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Planning Your First Sound Pack: Laying the Groundwork

Shay Harris

Updated: Jan 10

Greetings, fellow sound enthusiasts! I'm Shay Harris, a dedicated sound artist with a penchant for crafting unique sonic experiences. Recently, I've embarked on a new project that's as challenging as it is exciting - creating my inaugural sound pack. Drawn to the boundless expanse of the cosmos and the enigmatic narratives it can inspire, I've chosen to dive into the realm of science fiction for this endeavor.


The process of curating a sci-fi sound pack has been a journey of discovery, filled with opportunities to push my creative limits, experiment with innovative techniques, and deepen my understanding of the intricate art of sound design.


Throughout this venture, I've gathered a wealth of insights and lessons that I believe will be beneficial to anyone interested in crafting their own sound pack. So, I've decided to chronicle my experiences and the knowledge I've acquired in this blog post, regarding the planning stages of a sound pack. Whether you're an experienced sound artist or a novice just starting your sonic journey, I hope my experiences will inspire you, provide practical guidance, and assist you as you plan your own sound pack. Now, let's embark on this fascinating journey into the creation of a sound pack!


Disclaimer

I want to make it clear that the views and opinions expressed in this blog post are solely my own. While I do mention and link to various companies, products, and services in this post, please know that I am not sponsored by or affiliated with any of these entities. I link to them purely because I believe they may be useful to you, my readers, and not because of any sponsorship or endorsement on their part. My goal is to share my experiences, insights, and growth in the realm of sound design, and any references to these entities, are made with this intention.

Furthermore, the information provided in this blog post is based on my personal experiences and should be used as a guide only. While I strive to provide accurate and helpful advice, every recording situation is unique and may require different approaches or precautions. Always prioritize safety, respect local laws and regulations, and ensure you have the necessary permissions for your recording activities. I am not responsible for any damage to equipment, personal injury, or legal issues that may arise from following the advice in this blog post. Always use your best judgment and consult with professionals as needed.



Step 1: Planning Your Sound Pack

Before you dive into recording or designing sounds, it's crucial to have a clear plan for your sound pack. This is the stage where you'll define the scope of your project and set yourself up for success in the later stages. Here are some key aspects to consider during the planning phase:


Define Your Genre:


  • What is the genre?

    • The genre is the overarching concept or idea that guides your sound pack. It's what gives your sound pack a unique identity and makes it cohesive.

    • When choosing your genre, consider your interests and the types of sounds you enjoy creating.

    • Your genre will influence every aspect of your sound pack, from the types of sounds you include to the mood and atmosphere you aim to create.

    • A well-chosen genre can make your sound pack more appealing to your listeners and help it stand out in a crowded market.

  • What is the sub-genre?

    • A broad genre is where you want to start with, but you should go deeper in this. Most themes or genres have multiple variations within them.

    • For example:

      • You want to do a nature sound pack, but what specifically about nature? You have a multitude of variations you could do within this theme. If it's animal sounds, what type of animals? Is it weather related? What kind of weather? Is it a combination of weather and birds?

    • Understanding specifics of the overall genre will help you focus your efforts in a more clear and defined manner.

  • Consider Your Audience:

    • Answer the question; "Where do you want your sound pack to end up?" Is it in the film industry? Is it for the music industry? Games? Content Creators? Soundscapes for Yoga Instructors or those that have trouble sleeping? Does your chosen genre fit your potential audiences needs?

Remember, the genre you choose should inspire and excite you, as you'll be spending a lot of time creating sounds that fit this theme.


How I Chose My Genre:

  • Choosing the Genre:

    • I've always been drawn to the sound design of sci-fi, and I've created numerous sci-fi sounds in the past. This love for the genre naturally led me to choose it as the overall genre for my sound pack.

  • Sub-genre:

    • To give myself a clearer focus, I decided to dive into a specific scenario within the sci-fi genre - an alien invasion on Earth.

  • Potential Audience:

    • I identified my potential audience as sound designers working in the film and game industries. This pushed my efforts in understanding, on an intrinsic level, of what they look for, when searching vast databases and sound libraries. (I would later refine my target audience.)


Identify Your Sounds:

Once you've defined your genre, the next step is to identify the specific sounds you want to include in your sound pack. Here are some points to consider:

  • Imagining the Scene:

    • To identify the types of sounds you needed to create, visualize yourself standing in that environment. What sounds do you hear? Be specific and detailed in this approach. If you are doing animals, what sounds do those animals make when they move, walk, run, drink, eat, sleep, fight, communicate with others, etc. What environment are those animals in? Are they nocturnal?

    • Whatever genre/sub-genre you have chosen (i.e. animals, humans, city, forest, etc), it might be good practice to work your way from head to toe; or top to bottom. What sounds do you hear working your way from top to bottom of the subject you are going to record.

    • For example: You are going to do a city sound pack

      • What do you hear above the city? Wind? Helicopters? Airplanes? Wind combined with a dampened traffic noise? Birds?

      • What would you hear at different elevations of the city as you work your way down?

      • What do you hear at ground level?

      • Is there a subway system? Maybe you need to record assets found below ground level.

    • Make sure you stick with your theme.

  • Asset Wishlist:

    • Start by making a list of all the sounds that fit your chosen genre. This could include anything from ambient noises to specific sound effects. For example, a city-themed sound pack might include sounds like traffic noise, footsteps on pavement, and distant conversations.

    • I'd suggest you start a categorization method in this process. Start thinking about metadata.

  • Variety:

    • Aim for a variety of sounds to make your sound pack versatile and useful. This could include a mix of short, one-off sounds (like a car horn or a door slam) and longer, loopable sounds (like traffic noise or a bustling crowd).

  • Uniqueness:

    • Consider including some unique or unusual sounds that will make your sound pack stand out.

  • Quality Baseline:

    • Remember, the quality of the sounds in your pack is crucial. Make sure all your sounds are clear, well-recorded, and free from unwanted noise. Ensure consistent loudness and peak levels. Do some research on the technical needs of your target market.

Remember, the sounds you choose should align with your genre and appeal to your target audience. They should also be sounds that you feel excited about creating.


How I Identified My Sounds:

  • Imagining the Scene:

    • To identify the types of sounds I needed to create, I visualized a scene of an alien invasion. Imagining the sounds that would be present in such a scenario, guided me to the next step-identifying the sounds that I would need to make.

  • Assets Wishlist:

    • I began by creating a preliminary "Assets Wishlist." This was a list of all the sounds I envisioned for my sound pack, based on the alien invasion theme I had chosen.

  • UCS Category ID:

    • To give me a clear direction and ensure I was covering a wide range of sounds, I used the Universal Category System (UCS) Category ID. This system provides a comprehensive list of categories and subcategories, along with descriptions of each, which was incredibly helpful in guiding my sound selection process.

    • I also created my own cataloging system that would integrate nicely into the UCS standards. You don't have to adopt the UCS method, however, I found that the UCS makes sense and took some guess work out of this process.

  • Refining the Asset List:

    • Based on the UCS list, I refined my asset list and decided on the quantity of sounds I needed for each category. This ensured there would be variations within the pack, adding depth and versatility to the collection.

  • Industry Standards (Quality Baseline):

    • I researched the industry-accepted RMS, LUFS, and dBTP levels for sounds. I decided to ensure dBTP was set to -5dB for most sound effects, and -10dB for ambience and loops, to maintain a consistent and professional sound quality.

      • I didn't want to exceed -3dB on peak levels. This will allow folks in my target audience the ability to work on the sound themselves.

      • I also want to ensure my sounds are consistent in perceived loudness throughout my pack.

      • I also chose to make the sound files in 96kHz/24bit. This will ensure users of my sounds have more manipulation capabilities to better fit their needs.

  • Exciting Sounds Where I Could Achieve Uniqueness:


  • Some of the sounds I was particularly excited about creating were the laser guns and explosions, alarms, and alien radio transmission type sounds. These unique sounds added an extra layer of authenticity and excitement to the pack.

With a clear plan and a list of exciting sounds to create, I was ready to move on to the next step in the process: Considering the audience in depth.


Refining Your Target Audience:

Knowing who will be using your sound pack can greatly influence the types of sounds you include and how you present them. This also will help you understand how to market your sound pack to them later on, when your pack is complete. Knowing your audience will also influence where you publish and distribute. Never underestimate the power of knowing who your audience is. This is a step a lot of people neglect. Here are some points to consider:

  • Who are they?

    • Are your sounds for game developers, film producers, music producers, or other sound designers? Each group may have different needs and preferences.

    • Create an audience profile

  • What do they need?

    • Game developers might need loopable ambient sounds, while film producers might prefer one-off sound effects. Music producers might be looking for unique sounds that can be used as samples.

    • How will your sound pack bring value to their lives and work?

      • Create a Unique Value Proposition (UVP)

  • How will they use the sounds?

    • Consider the context in which your sounds will be used. This can influence the types of sounds you include and how they are designed. For example, sounds for a mobile game might need to be clear and distinct even on small speakers.

  • What format do they prefer?

    • Different audiences may prefer different audio formats. Make sure to provide your sounds in a format that is convenient for your audience.

Remember, the more you understand your audience, the better you can tailor your sound pack to their needs. This can make your sound pack more useful and appealing, increasing its chances of success.


My Target Audience:

A key phrase comes to mind when deciding my target audience. "Aim small, miss small." This phrase can be used so many different times throughout the process of planning and marketing. The smaller you make your aim, the more potential you have of hitting your target. Even if you miss your target audience, you still hit a market close to your desired audience.

  • Identifying the Audience:

    • I identified sound designers and sound editors in the film industry as my target audience for this sound pack.

  • Considering User Ability:

    • I took into account the ability of the users to edit and process sounds. This led me to create a mix of heavily processed sounds and raw sounds that users could edit themselves.

  • Envisioning Use:

    • I envisioned these sounds being used in films and/or trailers, enhancing the auditory experience of the viewers.

  • Considering Audio Format:

    • The film industry usually requires 48kHz/24-bit format as their end product, regarding audio.

    • I chose to provide the sounds in a 96kHz/24 bit format. This high-quality format allows users to manipulate and warp the sounds as they see fit without losing quality.

    • Once a sound designer in the film industry is done manipulating the sound, they can easily downsample to their desired format.

  • Types of Sounds:

    • I aimed to create a diverse range of sounds, including large cinematic sounds, unique sounds, and smaller sounds that users could process to their liking.

  • Target Market Profile:

    • I created a detailed target market profile, considering all the tenets of a target audience profile. This helped me understand my audience better and tailor my sound pack to their needs.

  • Unique Value Proposition (UVP):

    • I also developed a UVP to ensure that my sound pack aligned with the needs of my target audience and brought value to their work.

By considering my audience in this way, I was able to create a sound pack that is not only high-quality and diverse but also tailored to the specific needs and preferences of sound designers and sound editors in the film industry. Now, let's move on to the next step in the process: the recording sessions


Plan Your Recording Sessions

Before you start recording, it's important to plan your recording sessions. This will help you stay organized and ensure that you get the most out of your time in the studio (or wherever you're recording). Here are some points to consider:

  • Location:

  • Where will you be recording your sounds? The location can greatly influence the quality and character of your sounds.

  • You need to understand city ordinances, along with county, state, and federal laws.

    • Do you need to pull permits on these locations?

    • Do you need to have signs that tell bystanders that "recording is in progress"?

    • Understand, you may capture something that someone doesn't want you to capture. Be courteous to local businesses and bystanders.

    • Beware of capturing copyrighted materials.

  • What sounds do you not want to capture at this location?

    • This could greatly influence equipment. Do you need to set up a drop rig?

    • If you are trying to get a clean recording of traffic on a busy street, you may want to find a location without air traffic. Where I live, there is an airplane that flys over every 30 seconds. It could take me hours to get just 2 minutes of clean traffic noise.

  • Equipment:

    • What equipment will you need for your recording sessions? This could include microphones, windscreens, stands, cables, headphones, drop rigs, batteries, SD cards, and a recording device.

    • Just starting out, you may be at a loss of what you may need. Honestly, you can start with bare minimum at a low cost. You need a microphone, a device to store the recording, and a computer with a DAW.

    • Having a backpack lined with styrofoam or cloth, especially in remote locations, can prove useful when traveling by foot on rough terrain.

  • Hand Noise:

    • One thing you need to plan for is "hand noise" when carrying your recorders/microphones. "Hand noise" refers to the unwanted sounds that can be picked up by a microphone when you're holding or handling your recording device.

    • This could include the sound of your fingers moving or rubbing against the device, the sound of the device being jostled or bumped, or even the sound of your hand's natural grip and release movements.

      • This is a huge nuisance in the sound design industry, and steps should be taken to mitigate them.

      • Utilize shock mounts, tripods, or stands to minimize this effect and to isolate the microphone from physical vibrations.

      • If you don't have anything and you must hold your microphone/recording device, try to remain completely still and avoid touching or adjusting the device while recording.

  • Cable Management:


  • When you're out in the field capturing sounds, the last thing you want is to be wrestling with a tangle of cables. Not only can this be frustrating, but it can also introduce unwanted noise into your recordings and even damage your equipment. Here are a few tips for effective cable management when planning your recording sessions:

    • Keep It Neat: Always coil your cables properly after use. This helps prevent them from becoming tangled and makes them easier to handle the next time you need them.

    • Use Cable Ties or Velcro Straps: These can be used to secure coiled cables and keep them tidy. They're especially useful for longer cables that can easily become unwieldy.

    • Avoid Excess Length: Use the right length of cable for the job. Excess cable can introduce more potential points of failure and more opportunities for noise to be introduced.

    • Check Your Connections: Make sure all your cables are securely connected before you start recording. A loose connection can cause noise or interruptions in your audio.

  • Sounds:

    • Which sounds will you be recording in each session? It can be helpful to group similar sounds together to save time and ensure consistency.

    • Again, what sounds do you not want? Maintain your quality baseline.

  • Backup Plan:

    • Have a backup plan in case something goes wrong during your recording sessions. This could include having spare microphones/recording devices, spare cables, extra SD cards, extra batteries, or an alternative recording locations.

    • Have a method to protect your equipment when weather conditions change. This could be plastic bags, easily assessable, to cover your equipment.

  • Remote Locations Planning:

  • Remote locations offer a wide range of opportunities to gather sounds that are free from human influence; i.e. air traffic, vehicle traffic, trains, emergency vehicle sirens, etc.

  • Location Scouting: Research potential recording locations in advance. Consider the acoustics, ambient noise, and accessibility of each location. If possible, visit the location at the same time of day as your planned recording to get a sense of the typical sound environment.

  • Equipment Preparation: Make a list of all the equipment you'll need, including microphones, cables, headphones, and recording devices. Don't forget about power sources, memory cards, and backup equipment. Test all your equipment before you leave to make sure it's working properly.

  • Cable Management: Plan how you'll manage your cables to prevent tangles and reduce the risk of tripping or damaging your equipment. This might involve using cable ties, velcro straps, or cable reels.

  • Backup Plan: Always have a backup plan in case something goes wrong. This could include bringing extra equipment, planning alternative recording locations, or scheduling extra time for your session.

  • Permissions and Legalities: If you're recording on private property or in certain public spaces, you might need permission from the property owner or a permit from the local government. Research the legal requirements in your recording location and make sure you have all necessary permissions before you start recording.

  • Health and Safety: Consider the physical safety of yourself (and team if you have one). This might involve checking the weather forecast, packing appropriate clothing and protective equipment, and planning how you'll handle any potential hazards at your recording location.

  • Logistics: Plan your travel arrangements, accommodation, meals, and other logistics. Make sure you have a clear schedule for your recording session, including setup and teardown time.

  • Documentation: Bring a notebook or digital device to document your recording session. This could include noting the time, location, and settings for each recording, as well as any interesting sounds or events that occur.


*Remember, the key to a successful remote recording session is thorough preparation and flexibility to adapt to unexpected situations.


My Plan for Recording Sessions:

  • Location and Recordings:

    • Over the past year, I've been recording various sounds, compiling a library of pre-recorded assets. When I started planning the sound pack, I already had a majority of the sounds I needed. The few additional sounds I needed to record, I planned on doing at home in my studio.

    • There was only one place I went to that required a permit to allow me to record. You can find this information at any city hall. In my experience, the folks are very easy to talk to and can help rather quickly. I'd suggest calling 1-3 days before your recording session. They are also closed on weekends and holidays, so plan accordingly.

  • Equipment:

    • I used my home studio setup for the additional recordings needed for the sound pack. I also planned on using quite a bit of synths on my DAW to design some unique sounds.

    • I'm started sound designing about 3 years ago while attending Full Sail University. Since then, I've been able to acquire a few pieces of equipment that have become essential for me and my processes.

    • A huge resource I found that proved to be extremely helpful in understanding equipment capabilities was talking to the sales force at Sweetwater. These folks are fun to talk to, have a wealth of knowledge, and can help you with any budgetary constraints.

      • List of equipment I used when field recording:

        • Zoom H5 handheld recorder with XY pattern mics: Find it here

        • Zoom F3 field recorder: Find it here

        • The Rode NTG5 Condenser Shotgun Mic: Find it here

        • Windscreens

        • Boom Pole with shock mount (The NTG5 came with a mountable, pistol grip, shock mount in the kit)

        • Small tripod with bendable legs (you can form the legs with terrain, or wrap it around a pole)

        • Various lengths of cables from 2ft to 15ft. I also had longer lengths in my bag just incase.

        • Backpack with water proof lining

  • Sounds:

    • My approach to recording sounds over the past year has been exploratory. I didn't have a specific direction in mind when I started; I just went out and recorded a variety of sounds. This gave me a diverse library of sounds to choose from when I started my sound pack.

    • I know I needed metallic sounds, electric sounds, and some weird vox recordings to complete this sound pack.

    • I found that recording in 32bit-float has enormous advantages when recording in environments that the incoming sound is inconsistent in terms of volume. There is a whole blog post I can write about 32bit-float, but for now, I'll say that 32bit-float is one of my favorite methods of recording nowadays.

  • Personal Experiences and Tips for Remote Recording Sessions:


  • Drawing from my 15 years of experience as an Infantryman in the military and my recent recording session near the Smoky Mountains, I've gathered some practical tips for remote recording:

    • Expect the Unexpected: Field recording often involves navigating uneven terrain. Be prepared for falls, trips, and other mishaps.

    • Protect Your Equipment: Use a padded, waterproof backpack to carry your equipment. Ensure everything inside is secure and immobile. Consider using a ground cover to protect your equipment during setup and breakdown.

    • Stay Clean: Field recording can be a dirty job. Bring a towel or baby wipes to clean your hands before handling your equipment.

    • Pack Extras: Always bring extra mics, cables, tripods, boom poles, shock mounts, recording devices, batteries, and SD cards. Don't forget essentials like water, food, and clothing.

    • Be Resourceful: Items like 550 cord/parachute cord and a knife can be incredibly useful. For example, you can use the cord to elevate microphones for unique ambience recordings.

    • Prioritize Safety: When recording remotely, always carry a first aid kit and know basic first aid procedures. It's beneficial to have a companion for assistance and emergency support. In certain areas like mountains, be aware of weather conditions as flash floods can occur even if it's not raining at your location. Always remember, your safety is paramount, so take necessary precautions and make informed decisions.

  • Remember, field recording is not just about capturing great sounds—it's also an adventure. Be prepared, be creative, and most importantly, have fun!

By taking an exploratory approach to recording and learning from my test recordings, I was able to create a diverse and high-quality collection of sounds for my sound pack. Now, let's move on to the next step in the process: setting a timeline and budget.


Time and Budget

  • Time Management: Creating a sound pack is a time-consuming process, and it's important to manage your time effectively. Consider the following:

    • Recording Time: Estimate how long it will take to record each sound. This will depend on the complexity of the sound, the recording conditions, and the number of takes you need to get the perfect recording.

    • Editing and Processing Time: After recording, you'll need to spend time editing and processing each sound. This can be a lengthy process, especially for more complex sounds or if you're aiming for a particular aesthetic.

    • Organization and Metadata: Don't forget to account for the time it will take to organize your sounds and add metadata. This is a crucial step to ensure your sound pack is user-friendly.

    • Marketing: Start thinking about the actions you'll take once the sound pack is complete. Allocate time to promote your sound pack. This could involve creating promotional materials, updating your website, engaging with your audience on social media, or reaching out to potential customers or collaborators.

    • Publishing: The process of finalizing and publishing your sound pack can be time-consuming. This could involve final checks, formatting, uploading files, and setting up your product page.

    • Distribution: Consider the time it will take to distribute your sound pack. This could involve responding to customer inquiries, handling downloads or shipping, and dealing with any issues that arise.

  • Budgeting: Creating a sound pack can also involve various costs. Here are some potential expenses to consider:

    • Personal Time: You may not pay yourself a salary just yet, but you should go ahead and get in the practice of budgeting yourself a salary

    • Mortgage/Rent: As a sound designer, your goal might be to do this as a full time job, thus, needing to budget your home expenses.

    • Utilities: Along with home expenses comes utilities. This includes water, electricity, gas, internet, etc.

    • Office/Studio: You may lease or rent out an office space for a studio. This is where that monthly cost goes.

    • Travel Expenses: If you're recording sounds in remote locations, you'll need to budget for travel expenses. This could include fuel, accommodation, meals, and any fees associated with your recording location.

    • Equipment Costs: If you need to purchase or rent additional recording equipment, this will be a major part of your budget.

    • Software Costs: You may need to purchase or subscribe to audio editing software, metadata software, or other tools.

    • Marketing: Budget for any costs associated with promoting your sound pack. This could include advertising costs, graphic design services, website updates, or social media promotion.

    • Publishing: There may be costs associated with publishing your sound pack, such as platform fees, payment processing fees, or costs for any additional software or services you need.

      • You can also look into self-publishing methods as well, which can save you money, and bring more money in to you, instead of a publisher taking a percentage.

    • Distribution: Consider any costs associated with distributing your sound pack. This could include server or hosting costs, shipping costs (if you're offering a physical product), or customer service expenses.

      • Same as self-publishing, you can also do self-distribution.

    • Copyright: If you're using any third-party materials or services in your sound pack, you may need to budget for copyright or licensing fees. Additionally, you might want to consider the costs of copyrighting your own work to protect it from unauthorized use.

      • At the time of writing this, the copyright office charges anywhere from $45-$85 per registration. These fees are subject to change.

    • Reserve/Emergency Fund: Its always good practice to budget out a reserve fund for projects like this, incase you go over budget during any process you miscalculated. Or, if your vehicle has car issues while traveling to a recording site. A reserve fund is usually 10% of the overall budget.


My Time and Budget

  • Time Management:

    • Overall Timeline: I allocated a total of three months for the creation of my sound pack.

    • Recording: I completed all remaining recordings within three days, thanks to a year's worth of prior recording.

    • Editing & Processing: I worked on 2-4 categories of sounds per day, taking 2-4 weeks to process 100-200 assets.

    • Metadata Tagging: Using the UCS guidelines, I tagged 100 sounds in 2-3 days.

    • Marketing Prep: I plan to create a set of marketing materials over a 2-week period.

    • Publishing: While I haven't published yet, I anticipate this process could take a few days to a few weeks.

    • Distribution: I plan to self-distribute, though I haven't started this process yet.

  • Budgeting:

    • Major Expenses: The main costs were metadata software and travel expenses.

    • Software: I invested $200 in Sound Miner Basic for organization and metadata tagging.

    • Travel: I incurred travel expenses for remote recording sessions.

    • Marketing: I purchased a domain name and created my own artwork and promotional video content.

    • Platform Costs: The annual cost of my publishing platform is roughly $200.

    • Distribution: I plan to distribute on platforms frequented by film sound designers, factoring in their commission fees.

    • Copyright: I plan to spend $300-$500 on copyright protection for the entire pack, on top of, sets of 10 sounds per registration. You don't have to do this, this way, I just would like to protect my sounds as much as possible.


  • Example Budget:

    • Personal Salary: $2,000/month = $6,000 for 3 months

    • Home Rent/Mortgage: $950/month = $2,850 for 3 months

    • Utilities: $180/month = $540 for 3 months

    • Office/Studio: $0 (I have a studio in my home)

    • Travel: Total travel time 9 days = $2,206

      • Gas: $467

      • Hotel: $1,539

      • Food: $200

    • Equipment: $0 (I have everything I need for this project)

    • Software: $200

    • Marketing: $400

      • Facebook: $200

      • LinkedIn: $200

      • Graphic Design: $0 (I already made what I need)

    • Website/Platform: $167

    • Publishing: Self-Publish on my own platform = $0

    • Distribution: Self-Distribution = $0

    • Copyright: $500

    • Reserve/Emergency Fund: $1,284 (10% of overall budget)

    • Total Budget: $14,147

  • You may look at this number and be discouraged. But understand, if you are just starting out, you may not pay anything close to this figure. I'm giving this example as just an idea of what budgeting for a project like this can look like. This money figure is probably considered quite low, as other sound packs are created with a team of people that would also expect to get paid for their work.


Embrace the Learning Process

As we reach the end of this guide, I want to leave you with one final thought: embrace the learning process. Creating a sound pack, like any creative endeavor, is a journey filled with discovery, challenges, and growth. It's natural to feel overwhelmed at times, especially when you're just starting out. But remember, every sound designer you admire, every expert in the field, was once a beginner too.


The key is to approach each step with curiosity and an open mind. Don't be afraid to make mistakes - they're not setbacks, but opportunities to learn and improve. Experiment with different techniques, explore new sounds, and don't be afraid to step out of your comfort zone.


And most importantly, enjoy the process. The joy of creating, of bringing something new into the world, is at the heart of all we do as sound designers. So take a deep breath, trust in your abilities, and dive in. You have a unique sound and the world needs to hear it.


Remember, the journey of a thousand miles begins with a single step. So go ahead, take that step, start creating your sound pack. I can't wait to hear what you come up with!


Best regards and happy recording!

-Harris, Shay

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3 comentarios


Invitado
09 ago 2023

woow

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Invitado
05 ago 2023

A well planned guide for beginners and inspiring too!

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Shay Harris
Shay Harris
05 ago 2023
Contestando a

Thank you! I'm glad you like it. I'll be posting more about the process as I continue creating my sound pack. It's been a huge learning experience.

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