Sound Ideas Torrent
Janie Mccorey
WGLT's Sound Ideas is our flagship news program. Every weekday, WGLT reporters go beyond soundbites for deeper conversations with newsmakers, musicians, artists, and anyone with a story to share. This 30-minute newsmagazine is produced Monday through Friday.
We've taken our years of experience in recording virtually every sound known to man and turned them into the world's leading sound libraries. Packed with high definition sounds for any scenario that you can imagine, Sound Ideas collections puts the impact into your projects.
When it comes to royalty free music, Sound Ideas collaborates with talented, professional composers to curate extraordinary royalty free music in popular musical genres including: corporate music, cartoon music, film music, Christmas music, lullaby music, Latin music and more. These musical themes work as background music for your advertisements and commercials as well as mood music for dramatic scenes and tragic news events. And now Sound Ideas is your source for the FRESH Music Library; stock music at its best. Whooshes, stingers, logos, transitions and sweeps populate the special category of Production Elements or Imaging Elements and we take these short audio statements just as seriously as we take all of our Sound Ideas music libraries. Whether they are musical elements or musical accents; whether they are comical zips & zaps; even if they are rewinds & scratches: we only offer the best sounds available.
Join the Sound Ideas community of audio professionals today and find out what obsessive attention to quality and detail, excellent customer service, constant creation of innovative sound effect and royalty free music libraries and an overwhelming commitment to remain the best can do for you.
Sound Ideas is the archive of one of the largest commercially available sound effects libraries in the world.[2][3] It has accumulated the sound effects, which it releases in collections by download or on CD and hard drive, through acquisition, exclusive arrangement with movie studios,[4] and in-house production.[2]
Its most well-known general collection, the Series 6000, provides more than 20,000 sound effects on 120 compact discs, and contains a variety of sound effects which can be added to film soundtracks during post-production. The company's sound effects are also used throughout the world in radio and television broadcasts and in many types of multimedia applications.
Its flagship collection, the General HD, provides 46,423 high definition sound effects delivered on hard drive. Its largest collection, the Ultimate Hard Drive, provides more than 286,000 sound effects available on hard drive. Both contain a wide variety of sound effects which can be added to film soundtracks, TV shows, or video games and other media applications during post-production and come with worldwide licensing.
After long-time rival The Hollywood Edge (a former subsidiary of Todd Soundelux) filed for bankruptcy protection in 2014, Sound Ideas acquired the rights to The Hollywood Edge's sound libraries and began distributing them on its website.[6]
The company was started by Brian Nimens in 1978 as a 4-track recording studio which recorded dialog for commercials and added music and effects. Nimens built the sound effects library out of a desire to gain customers for the recording business, but elected to sell copies of the library beginning in the early 1980s.[2]
Initially the library was produced on reel to reel tape, because the audio quality was superior to that which was available on vinyl record albums. In 1983, the company's collection was the first sound effects library released in the compact disc format.[2] The company has since published more than 200 different sound effects and Royalty Free Music collections as well as hundreds of Royalty Free Music CDs under its own copyright. In the 21st century, everything from Sound Ideas is available digitally as a download or on hard drive.
Sound Ideas is a company that produces commercially-available sound effect libraries and production music libraries. It was founded in 1978 by Brian Nimens, and is headquartered in Richmond Hill, Ontario, Canada. It is one of the most popular stock audio library brands, alongside The Hollywood Edge (whose libraries Sound Ideas acquired for distribution after The Hollywood Edge filed for bankruptcy in 2014.)
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You see, they are often hired or asked to volunteer their services after many decisions that affect sound quality have been made by other people who may not have the understanding or experience to realize the gravity of the situation that they have created.
They are very often put into the uncomfortable position of attaching their name to sub-par work when they were not consulted about location, equipment, or crew selection. It is not uncommon for the sound person to be the only person on a set to identify problems that will prove to be impossible to work around in post production. Experienced directors are quick to listen when a sound person identifies a problem but sometimes the bearer of bad news is treated poorly and viewed as a hindrance to expedient shooting.
You may be the Grand Poopaw of the Northern District who is interviewing the Grand Poopaw of the World but when the sound person asks for quiet on the set you need to think of them as being the Grand Poopaw of the Universe. I have been on hundreds of shoots where there were people who somehow assumed that the request for silence did not apply to them. In order for a sound person to do systematic checks of their equipment, they really need you to be absolutely quiet unless they are asking the talent to speak.
So the next time that you find yourself straining to hear what is being said over the CRUNCHING, CHEWING, GRINDING, SLURPING, and SWALLOWING NOISE, kindly remember the importance of planning for great sound for video!
Phononic crystals are novel materials that offer exceptional control over phonons, sound and other mechanical waves. Taras Gorishnyy, Martin Maldovan, Chaitanya Ullal and Edwin Thomas report on a revolution in acoustics
It is fascinating to think of the abstract beauty of crystals, with countless atoms occupying precise positions on a lattice and giving rise to perfect order and high levels of symmetry. Indeed, we need look no further than the brilliant appearance and extraordinary properties of many precious gems to witness the consequences of these precise atomic arrangements.
The band gap in a photonic crystal is caused by a periodic variation in the refractive index of an artificially structured material. In a phononic crystal the density and/or elastic constants of the structure change periodically. This changes the speed of sound in the crystal, which, in turn, leads to the formation of a phononic band gap.
Acoustic waves differ from light waves in several ways. Acoustic waves are mechanical, which means that they cannot travel through a vacuum, whereas light waves are electromagnetic and can travel through a vacuum. In general, mechanical waves passing through a gas or a liquid are known as acoustic waves, while those passing through a solid are called elastic waves.
There are other important differences between mechanical and electromagnetic waves. Whereas a light wave can have two independent polarizations, an elastic wave in a homogeneous solid has three independent polarizations: two of these are transverse (shear waves) and one is longitudinal (a compression wave). However, since shear waves are not supported in liquids and gases, an acoustic wave has just one longitudinal polarization.
But why are certain waves not allowed to propagate in phononic crystals? To get an intuitive understanding of how band gaps form, consider a 1D crystal composed of alternating layers of two different materials. At every interface an incoming wave transfers part of its energy into secondary, reflected waves, which then interfere with each other.
If this interference is constructive, all the energy of the original wave is reflected back and the wave cannot propagate through the crystal. On the other hand, if the interference is destructive, then all energy of the original wave is transmitted through the crystal. Therefore, constructive interference of the secondary waves results in the creation of a band gap, while destructive interference leads to the formation of propagation bands.
How do we design a phononic crystal to have a complete band gap? It is clear from our 1D example that the density and sound velocity need to vary in all three directions of space. However, very few 3D periodic structures will form a complete phononic band gap. In fact, it is still quite difficult to determine the structures with large absolute band gaps. For electromagnetic waves, which only have two independent (transverse) polarizations, sinusoidal modulations of the dielectric constant along certain directions create photonic crystals with absolute gaps for three different, highly symmetric lattices: simple cubic, body-centred cubic and face-centred cubic. The diamond structure, which is face-centred cubic, possesses the champion photonic band gap, i.e. the largest band gap for a given dielectric constant.
Mechanical waves can have both longitudinal and transverse components in a solid, although only longitudinal waves are allowed in fluids. As a result, if we want to create a complete phononic band gap, we must design structures that have band gaps for both longitudinal and transverse waves in the same frequency region. This could be harder than designing structures for photonic crystals because electromagnetic waves only have transverse modes.
The search for structures with complete phononic band gaps began in 1992 with theoretical work by Michael Sigalas and Eleftherios Economou while they were both at Iowa State University in the US. They showed that structures that consist of a periodic 3D lattice of identical high-density spheres placed within a low-density host material gave rise to phononic band gaps. These structures can either be solid-solid or liquid-liquid.
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