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 ...
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 ...
These may be of interest to you:
There's two schools of BGz in my opinion. The school of thought where they are there for presence and smoothing ...
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 ...
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 ...
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 ...
Such a great opportunity! I encourage you to record the everyday hustle and bustle of life…you probably won't need to travel too far to find really interesting material. Try settling in somewhere for a couple of hours; once people forget you are standing around with a microphone they will return to their normal behaviors, much like nature recording.
@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.
How to make money with sound design.
This is your competition:
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.
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 ;-)
Desert ambiences and open-air markets spring to mind. I have a friend who grew up there; let me ask her what else to go after.
Addendum: @Rob - She says,
"We went to a small city called Al-Khobar all the time to go shopping, and there's some hustle & bustle of cars, buses, people walking & talking, etc. Except for the language, though, it's
try any of the following:
college campus hallways
hospitals and medical buildings
also check out organized high school events like band recitals and graduations. They're never heavily produced, and there are often large chunks of time where you can get great walla as things are setting up or tearing down.
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 ...
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 ...
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.
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 ...
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 ...
I recommend you read these two articles for more insight on M/S recording, which, by the way, I absolutely recommend you do:
And as as addendum, I would say that, so long as you have extra channels or ...
Record in layers, so that you have flexibility when mixing. I've recorded urban ambiences at street level, on a 3rd story, and on an 8th story rooftop, mics pointing down and up, and it all sounds incredibly different. A mix of perspectives, times of day, and amount of traffic (vehicular and/or human) will all make a huge difference. To get really usable ...
If you're looking for a quite, overall city ambience, you might try to get up a high building. Here you wont have any pronounced sounds, just the over all city hum. I usually like ambient recordings made with a AB stereo set (two omni's with a distance of 70 cm between them). The omni's usually have a more clear sound on them.
The record level on a digital ...
Sounds like a cool project.
There are a lot of traffic and crowd sound effects already out there, so you may want to consider recording things that are unique to your environment. Not sure on the requirements for your project, but I find these sounds get a lot of milage.
In Toronto, for example, we have streetcars here that aren't anywhere else ...
Since you asked for quiet and less popular recorders, I'd also look at the Sony PCM D1 or the Nagra SD.
I haven't tried the Nagra, but there's a good review of it here. I have the PCM D1 and it has very little self noise. I use it to record room tone all the time. Both are pricey, but low noise preamps are expensive to manufacture, especially in a small ...
There's a great article in the recent "Nagra News" about a field recording trip to Antartica. The field recordist used a pair of 4006 (DPA not B&K though) in Rycotes. Got to imagine if they will hold up there, they will work for you. They are certainly beautiful sounding mics, having recorded with them before (in a more controlled environment though).