10

Likely (and this may not be the answer you want to hear) you'll have to roll up your sleeves and build it. It's the hallmark of good BGz actually, building from the ground up. Finding some thick and dense air tones which create the right mood, a nice rumble, some HVAC tones and fluorescent buzzing, maybe OS alley drips if it's a wet scene, some OS tire ...


9

Record one long shot. Split it from the half. Put one half to the right channel and the other to left channel. Export a stereo file. This way you will get a very wide stereo image that is hard to get from a stereo field recording and your sounds in the front will be clearly distinct from ambience. Do not just transform to stereo. If you do that, you will ...


6

These may be of interest to you: http://www.stavrosound.com/blog/wordpress/2011/08/backgrounds-part-i-we-create-the-world-for-ourselves/ http://www.stavrosound.com/blog/wordpress/2011/12/backgrounds-part-ii-analyse-this-no-really-analyze-it/ There's two schools of BGz in my opinion. The school of thought where they are there for presence and smoothing ...


6

Just FIND sounds. They come from EVERYWHERE. Some are recorded outside, some in staircases, some are found in patches on synthesizers or even generated in FL Studio-like programs. You should get intimate with time-based FX like reverb and flange, competent with EQ, and experiment with things like pitch-shift, reverse, and time stretch. Be creative and ...


5

What i love about atmos is that you can build the world of the film. Ask yourself a few things: What kind of neighbourhood/building is the apartment in? Is it near an expressway? In a bad part of town? Is it a high quality, well sound proofed place? Is it cheap with poor insulation? What kind of neighbours do they have? Is it in a large complex with many ...


5

I purchased the M10. But when I was comparing the differences between the M10 and the D50, I was looking at them as solid-state 2-track recorders, not as microphones. In my mind the M10 was the winner. I saved $200 that went towards more gear in my rig that was better designed and more practical for the situations I was hoping to capture. The M10's a good ...


4

@Stavrosound totally nailed it. Our post team at Todd-AO does cover everything, BGs included, and they are treated as described for the reasons mentioned. I wasn't sure they existed either until I asked the supervising sound editor. Two additional notes: First, it's a cartoon, so our ears (and eyes) accept a ton of things which we might not in live-action. ...


4

Some links: http://www.jetstreaming.org/2011/09/30/selling-sound-effects-how-to/ How to make money with sound design. This is your competition: http://www.sounddogs.com/ http://www.soundrangers.com/ http://www.airbornesound.com/ http://designingsound.org/sfx-independence/ http://www.sound-ideas.com/ http://www.pond5.com/sound-effects/1/*.html http://www....


4

Proper stereo image is also important. One of the reasons many exterior BGs don't seem to work at first for interior locations is that they're too wide. If you pull them in quite a bit (maybe even mono all the way for some) it helps a lot. Same with distant car passes and the like.


4

Record 2 mono claps/pulses/shots, however you're generating it. Move the mic from one side of the room to the other for each, keeping each at the same distance from the source. Match up the initial claps later, save as stereo. It won't be perfect, but no-one except you will ever know ;-)


3

@Arnoud I think the reason omni mics are less sensitive to proximity effect is because of how they are constructed. Omni's are pressure microphones and most other directional mics are pressure gradient microphones. Gradient microphones measure difference in air pressure by comparing the front and back of the membrane and for that to be possible their ...


3

Offstage exterior "bleedthru" sounds I believe are one of the great challenges of backgrounds - up there with wind, ocean/beach textures, and rain. In terms of how to paint it sonically so it pops, but doesn't draw unwanted attention to itself, while also not sounded like a muddy mess of frequencies with a lack of clear intent. The hallmark to doing this ...


3

Take discernable dialogue out (especially where they don't have a motivated contextual purpose), or mangle it so the words of the callout aren't intelligable. Ensures there's no distraction and that the BGz are fully M&E compatible.


3

It's not impossible to record ambiences that are near-silent, if you choose to go that route. You'll have to go out of your way to find them, probably very late at night or very early on a Sunday morning when the urban noise is at its lowest, but it can be achieved. Even with a pristine recording of a silent background, you're going to have to manufacture ...


3

From my point of view, there are often very good results when you use the best of the both worlds = simple audio manipulation + synthesis. In your case ("dark-feeling game" as you mentioned), it might be fun to work with a sound that is usually considered to be very close to actual ambient music. A combination of some dark electronic soundscapes and layered ...


3

I recommend you read these two articles for more insight on M/S recording, which, by the way, I absolutely recommend you do: http://designingsound.org/2013/10/charles-maynes-on-mid-side-recording/ http://designingsound.org/2014/02/la-underground-an-interview-with-charles-maynes/ And as as addendum, I would say that, so long as you have extra channels or ...


2

It's impossible to tell whether it's on the second floor or the 202:nd floor. Many apartments are pretty well soundproofed nowadays, so having traffic sound might very well disturb the viewers if used too much, or in some cases, at all. A city is pretty noisy though, so I'd put a lot of amb with really rich noises on it. Fans and such is a good sweetener!


2

Well I was born and raised in SE NM (Artesia, NM), and currently live in Denver. If you want desert recordings, I'd actually suggest you find somewhere windy, which I know SE NM has certain times of the year. There are tons of ranches, trains, old-timey folk down in that area. Also, look at Ruidoso, NM or Lincoln, NM (home of Billy the Kid) for very small,...


2

If you want to clean nature ambience, it depends on whether you want to remove hiss from preamps or remove atmospheric-nature sounds, which may make a nature-ambience muffled. If you record some ambience outside, you may have some ugly frequency around 1khz or lower which gives a lot of (atmospheric) noise in the ambience. Try to filter this out with an ...


2

You need a decent website and establish your presence (no pun intended) with Google. I did a search for "Australian backgrounds", "Austrian backgrounds sound", and "Australian sound effects" and your name never came up. If I was looking for authentic Australian effects Google would be step one. Right now I would think Sounddogs was the only source. I think ...


2

stick with 48/24 without applying any dither? Dither adds noise. Noise * 100 tracks = more noise Use any DAW. Literally any DAW. They all allow varying degrees of automation, but there is no DAW "sound designers use" (pro tip: everyone uses two or more) - whatever you, yourself, can do it quickest or easiest in, is what you should be using. I'd use a two-...


2

Go to a party. Make sure they don't play any music whether diagetic or non. Record it from a similar perspective to the camera. Put it in your track.


2

I use exactly what your planing. I use two line audio cm3 with the kortwich connectors. In a ORTF Setup Which is a little Wider (21cm) than normal but it sounds very nicely. You can order the connectors at http://www.filmtontechnik.de/service.html or you can write them a email via mail@filmtontechnik.de There are very nice people in the Store in Berlin. I´m ...


2

I don't really have any specific libraries that I can reccomend, but I do have some ideas to share. My first suggestion would be to research wildlife local to the shooting locations. I've been to a number of deserts, and they are not lifeless places. There are tons of insects (individuals, rarely do you get swarms) and birds all over the place. The next ...


2

There are probably as many approaches to this as there are people doing sound design, there's no hard and fast rules, and finding your way is part of the 'art' of it, the thing that makes it yours rather than someone else's recipe, or worse, a cliche. First thing to do is get comfortable in some audio editing or sequencing software package. It doesnt which ...


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