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.