So recently I went out recording for all the audio I needed for both of my projects, Satsuma and Guardian. Armed with my cue sheets, a Zoom H4n and a Rode NTG-2 Microphone I set out into Lincoln, to find and record all the audio that I’d need for the purpose of my films.
Through the whole ordeal i collected a wide variety of sounds and atmosphere’s some more specific, like birds, benches and textures.
and also some, that I just managed to come across, like a burnt out fire in a section of woodland not too far out from Lincoln’s edge.
These textures sounds and fx really added to my own sound library and it was great to put some of the techniques that I’ve read about from other sound designers such as Ben Burtt and Philip Moroz.
In this blog post I’m going to label some of the significant sounds that I recorded in this project and detail how I recorded them.
One of the most crucial sounds that I had to collect for the use in this project, was the crow in Guardian.. I wasn’t quite sure on how I was going to get an accurate recording of crow close up to use in the animation, I was trying to conjure up all sorts of plans to lure one in, or trying to find a next nearby and patiently wait, with my microphone armed and suspended on a boom pole. However I came across the railway crossing whilst wandering on lincoln’s outskirts and I thought that it would be an excellent opportunity to capture a recording of a passing train. I checked the timetable and noticed that there was one coming in a matter of minutes, so I decided to wait to record it passing by. To not waste time, I also took the opportunity to record some distant traffic atmospherics, and out of a complete stroke of luck … a Crow who was perched in the tree’s started calling out, I checked back on the recording later, and with a bit of editing through Izotope RX it was exactly what I needed. This reminded me of what Ben Burtt said in an interview, the power of opportunity, as a sound designer it’s my role to always be ready, always be on the listen to capture sound. Even if I’m planning on recording something totally different … you can never know what you can get. I got the train too by the way. Both recordings can be found below.
Crow
Train
A lot of the other real significant textures that I recorded for this project was through parks, I was walking through the Arboretum by Lincoln College, and recording all kinds of textures there from fountains, the crunching of leaves, children playing in the distant, dogs barking etc. It was here where I think the bulk of the recordings came from. Although I didn’t just ‘start’ recording … I walked around the park several times, and just listened to what was around me, and let my ears do the directing. I took many test recordings to test the level of wind noise in the area and when recording such sounds as footsteps on crunching leaves, how much of the passing cars way off in the distance would bleed through. I picked each spot very carefully, also with it being in a park it was quite hard to get a solid recording without having a child walk past and shout “WHAT ARE YOUU DOING??” this ruined many recordings for me and really took it’s toll on my patience throughout the daytime.
Some of my favourite recordings where by far of the fountain, I suspended the mic on a boom pole and took three separate recordings of the fountain, the top of the fountain where the water spurts outs, the mid section where it hits the first plate collecting water, and the bottom where the water joins together in a pool. The recording came out very clear and crisp is probably one of my more favoured liquid textures that I’ve recorded for this project. Below are the three fountain recordings.
Whilst exiting the park, I also noticed that the gate, had a really lovely squeak to it when moved slowly, I didn’t really need a metallic squeak for this project, but if I’ve learnt anything so far from researching the work of others, what you capture now, can save you later. So naturally I recorded several instances of the gate slowly squeaking… this will make use for a nice effect in Satsuma, where I want to simulate the squeak of a rusty letter box opening.
Seen below is the composers agreement that was written and illustrates the terms and conditions of the work entitled for composing the soundtrack to a film, it states that as the composer I require the film in question at picture lock, no later than the 25th of April 2016, which is signed… Below the pictures you can see the terms and conditions applicable. A physical copy will be subjected to the Viva for examination for both contracts corresponding with their designated films (Satsuma/Guardian).
This works to my 2nd and 4th learning outcomes, which state that I am to learn enough about copyright law to be able to properly describe how to distribute my music legally, professionally and to be paid for my services in the process. They also that I must be able to write up my own documents and contracts for sound design and music.
The agreement states that as the composer and sound recordist I will produce the music and sound recording for the given film, it also states that I require picture lock for the film in .mov format, no later than the 25th of April to perform this. I will submit one master copy delivered in .wav format and will be paid a total of £0 to do so as this is a university project.
The duration of the musicI w
I’ll be credited in the film as Adrian Rayworth in association with The University of Lincoln – Audio Production.
The rights assigned to the commissioner are the rights to the sound recording as separate from the music (2.2) and also the rights to re-record, dub, synchronise, reproduce, perform in timed relation to the film and authorise others to do so in any and all media during the period of copyright, renewals, revivals, extensions and reversions. (2.1)
The right to publish the music is owned by myself (2.3)
The commissioner is allowed to terminate the agreement if:
I fail or refuse to perform the services stated in this contract (4.1)
I have been prevented from completing the services stated in this contract (4.2)
There is an event outside the control of the commissioner (4.3)
Composers Agreement ContractComposer Agreement Contract – Signatures (Lottie Russel – Director & Adrian Rayworth – Composer)
“COMPOSER AGREEMENT
THIS AGREEMENT has been made on the 12th February 2016
(1) Team LOL of [The University of Lincoln (“the Commissioner”) and
(2) Adrian Rayworth of The University of Lincoln (“the Composer”)
WHEREAS the Commissioner has been commissioned to produce a film[s] titled Satsuma. The
Commissioner now wishes to engage the services of the Composer (“the Services”) to compose
original music and/or lyrics (“the Music”) and to record the Music (“the Sound Recording”) for
inclusion in the sound track of the[se] film[s] as detailed in the Essential Elements of the Film as
detailed below.
IT IS AGREED as follows:
Subject to the full execution of this Agreement and the standard conditions attached to this
Agreement (“Standard Conditions”) whose provisions and definitions are hereby incorporated into
this Agreement, the Commissioner agrees to pay the Composer the Fee detailed in the Essential
Elements of the Film to compose the Music and produce the Sound Recording.
In consideration of the Commissioner’s undertakings the Composer:
(a) undertakes to perform and observe all the Composer’s obligations and warranties in the
Standard Conditions in relation to the Music and the Sound Recording; and
(b) grants and confirms to the Commissioner all rights required to be granted or confirmed in
relation to the Music and the Sound Recording pursuant to the Standard Conditions; and
(c) acknowledges and confirms that the Composer has read and accepts the Standard
Conditions which shall together with the Essential Elements of the Film set out below
constitute a full binding legal agreement between the parties.
ESSENTIAL ELEMENTS OF THE FILM
1. The Film: Title(s) of film(s) Satsuma
Running time[s] 2:59
Format of film[s] .mov
2. Duration of the Music: between 0.00 and 2.59 minutes
3. Fee: As full and complete consideration for all services rendered and all rights and benefits
granted and assigned under this Agreement, the Commissioner shall pay to the Composer a total
of £0 as to £0 on signature of this Agreement and £0 on delivery and acceptance of the Delivery
Material as detailed below. The Fee shall be inclusive of all the Composer’s expenses in the
execution of the Services but exclusive of Value Added Tax (if applicable).
4. Delivery Material: 1 master copy of the Music delivered on .wav format.
5. Production Schedule: Picture Lock Delivery Date of the Delivery Material: no later than 25th
April 2016 time being of the essence.
6. Credit: the Composer shall be accorded a credit on the Film substantially in the form
“Composer Adrian Rayworth in association with The University of Lincoln – Audio Production
No inadvertent failure by the Commissioner to comply with the provisions of this clause and no
failure of any third party to accord the Composer credit in accordance therewith shall constitute a
breach of this agreement by the Commissioner and in no event shall the Composer be entitled by
virtue of such failure to enjoin or restrain the distribution or exhibition of or advertising or publicity for
As a composer as well as a sound designer I should license my music through PRS, MCPS and PPL, this means that they can be used in all forms of media, online and even through retail and distribution, I will gain royalties through the use of my music.
This research is relevant to learning outcome 5 of this project where I state that, I need to broaden my knowledge on PRS, in terms of being paid for the use of my music.
PRS is a licensing company, which pays out royalties to writers, bands and publishers. It is required by any business, live venue or broadcasting service, to hold a license to play and distribute music.
PRS licenses businesses and organisations to play, perform and to make the members of PRS’s music available to use, for which then they can track the number of plays the music has by sending researchers, to the establishment to collect the stats. From there they can distribute the royalties to the licensed artists.
There are different forms of licenses, for different types of music promotion and distribution, so it’s essential that you purchase the correct License.
Artists, writers and publishers sign up to PRS so that they are played the significant royalties for when their music is played publically, by signing up to PRS organizations that have purchased the correct license from PRS are then able to use their music in works of their own, be that online, through forms of media such as T.V. and Radio Broadcasting.
When assigning copyright to a client you are not allowed to distribute your music through other means, earning royalties through the use of PRS unless, it’s stated in the assignment of copyright contract that the music composed is not specific to the client film in question.
MCPS is a royalty scheme licensed under PRS for Music, and deals with the mechanical or reproductive copyrights. It deals with distribution, import and on occasion, synchronisation.
The mechanical rights are paid directly to the composer or publisher when their music is reproduced in a physical product or to be broadcasted.
When a composer licenses his/her work through MCPS, they earn royalties when the music is reproduced, for instance if a clip of their music is used within a film, they will not only attain royalties through PRS for the use of their music within the film but also if the film is produced into a DVD format and distributed, they will also gain royalties for this as well.
PPL is music license specific for music within business. Any business that plays recorded music in public, such as a shop, bar, office, restaurant, gym, community building, not-for-profit organisation – or activities such as dance classes are legally required to have a PPL License.
PPL is a different license to PRS. In most instances of recorded music being played in public, a music license is required from organisations. PPL collects and distributes license fees for the use of recorded music on the behalf of record companies and performers, while PRS for Music collects and distributes for the use of musical compositions and lyrics on the behalf of songwriters, composers and publishers.
The cost of PPL is measured differently to PRS it depends on factors such as:
Business type
The size of the area in the business that the music can be heard in
How recorded music is used in the business (as background music)
The type of social activity that may be taking place
Through the use of these methods of licensing I can use my music and distribute it freely, without worries and anxieties of not being paid for the use of my work.
You can also back track the use of your music within PRS, so if you’re late to signing up to PRS, you can still claim back on royalties that are owed to you from the use of your music.
Continuing with my correspondence with sound designer Philip Moroz, he told me about his co-ownership in a Sound Library known as Noisecreations. This works in relation to two of my learning outcomes, both 1 and 5. In my area’s of research I stated that I would outline the use of sound libraries both if and how they are used. I thought this would be an excellent opportunity to investigate the use of sound libraries in the industry.
The use of sound libraries is not uncommon in the industry, most professional sound designers will customise and compile their own sound libraries, of course this takes a series to collect enough sound to construct your own ENTIRE sound library. Having use of a sound library allows a sound designer to be able to construct their sonic landscape for their current project on the fly without leaving their desk considering that the sounds already recorded in the library are of sound quality and fit the project.
But can you use them? This all depends on the licensing, of course if they’re all recorded through your own means then of course! but when purchasing sound libraries, it can vary. It’s always imperative that you check the license and copyright on the sample pack you are purchasing. As mentioned earlier in this blog, copyright and intellectual copyright will always stay with the original owner unless they sign it to you in a assignment of copyright. This works in the same process. When you purchase a sample pack of sound effects from a sound library, you are also assigned a limited use of the copyright, generally for the use in commercial and non-commercial work of YOUR OWN. If you copy and pass these sample packs around, you are breaching the terms of the copyright that the original owner has assigned to you, unless you hold an upstanding agreement with the original copyright owner, in which you can distribute these samples to co-workers, this is usually certified under an extra external license which extends to the parties in question.. So in short, yes it is okay to use and purchase and use SFX from a sound library in your own work as long as you have been assigned the correct form of copyright from the original owner to do so, but remember you are not purchasing the samples and sounds themselves, but simply the rights to use them in your work. These rights can be revoked at any time by the copyright owner if they have evidence that you ‘the user’ have violated the terms and conditions of the contract.
The license in question for single use is an End of User License Agreement, this states that, you and only you have the rights to use the software or samples provided within the pack. The contract works as an agreement between the publisher and the user, it’s often referred to as a “software license” as stated on TechTarget [available from: http://searchcio.techtarget.com/definition/End-User-License-Agreement]
I have written my own form of EULA form in regards to the use of music to demonstrate, you can find it in the category entitled ‘Licenses’.
If you’re working in a company for post-production, you’re more than likely to need more than one license to use these sample packs, but instead of purchasing several licenses from the copyright owner, you can often purchase a Multi User License …. it’s pretty much the same as an End of User License Agreement, except it applies to the use of said sample packs from 2 up to 5 persons. Within this contract you are allowed to duplicate the software/samples on up to 5 hard discs for use, all other terms and conditions still apply.
I constructed a survey to ask fellow sound designers if they use sound libraries in their work (most of the responses were from fellow students on my course working within sound design) and I received some interesting answers.
All of the responses agreed that they do use packs from sound libraries in their work. One response from Barney Oram was particularly interesting and insightful. His answer to the question: Do you think it’s good to use the content in sound libraries instead of recording yourself?
“it’s good to record stuff but recording everything can result in relatively low standards of quality”
I messaged him after this and asked the following question: “ahh I see! why’s that? like ambience bleeding through and stuff?”
to which he responded:
“Yeah depending on what you’re recording it might not be the best mics, might not be the best source, might be noise and stuff in the background.
But some stuff it is really good to record yourself.
Some stuff like guns or explosions it’s best to use libraries.”
He mentioned that he himself used NoiseCreations and is currently working with the co-owner Callum Tennick, on a project at the moment, and that he does enjoy to use their samples when constructing dry sound.
Here is the list of the responses from primary research about the use of sound libraries:
Q1) D0 you you ever use sound libraries?
100% said yes.
Q2) If so why do you use bought sample packs instead of recording?
‘Sometimes its not an option to record. There can be many restrictions that dont allow you to e.g. not enough time, no access to what you need to record, no budget. Therefore some things you have to source.’
‘Ease of access mainly, for example finding a tank from WWII to record would be difficult as would say recording a flamethrower.’
‘Sometimes its for the ease of use, and if you are after a range of different recordings that you may not necessarily be able to record. For example, if you wanted the sound of a realistic sitar, its very difficult in most cases to get these samples, because you may have to purchase microphones etc and a sitar player to be able to play and record for you, its just easier to get them as sample packs.’
‘Sometimes it’s useful to use when using certain sounds such as gun noises and post FX that don’t have bleeding atmospherics from recording processes in the field.’
‘Samples packs (usually) give the assurance that the quality of records are to a high standard. It also allows people with less time on their hands to get hold of samples quickly. It’s also a good way to organise types of sounds into categories for easier findings when producing.’
Q3) Do you find its easier on Production?
‘It saves time. Im not sure about making it easier, as you still have to pick and find a good quality version of what you are after. Its sometimes very difficult to find certain sounds when what you want is very specific.’
‘It can make it simpler’
‘Yes in some ways, as one shots, you can create productions that are still unique if you apply your own creativity in using them. Some producers will just use the preset recordings so I think its important to use the sounds and make them your own.’
‘Yes, it’s very time effective’
‘Not necessarily easier, just more convenient. Although with high quality sample packs, it saves time on editing and cleaning up the initial sounds.’
Q4) Which Sound Libraries have you used and why?
‘Theres things like freesound, but you have to be careful with things like that becuase of the quality of recordings and licenecing. I have persnaly used a library called the ultimate sound effects library and alot of stock stuff that comes with DAW’s and plugins. Librarys can also be expensive espcially when being a student.’
‘Output Audio, Soundly, Glitched Tones, BBC to name a few. I’ve used them mainly as you can get free sample packs from them.’
‘I use all sorts, music radar has trap kits that are quite useful for grime productions. Also vocal samples in there can be good, its not always the easiest to find a good singer, record them and get good results. I also use native instruments kontakt, especially love using the samples inside west africa, a sample pack on there. Though I do get bored sometimes of it all and decide to just fuck it and make some sounds from scratch.’
‘Noisecreations, they have a wider range of sound libraries available for low costs’
‘I have used Logic’s sound libraries – they have some good sounds and it saves time. If they don’t have the sound I want I will look elsewhere/record my own. Maschine sample packs separate themselves into genres which is really helpful for producing. They have some wonderfully designed sounds that are clean and of a high quality. The range is huge too.’
Q5) Do you regard the use of sound libraries as cheating?
‘This completly depends.. If you are saying you have recorded all the sound effects then yes. But a sound designers job isnt about just recording them, its about finding, selecting and sourcing the right sound for a project and if that sound is from a library and it has a legal licenece and good quality, then no its not cheating at all.’
‘No, though it is less satisfying.’
‘Not at all. Ive seen a picture that says about it, if using sample libraries is cheating then using a DAW to make music is cheating, using electricity to use your computer is cheating and if thats cheating then using a computer made by someone else is cheating, so make your own computer from scratch and your own electricity. The list goes on I guess.’
‘No, when purchasing these sample packs you are purchasing the license to use them in your own work.’
‘No. People create sample packs as a living for others to use for numerous reasons, and I think every individual will use sample packs for different reasons.’
From the looks of these results it would seem that using sample packs within sound design is fairly common, and most of the people who answered this questionnaire seem to use them for the ease of use instead of recording and designing complex sounds by layering them upon on other. There are a few answers which are particularly interesting, such as using samples within sound libraries but being sure to make them your own but editing and altering them creatively. I would agree with this as it makes it seem like your ripping off someones work less.
I recently sent an email to sound designer Philip Moroz after reading his book and writing a post as a literature review on how to become a sound designer.
Philip is not a major player in the sound design industry, but i figured he would be one of the best opinions to get as he stands as a general working sound designer, which is where I aim to be. So therefore I am addressing him as a standard industry professional.
I emailed him about my project and what I hope to achieve out of it, along with a list of questions that we’re not covered within his book due to their nature being entirely subjective. The questions I asked were as follows:
‘What is the most stressful task of the job? – such as, picture lock, dealing with the director, keeping all your clients happy, keeping productive etc.’ – I wanted to know about the struggles in a professional environment when working with a director, waiting on picture lock etc.
His answer was as follows:
‘I think all the aspects you have stated play a part in the stresses of a job/project – some more than others sometimes! It’s often a struggle to understand exactly what the director/client wants in terms of sound design. A client sometimes doesn’t exactly know what they like/dislike until they hear a draft or example. This can often lead to re-designing sections to have a different focus or even just designing from scratch …and with time always being of the essence the project can so easily run out of time before they can clasp onto what they imagined their project to sound like. To get around this I ask the client what they know they DON’T like. By knowing this I can make sure to stay away from elements/references they are not keen of and this ultimately saves time and hassle down the line.
Try to be selfless with your work – if a potentially better idea is found then don’t be afraid to try it and see if it works. It can definitely be frustrating when you’ve created an awesome sound but the client thinks it needs to be modified. Similarly, if you have designed a sound in a certain way for a specific reason (for example so that it works around a dialogue line or you want to punctuate another sound effect shortly after), try to convey these thoughts to the client so you can perhaps reach a middle ground so everyone’s happy.’
From his response it seems to me that problems when working in post audio and sound, really varies from project to project. it depends on who you’re working for or with. As a sound designer it seems to me that part of the job is to assume that the director or client … knows nothing, and it’s a part of your role to mock up something FOR them to like. When I pitched my music initially to the Satsuma team, they didn’t really give me a lot of direction to what they wanted, I pitched to them what I thought was best and they agreed. But when I wanted more direction I deliberately made something that sounded off, so that they would start talking and discussing… it was only then that I got an definite answer from them for what they actually wanted, maybe this is what Philip means, although it would be wise to take heed of Philips advice of asking the director what they don’t want it to sound like to avoid any disputes or confrontation.
It’s also interesting to hear about his idea’s of selflessness, trying new idea’s and such, it makes me think back to my first learning outcome of having an adaptable skillset … to be able to find a middle ground to keep everybody happy in the long run.
My second question was:
What is most essential to you when starting a project? whats always the thing you do first? and why?
To which his response:‘Beyond talking to the director and asking what they would like/not like, I usually begin with clarifying the workflow between the video editor so we can minimise any issues that could occur such as timecode sync, video edit updates etc. This, again, saves crucial time. Definitely make sure that you clarify whether the video edit has been picture-locked. Projects can get very complicated and messy if you find out down the line that there’s an updated version of the video edit that you haven’t been working to!’
Of course clarifying the workflow between the editor is key, making sure that you’re going to get the correct edit to work on with picture lock so that you’re not wasting time, working on a project that is going to get overwritten essentially.
Third question:
Do you ever use the same sound twice in multiple projects? I know it’s important as a sound designer always to have an up to date sound library.
Philips response:
‘Over the years I’ve collected lots of sounds and they have come into use in many occasions. Sometimes I record a sound with the intention of it being used only for the project I am working on at the time, but on occasion I have found that I need that sound again for another project down the line. I do however think it is important to keep collecting variations of any sound, such as a car passby or a dog bark, so as to keep your sound design new, fresh and more interesting each time you have to dig into the sound library.’
In all honesty I think this was a bit of a stupid question of mine, although it’s good to know that sounds that have been recored to be project specific, aren’t frowned upon to be used again in a following project, I guess it means that it’s okay to use the same sound twice… but not all the time. As Philip states, it’s good to have a fresh sound library always available.
My final question was about copyright and negotiating the terms with director:
Do you have a lot of trouble with copyright within your work and negotiating terms between you and your director?
His response:
‘copyright with using sound effects collections? When using a sound effect that you do not own it should state what kind of license it has. Usually it will say ‘Royalty Free’ or ‘free to use privately or commercially’ but be sure to check just in case the owner has specific restrictions for it’s use. I have always followed the license terms and have never had a problem.
Copyright of your work for the director’s/client’s project? I have never really had a problem with this, but I think it’s important to clarify to the client that your work must not be shared outside of the project. If it’s for a smaller project perhaps draft up a small document with your copyright requirements and get them to sign and date it. By doing this you have a grounding to work from if you ever find that your rules have been broken.
It’s a very important topic and it is great that you have thought about this. Your work is unique, and if people use it without your permission it is troublesome.’
It’s great that Philip has stated the importance in copyrighting work, making sure that people don’t use your work without your permission, it’s also good to remember to check the licenses of the sounds that your using to make sure you don’t run into any trouble.
