head, ears and wind protection. I also have an Acoustics Engineer friend that will help me calibrate it. All that’s left is to put it all together. Compared to Wings it was definitely more relaxed. It involved less people and the subject wasn’t as ambitious. It was great to see how the fans of Montreal love hockey! The amount of energy in the audience was awesome. The Free Library is from my personal recordings, the idea is to have the community know a little more about how Bonson sounds 😉

What’s next from Are you open to collaborations with other field recordists and sound designers?

I have a couple of libraries that are in the process of being edited and mastered. I hope to launch them by the end of the year or early 2015.. And yes, I’m open to collaborations! I’m actually collaborating with some close friends on other libraries. If there are people out there with a good subject and have recordings that deserve the time and effort, please contact me 😉 Thanks for the interview Alex !!!

To pick up the library for your project please visit . To receive a 15% discount please fill in the details below.

Make sure to visit for all of your independent sound library needs. A resource that should not go unnoticed!

24 Hour Day Cycles

FieldThe concept of recording and using proper day periods within a video game world has always attracted me. By proper I mean capturing a locations actual 24 hour cycle, as opposed to recreating typical soundscapes in post. It’s a concept that’s not always feasible because a) the time required to record and b) library material not always containing same locations at different times of day.

Roomtone is roomtone no matter what time. You may choose to add occluded traffic if in a city apartment, but generally you can build it in post-production. When it comes to forests, jungles, cities, mountains, etc the time of day influences the tone and believability. Mostly through wild life, insects, wind intensity and distant sounds.

This past weekend I decided to test out this concept. I grabbed some gear and hiked outside a small village near Quebec city called St-Antoine-De-Tilly (about 2h30 drive from Montreal). I recorded in four different locations at four different times of day: 5AM, 11AM, 5PM, 11PM. This allowed to build a small library of forest sounds throughout a 24h cycle. An interesting analogy is the way my voice timber changed throughout the day while slating location and time… similar to the way the environment did!

Now that I have my sounds recorded and edited let’s see how we can put these sounds to use in some game audio! Excerpts below.

Stereo 24bit / 96KHz
Fostex FR2
Rode NT4

9th Floor Drones

Grinder – Stairwell – Recording gear9th Floor Drones

Had a chance to record an occluded mechanical grinder throughout our buildings twelve stories. One of the most interesting sounds was in the stairwell, walking up and down each floor was like adjusting the wet / dry mix.

Over 45 minutes of audio was edited using different mics and perspectives. How to turn an awful sound into library 101.  Here are some samples of the recording to download.

Mono 24bit / 96KHz
Fostex FR2
Rode NT4, NTG3

Sounds of the Tour de l’Île de Montréal 2013

pic_tdl_bnwThis was my second Tour de l’Île (a 50 Km bike tour starting at boulevard Saint-Joseph and ending at the Olympic stadium) with my friend Mich3D. This time around I brought my Zoom H2, strapped it down to my handlebar and hit REC.

The combination of riding a fixed gear with barely any mechanisms and a good tune up the night before, allowed for little noise to be heard while biking… Putting you amidst the other cyclists! All sounds recorded while riding until 2:06, whereby a live band can be heard marking the activities awaiting along the way.

More than 25,000 cyclist showed up for this years event.

Stereo 24bit / 48KHz
Zoom H2