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

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 ...


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

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

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 ...


2

It's stereo alright, but not much more. I love the Oktava 012 for many things (which I assume you are using as you mentioned the Figure Of 8-adapter), it's one of my go-to mics for several types of ambiances for one, especially when building perspective against maybe a MKH40 or a DPA 4012. But that adapter isn't very good, regretfully. For a microphone to ...


2

If you're looking for mechanics, latches, doors, cells and the like (and not simply male prison walla), I had a lot of luck recently with a really reverberant park bathroom and doing a lot of door slams, locks, metal manipulation in there. Slowing those down to half speed doubles the reverb time / sense of space and bulks up the sound of the mechanics as ...


2

The Izotope RX denoiser would probably be what you would want to use. I don't think you want to remove the room noise entirely but just reduce it so that it still sounds natural and you still hear the "air".


2

Get your dlog levels right, and everything else gets mixed according to that. There's no specific level for ambience (or foley for that matter), it is simply mixed to sit naturally in relation to the dlog. It always frustrated me when people gave me that answer, but it's pretty much the only right answer for that question. If you're struggling with noisy ...


2

I'd record it stereo and if you need mono to fit into the mix or scene better just use one channel. Depending on how large the apartment is supposed to be you could mix and match the channels used.


2

Convolution reverb would be your best bet here. Find an impulse response that is recorded inside a stadium and run the plugin via auxilary send so you don't wash out the initial sound source. Make sure to also EQ the reverb if needed, Space Designer comes with a built-in EQ but you can also use a typical channel EQ as well.


2

Oktava MK012 have a reputation for being not as quiet as most similar microphones. Both the electrical self-noise and the mechanical handling noise are weak spots in the Oktava's reputation. If I had to choose, I would think that the AT4022 would very likely be quieter than the Oktava MK012. I own a pair of Oktava MK012 and I would think twice about using ...


2

The question of "what library do they come from" is nearly impossible to answer, since there are thousands of libraries out there and many of them overlap sonically. I can't tell you every detail about every sound, but here's my general impression of how to replicate each one. It's all pretty meat and potatoes. "Drive" Instrument at 0:53: a synthesized ...


1

The scale contains a whole jumble of harmonic relations in the sense of "harmony" - if you included all the notes, it would sound like an atonal smear. Stick with harmonics from researching bell sounds, analyze the spectogram of similar sounding chimes in audacity and note the harmonics. Use those as the basis for additive synthesis. It's not just the ...


1

I would record room tone at the same level as I have recorded the dialog or whatever I was recording in that room. Then the room will sound the same as in the background of the thing I wanted to record. Makes sense?


1

There's nothing especially wrong with what you have there, but perhaps it's not the right sound for what you need it for. The sound of foliage rustle, particular sounds like wind in trees just does sound like filtered noise, such as this as an example: or this: I'm guessing that the stuff you ...


1

This might be useful: http://en.wikipedia.org/wiki/Waterphone It sounds like this: The resonate frequencies are similar to the sample you provided (from what I hear and think :-) If you do want to synthesise this, I guess you should go for physical models rather than OSCs. Edit: Perhaps putting a crash/hit hat through a ...


1

I don't think this is a electronically generated/synthesised sound. You should look into sampling a metal sheet that is bowed by a violin player. This is a very musical example with a saw, but if you take a metal sheet and a bow you'll get a more disharmonic result.


1

I've personally cut quite a few of these. They cropped up on Nikita often as well. My opinion is to break it down into it's main food groups: normal BG (the BG without the press conference - the roomtones or airs, birds traffic if outside, etc) walla bed walla callouts camz bed camz onscreen movement/knockabout The walla will have to be shaped for the ...


1

Watch Asian horror films. They are well-practiced at generating suspense with music and sound effects. Mostly it's minor key and discordant stuff. The sound designers who work on thrillers/suspense films use the same techniques such as filters, reverb, and pitch/time shifting that mentioned above to achieve a certain atmosphere. The kinds of sounds people ...


1

You should, beside recording and finding atmospheres, learn to use synthesisers. Espacially randomised noise filter and pitch stuff, combined with reverb delay and others, will create really futuristic soundscapes.


1

There's two large parts to this. Creating the actual sounds and implementing them in game. How you do each will effect the other. On the very high level, you can use what ever DAW you're comfortable with to create sounds. The setting of the game will drive what sort of sounds you'll want to be creating. On the implementing side, are you using middleware? ...


1

i found a really nice recording my Jez Riley French today, which shows the capabilities of DPA4060 in field recording a forest https://vimeo.com/115475171


1

Why do you compare different mics against each other ? I sold my cm3 because i found them absolutely useless for ambiences. They're so freaking noisy and have no detail. I bought sennheiser 8040 instead. I don't wanted to try out mics no more. I use them inside a rycote ortf ws kit. No need more to say :) I love my dpa 4060 and i don't find them that noisy. ...


1

I've found in past experiences that 5.1 ambiences are great for a bed, but you would be best off with layering in some stereo tracks in order to create a wider sound field. The distinct stereo tracks will widen your soundscape, a 5.1 ambience doesn't have the same perceived width because you are sending very similar sound to all the speakers.


1

I recently made records in Vietnam in 5.1 also in the jungle. But 'Jungle' is a very wide term, so if you could be more specific, I can check if I have something for you. For example the jungle in Vietnam was very misty and quiet and completely different for example to a jungle in brazil. Also, if you are working now on the filmset, why are you not ...


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