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5

A lot of it boils down to the materials you are recording, in addition to the mic technique you are using. If you could describe a specific example, we can give you more specific advice. In general, creating "large" impact sounds involves a balanced combination of techniques including: layering contrasting sound elements layering different microphone ...


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Hey James, Cool stuff, the effects are organic and blend well with each other. I will say, though, that the trailer is extremely ambiguous... without the title of the game at the end I would have absolutely no idea what I was watching. So while one of my critiques was a lack of identity for the sound design, I realize that much of that is due to what's ...


2

All the stuff Matt said was great. Id say with sharp transient material like the stuff you're trying to record you can easily get caught out when recording. With 24 bit recording you can afford to make the levels a little less hot then you'd think and still get a clean useful sound. Try experimenting with engaging the limiter too just in case. A lot of the ...


1

You are using very accurate recording gear in what I'm guessing is a dead room. Do the same recording in a stairwell, with dynamic mics, transformer coupled mic pres to analog tape and it'll sound bigger. The reason this is true is that "BIG" is a perception not a particular sound, and accurate gear and dead rooms only get you the sound. Our brains ...


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Instead of the 40hz sine wave, I use a synth that generates noise, then with a LPF 12db or even 24db I cut down to 200hz with a little resonance and with the filter envelope I make it "bounce" (no attack, a little decay, no sustain and no release); then with the amp envelope I give it an immediate attack, a slow decay and a good release to achieve that huge ...


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