Camera Obscura: Laurens Lammers on Building His Own Sound Library

Laurens studied Music Technology at the University of the Arts in Utrecht, graduating in Sound Design. His fascination with sound is a result of its power to convey meaning. While not always obvious sound changes how we perceive the world around us, it can influence our emotions and is a universally understood language. With an obsession for original sounds, designed with synthesisers or recorded in the field, Laurens enjoys meticulously crafting tailor-made sonic delights.

LBB> What is your niche craft obsession? 

Laurens> Building my own sound library. 

Recording and cataloging sounds is a big part of a sound designer’s colour palette. Every recordist has a different approach – for me, it takes form in a combination of creative field recording, designing and cataloging sound. Your recordings might focus on textures, while someone else’s library focuses on movement. The need for certain sounds can differ by context –for example, an advertisement doesn't always require the dramatic sound design elements typically found in cinema. Whilst it has a similar intensity, it requires a different design approach.

LBB> Where/ when/ how did you first come across this obsession?

Laurens> During my studies, I was inspired by sound recordists who show such a strong commitment and love for recording beautiful sound; the people who make recordings of days in length just to capture rare animals or disappearing soundscapes. 

At the same time, I began experimenting with using unconventional microphones like hydrophones, contact microphones, pickup coils and even a geophone that is normally used to measure seismic activity.

LBB> Was it an obsession straight away or something that has evolved over the years?

Laurens> Evolved over time, totally! Hearing your own sounds in a live production is addictive. A lot of my field recordings are recorded during holidays. At Esch-sur-Sûre in Luxembourg, I used a hydrophone (a microphone designed for underwater recording) to capture the sound of splashes as my girlfriend threw stones towards me. I made a beautiful recording of dry stones sizzling underwater. Happy accidents are usually the best, so now I always carry a small case with a recorder and external microphones. I don’t want to miss out on anything - it’s so rewarding! 

But it doesn’t just end with a recording. You need to be able to find a sound quickly in your library. Editing and cataloging are vital, especially when you work with them and share your sounds with others. So don’t cut corners! You’ll regret it when the library gets too large to find anything. 

LBB> What are the most interesting debates or conversations you are having around sound libraries?

Laurens> I wouldn’t call it a debate really. But every recordist is searching for the best gear in some way or another. Of course, it depends on how they use it. Maybe you’re hiking up a mountain so you need the smallest and lightest gear. Maybe it needs to withstand a humid environment because you live in a swamp. It’s fun to read accounts of how the community pushes gear to its limits or to hear the ridiculous way an epic sound was captured.

LBB> How widespread do you think this is with your peers?

Laurens> I’m not totally sure, but most people working in sound are aware. The amount of affordable quality gear is growing, but implementing it in a production workflow requires commitment. Even if you don’t go out to record, you’ll probably record sound effects that are very specific and hard to find in an existing sound library. 

In the end, ambiances which truly represent a certain place and culture are important. You’ll hear many cyclists in ambiance recordings here in Amsterdam and having those sounds available in your library is a powerful thing.

Another thing to consider is how our sound environment is constantly changing. In a few years, cars may no longer be allowed in city centers, and the fact that we are phasing out combustion engines to reduce emissions means that recordings made now could become of great value later. 

LBB> Can you share any examples of work where that obsession really came to the fore and elevated the final production?

Laurens> There are at least a few sound effects from my own library in almost every project. At Antfood, we strive to make every soundscape as fresh as possible, so there are always new recorded sound effects. 

It’s usually the weird and beautiful recordings that elevate a certain moment in a production. I recorded a coffee machine with a geophone - the low end is astonishing and it recently made the rumble of a car so much more powerful. 

I’ve also used a nice forest ambiance that I recorded in the Black Forest, Germany, in the opening scene of the Let’s! Revolution! game trailer. It layered into the piece so well and also reminds me of the great time I had while hiking there, in a way the recording is like a holiday picture.

LBB> Any other examples of this work?

Laurens> Let’s! Revolution! is a mashup of deductive tile-flipping reminiscent of Minesweeper and tactical turn-based strategy. Set in the Kingdom of Beebom, a once-idyllic land, now mired by a vain and despotic King who is equal parts repugnant and cowardly. Worldbuilding was a core part of crafting the soundtrack for Let’s! Revolution! – using fresh sounds enabled us to bring animated sequences to life.

LBB> For anyone just getting into your field, what advice would you share to help them get their head around it?

Laurens> Go out and record! You can even record with a smartphone which is surprisingly good quality when you set it to uncompressed. Your approach, technique and knowledge of your library of recordings will grow over time. 

Also check out the universal category system to categorize and name your recordings. It’s universally adopted among sound librarians now. 

Most of all, don't forget to have fun!