Soundeffects Wiki

Note first that, due to the fact I am autistic (mentally slow and whatnot) and due to personal limits on time, I can not accept requests. Sorry, but I only make contributions based on things of my liking

On the Wikia group, I'm "BigIdeas70258". I am very conscious of sound and enjoy media of animation, comedy, sci-fi, war, and action. Those mediums can use sound design to very good advantages. I'm also aware of interesting sounds I grew up hearing, from the engine of a 1992 Jeep Cherokee 4x4 to the eerie whistle of concrete on your average beam bridge. Often, I think of what shows I enjoy could use the creative talents of my favorite sound services. I am (and choose to be) in no position for business/work, but I would gladly contribute field recordings and foley props to the creatives and studios listed below.

Favorite Sound Services/Studios

I am very fond of these sound studios:

  • Skywalker Sound : a division of Lucasfilm, Ltd., formerly known as Sprocket Systems, with some of the coolest sounds in the world
  • Twenty First-Century Entertainment, Inc. [AKA 21st Century Sound Design Corp.] (defunct or limited to wherever Joel Valentine currently edits/designs sound): Mostly involved with many Cartoon Network Studios projects
  • Hacienda Post /Horta Editorial and Sound (foleded into spin-off Hacienda) (and relative studios/teammates, including Digital Soundworks and Pacifica Sound)
  • Glenwood Editorial (defunct): Included many Weddington Productions creatives; creatives potentially folded into Advantage Audio
  • Weddington Productions/Technicolor (defunct/folded): Skywalker worked heavily in its early days with Weddington Productions and their creatives
  • Warner Bros. /Audio Circus : Includes many creatives from both Skywalker Sound and Horta Editorial/Hacienda Post
  • DigiPost.TV : Mostly involved with only Warner Bros. Animation
  • Advantage Audio : Not as fond of their "limiting" styles of sound design, excluding that of Glenn Oyabe (Fish Hooks), Jesse Aruda (Fish HooksHarvey Girls Forever!), and Rich Danhakl (The Tom and Jerry Show). They also contributed to The Powerpuff Girls [in Meat Fuzzy Lumpkins] and Star vs. the Forces of Evil.

Favorite Sound Designers

  • Randy Thom (The Peanuts MovieStar Wars: Episode V - The Empire Strikes BackForrest GumpBoltMars Attacks!The FrightenersIce Age: Dawn of the Dinosaurs)
  • Joel Valentine (The Powerpuff GirlsSamurai JackWander Over Yonder2 Stupid Dogs)

    Quote of Joel Valentine, found in the September/October 1993 issue of REP magazine.

  • The Optional DM-80-S Multitrack Manager control "edits fast, sounds great, and doesn't break. The DM -80's multilayering capabilities and simultaneous recording on all tracks gives us the flexibility to do whatever we want."
  • Jeff Hutchins (Spongebob Squarepants, Bill Kopp's Tom and Jerry films, The Marvelous Misadventures of Flapjack2 Stupd Dogs)
  • Glenn Oyabe / Jesse Aruda (The Grim Adventures of Billy & Mandy Evil Con CarneCourage the Cowardly DogHarvey Girls Forever!)
  • Ben Burtt (Star Wars: Episode VI - Return of the Jedi and the rest of the Star Wars franchise, The Young Indiana Jones ChroniclesRed TailsRadioland Murders)
  • Michael Geisler(Courage the Cowardly DogCats Don't DanceThe Mouseochist)
  • Robert Hargreaves (Tom and Jerry: The Magic RingAnimaniacsTom and Jerry Tales)
  • Gary Rydstrom (Toy StoryMy FamiliyBackdraftT2Saving Private RyanAtlantis: The Lost Empire, F/X 2)
  • Christopher Boyes (Pearl HarborTitan A.E.VolcanoArmageddonSpeed 2: Cruise ControlLilo and Stitch)
  • Will Files (Madagascar 3: Europe's Most Wanted9CloverfieldMission: Impossible - Ghost Protocol)
  • Steve Boeddeker (MonkeyboneLara Croft: Tomb RaiderHart's WarHellboyRules of EngagementDaredevilNaqoyqatsiFrequency)
  • David Acord (Star Wars: The Clone WarsZoomStar Wars: Episode VII - The Force AwakensZambezia)
  • Timothy J. Borquez (The Ren & Stimpy ShowSpongeBob SquarePants, Bill Kopp's Tom and Jerry films)
  • Tom Myers (Hoodwinked!VolcanoToy StoryMonsters Inc.Work in ProgressLorelei: The Witch of the Pacific OceanSpeed 2: Cruise ControlQuest for CamelotHubert's Brain)
  • Chris Scarabosio (MinionsTitan A.E.Despicable MePearl HarborStar Wars: Episode I - The Phantom MenaceFrequencyBad Boys IIVolcano, ZoomThe Young Indiana Jones Chronicles)
  • David C. Hughes (Iron MonkeyThe Mouse that SoaredThor: The Dark WorldHubert's BrainQuest for Camelot)
  • Al Nelson (Book of DragonsLife, AnimatedLilo and Stitch)

I also respect and admire the creative talents of sound editors/designers like

  • Teresa Eckton (Star Wars franchise, FrequencyThe PranksterContactMonkeybone)
  • Frank Eulner (BoltLorelei: The Witch of the Pacific OceanVolcano, Mars Attacks!Twisted)
  • Dennis Leonard (RioThe Polar ExpressDespicable MeMinionsThe Iron Giant)
  • Matthew Wood (Star Wars franchise, VolcanoCon AirTitan A.E.
  • J.R. Grubbs (BoltHoodwinked!Cowboys and AliensLorelei: The Witch of the Pacific Ocean)
  • Tom Syslo (Wander Over Yonder, Bill Kopp's Tom and Jerry films, Chowder)
  • Roy Braverman (Tom and Jerry: Blast Off to MarsThe Powerpuff GirlsSamurai JackYooHoo and FriendsSpongebob Squarepants)
  • Rich Danhakl (The Tom and Jerry ShowStar vs. the Forces of Evil)
  • Andrea S. Gard (Titan A.E.PlugThe Iron GiantForces of NatureFrequencyDinosaurLara Croft: Tomb Raider)
  • E.J. Holowicki (Star Wars: Episode VII - The Forces AwakensFree BirdsDespicable Me 2, Brave)
  • Jeremy Bowker (EnchantedStar Wars franchise, Red TailsThe Peanuts Movies9Madagascar 3: Europe's Most WantedDespicable Me)
  • Erik Foreman (Star Wars: Clone WarsCharlotte's Web, Star Wars: The Clone Wars)
  • Ken Fischer (Star Wars: Episode VI - Return of the JediBackdraftVolcanoF/X 2Atlantis: The Lost EmpireMars Attacks!Iron Man 2)
  • Gary A. Rizzo / Kent Sparling (Daybreak, Berlin)

History of Sound in My Life

Ever since I was fairly young, I was aware of sound effects--what I recognized, what I dislike, what sounded funny--being as on-point as I could in imitating them (kind of the way our title character in Life, Animated, a Skywalker Sound project, would imitate Disney sound effects). Sometime during 2007 I began to appreciate the work of Ben Burtt (particularly the sound accent Darth Vadar "exploding" from Luke's lightsaber in Star Wars: Episode V - The Empire Strikes Back), and well before them I enjoyed and recognized Joel Valentine and his style from The Powerpuff Girls and Foster's Home for Imaginary Friends. In 2008 I began to become familiar with the name of Hacienda Post, and would further recognize the work of Gary Rydstrom, who did the sound design for Toy Story, the first film I ever saw, which was really implanted into memory in 2005. In 2010, films like Volcano, xXx: State of the UnionTitan A.E.The Terminator (Audio Restoration and Re-Mixing), Forrest Gump, and Pearl Harbor helped me become very interested in the unique sound library of Skywalker Sound and their amazing creatives; in 2011 I began to keep list tracks of Skywalker's people over the years. In 2013, I began to follow other sound services and update credits for them eventually, including the many sound studios of Spongebob Squarepants and its essential sound designer/editor, Jeff Hutchins. Once I began to enjoy The Powerpuff Girls more in 2016, I found much like for Joel Valentine's work. Otherwise, I've always been aware of how cliche and "limiting" the sound design styles of Advantage Audio tend to be, excluding Glenn Oyabe & Jesse Aruda.

I usually scour the internet to find credis for projects of Skywalker Sound, Hacienda Post and many other studios, including very obscure projects, from the smallest commercial to the rarest movie (such as a VHS of the CNN/TNT documentary, China: The Wild East, a Skywalker Sound project with sound design probably by Ben Burtt), whether I have to buy the films, check a library, search YouTube, look for movie's PDF press release kits including credits, and even reference credits from vairous video sources (which're often illegal, but I don't watch movies there; just get credit screengrabs). Knowing a mere creative, the projects on which he worked, and the [post-production] studio(s) involved (whether or not in advance) can help me have an idea of the post-production studio contributing.

I am most fond of Skywalker Sound & Joel Valentine and wish that they, among other favored creatives, would contribute to the most amazing franchises of Walt Disney Television Animation these days, like Star vs. the Forces of Evil and Gravity Falls (which both use only Advantage Audio, which Disney tends to overuse).

I am quite proud of my contributions that I made here since March 13th, 2017 A.D., which reflect how aware of sound design/sound effects I was. I learned some post-production sound essentials and the roots of popular sound effects (and projects using them) because of this wiki. Thanks for these things of sound!

Sound Effects I Love

(* absolute favorites)

Sound Effects I Like

Sound Effects I Hate and Can NOT Bear

THESE are why I often watch animation muted, at least first time with something new. Many of these sounds are used in modern cartoon sound design as a cue for thematic elements of subject matter/setting, and as a whole they're often overused. Most of them are vocals rather than "sound effects", and are too overused; can't someone just record the vocal(s)/walla instead? (I'm looking at you, Advantage Audio)

I would also strictly advise any sound designer to avoid use of the "sound effects" listed above. A non-personal reason I emphasize is that most of these "sound effects" are too cliché and overused. The only appropriate use for any Stuka siren is in historical context if a Junkers Ju 87 Stuka dive bomber is/was involved.

In my honest opinion, vocal sounds (i.e. animals, babies, crowds) should not be limited to any "sound effect" in any library, unless absolutely necessary. The voices of each and every animal and human is unique, so the recording of such vocals should be treated as walla, like foley. I believe that applause should be treated like foley too.

Sound Effects I Dislike

...though I wouldn't forbid use of these: