11

I'm not in the neighborhood, but I can offer some advice from experience demolition TNT is incredibly loud. I mean INCREDIBLY LOUD!!! Even if you've personally fired a really large gun, rest easy in the knowledge that you have no idea how much explosive force you're dealing with. If you have mic pads, use them. If you have front end pads, use them. Do ...


11

Miniaturization. Like this: Scientists create the world's tiniest 'ear'. Pick up sound from stuff that we can't even hear with our own ears. Or (self-powered, wireless) mics that are so small that you can put them literally everywhere. 2D Microphone arrays Like this: New super microphone can hear you in a crowded stadium So you can focus on sound, even ...


10

IMO loud sounds require many channels of audio. Its very difficult to get a good recording of a loud sound with just two tracks because of how many parts a loud sound can be broken into (each requiring a different gain setting and mic perspective) I typically try to evaluate and cover the following parts: low end - how much low end is the sound generating ...


10

Library producer here (echo collective, echo collective:fields) regarding cleaning background sounds - All background fx cleaning is destructive and alters the source in some way. The reason this step is not done is because that type of work really requires context to be done well. In other words, if you place a sound with some background wind or ...


10

I want to tell the story from the designer perspective and I totally agree with Rene's answer. I do sound design for video games. I always prefer non-edited files even if they require some extra work. Sometimes I find a very nice sound to fit my project but disappointed to see it was ruined because somebody assumed that it is better to add some fancy FX so ...


9

Besides the obvious answer of extinct animals. My first priority would probably be to record ambiences without the presence of human civilization. No cars and traffic, no aircraft, no electrical interference from cellular and radio...just pristine nature.


7

Personally, I stopped any activities in any way related to normalizing a long time ago. How I record sounds is how they go into my library. I don't mess with the dynamics, and I don't gain them up (unless I'm actually designing a sound for a specific use). I don't need every single sound peaking out at -.3 dBFS with an RMS of -10 dBFS. I'm never going to put ...


7

Whenever I have down-time at work, I spend it either experimenting/trying to learn something new or adding to our library. Ignoring that, I also spend hours each week working on my personal library at home. If I need something at work and know I have it on my personal system, I'll bring it in without hesitation. I don't see it as "donating" my time. Most of ...


6

I would like to see something along the lines of a version of the laser microphones that many intelligence organizations use for surveillance made for audio applications with a focusable field. I can think of many potential uses, one being as a long distance contact mic for capturing source from things that are too dangerous or physically difficult to get to ...


6

I am in hong kong now and it's a city which never sleeps! I reckon HK is less strict than china and is overall more English language-friendly. I have done recordings with a team in the industrial area and we never really got questioned aside from curious onlookers. When in HK, Be sure to look out for small protests downtown almost every Sunday (usually ...


6

Since you need natural sounding stereophonic sound, you would need two cardioid mics set up as a near coincident pair. There are actually two ways of doing this, the French (ORTF) and the Dutch (NOS). They both provide wide stereo image which I think will make the recording more interesting and atmospheric. As far as using a dynamic or condenser set of ...


5

I just bought mine 2 days ago. Adore it. I've used many before, but this one is MINE! Ok, there's my little gush; now down to business. I would like to say, for the record, THE H4n's PREAMPS ARE NOT NOISY. They are absolutely, wonderfully, perfectly fine. Nothing at all wrong with them. In fact, all things considered, I'd say they're pretty diggity dang ...


5

Don't know about favorite, I've only had these that I'm using now. But I can tell you they're great. I got myself a DPA 4060SMK and a set of these. The BudFits have integrated cable management and the flexible plastic holds the 4060 snugly. With a little effort the windscreens go right over both the 4060 and the flexible plastic of the BudFits. I've got ...


5

Damn. @Joel beat me to the Doppler explanation. Yeah, I guess the 1:2 makes sense given that the sound on approach ends up all smooshed, and therefore higher pitched, and the ones on departure are elongated, thus lower pitched. The other thought is that it could be psycho-acoustic. If you're listening for the beginning of a fade in from 0dB when your ...


5

First thing I would do is create an impulse response. That way you'll always have access to that location through Altiverb, TLSpace, etc. (Or at least a pretty close facsimile to that space). After that, it's anything goes. Drop some metal, squeak some hinges, pop some balloons, scream your lungs out.


5

I would worldize explosions and animal roars and other transient effects from my library under a freeway overpass or other echoey bridge or tunnel or acoustically odd public space where there isn't much people traffic that day. Large concrete spaces = lots of 40 Hz and below !!! I would also get Subway stop idents (when the conductor or computer voice says "...


5

If Dallas is quiet enough and you bump up your gain loads then you might just be able to pick up the faint sound of sleigh bells as Santa makes his way back to Greenland after a long and hard night's work. Failing that, it's all about the urban slap acoustics really isn't it?: shouts, exterior doors, distant sirens.....the usual suspects that are normally ...


5

Sennheiser MKH 40 Sennheiser MKH 30 Rycote suspension w/ pistol grip Rycote Stereo Windshield size AE Rycote Stereo Windjammer Rycote Stereo Connbox Rycote MS stereo mic clips Boom pole of your choice The only alternative I'd consider is a Schoeps MS rig, but $4k will barely cover the capsules and power supplies. But equally sweet, for different reasons. ...


5

no one answered, but I think use a dynamic first. Your skateboarder is gonna want a few practise runs, so go with them when cameras not running and record up close with a 57. This will catch the loud grindy sounds up close. Then you can do the boom recording with your rifle probably the senny, you'll catch a more delicate sound. And then you can composite a ...


5

This is an awesome idea! While I don't know of another project with a similar goal, I believe it was @Jay who turned me on to this live stream of underwater sounds of the Antarctic Ocean. It doesn't address your question directly, but it does make me think of a few ideas. Perhaps instead of a lav or contact mic, you look into a hydrophone such as the H2a ...


5

Think of it this way: what do others need to tell you before you let them into your house to perform an activity you have no clue about? Surely it helps if they tell you it's for a non-profit project that helps someone in need / solves a problem / makes the world a better place? Or if they do something that might benefit you, or that is linked to something ...


5

I always have the limiters engaged on my recorders, no matter what I'm recording. But, it is absolutely essential with the loud stuff (guns, explos, jet bikes, car drops, etc). The hardest thing about recording a loud source is that you can't monitor while you record. Well, you can monitor, but you won't hear it well enough to get a feel for the ...


5

A couple of years ago I had the pleasure of watching Encounters at the end of the world at the cinema. The recordings of seals and other marine life in that film are really amazing, and an amazing experience in the cinema [youtube]OlrcbKlW4Tw[/youtube] Most of the sounds are like sawtooth LFOs - from high to low. In a sense though, many natural phenomena ...


5

It depends on the sound I'm trying to create ;). Pragmatically, it also depends upon the availability of a quiet, reflection-free outdoor spot vs. a foley studio — both of which can be hard to find (or afford). A project that calls for a more stylized foley track might best be served by a foley studio with an enormous assortment of props, shoes, pits, cloth,...


5

Those NT5s may end up sounding too bright given what the source material is. I'd advise looking for some darker mics if you can find them. Also, I'd experiment with many different mic positions on the anvil. What you're looking for is going to be incredibly difficult to capture well with just one setup. Give 5 good whacks (allowing time for ringout ...


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 ...


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