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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 ...


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

That cinematic soft "fwup-fwup-fwup" of a large sub prop element might nice with a low speed fabric-blade fan against upholstery. A small compressor with a long tube might be good for sustained bubble generation. Warbling, sub-audio-rate LPF modulation might help make things feel aqueous, and blend elements together. Actual hydrophones seem far too ...


4

Jan, I have a huge, unique, collection of vintage weapons...many from WWI. Would be happy to help, if I can. Please let me know how I can get in touch with you. annk@soundmountain.com


4

Here is a nifty preamp circuit that provides a FET buffer and balances the signal, which deals with all the issues you are discussing. The circuit is based on the work of Alex Rice.) You attach the piezo to the circuit with a length of shielded mic cable, then run a mic cable from the circuit to a male XLR. This plugs into your recorder which supplies ...


4

The 744 only has 2 preamps, so if you want to record 4 channels you'll need at least a mixpre on the front end for channels 3 and 4.


4

Well, it depends on how much you can actually get away from the show and the bus. Getting to acoustically unspoiled locations means getting far away (usually) from the highway. OTOH, during a month long tour, I took the opportunity to record every hotel room I stayed in, and got a whole lot of ambience recordings and specifics out of it. May not be what you'...


4

How is your coding? You could put together this functionality using an acoustic fingerprint library such as http://acoustid.org/chromaprint


4

If you use or have access to a mac, Similarity should be able to help with this. The free version may be sufficient for your needs. From the site: Similarity rapidly scans your music collection and shows all duplicate music files you may have. The comparison powered by "acoustic fingerprint" technology considers the actual contents of files, not ...


4

I have both devices and to be honest I wouldn't buy either of them. Haven't used H4n as interface and have used 2i2 for recording only in some rare situations, so I'll just list pros and cons. H4n: +Does pretty much everything possible. +Built-in mics are ok -Doesn't do anything well. -Input levels seem to be designed for guitar, so you'll need inline pads ...


4

I'm a big fan of the pitched down pool toys. I did a bunch of that stuff here. They aren't pitched down in the library though. http://rabbitearsaudio.com/product/hydrophonic/ But @noisejockey is correct, there will be lots of high end stuff you won't want. Some other cool elements to play with: Scuba gear in pool. I'm sure all of those air releases will ...


4

What about not using a hydrophone, but just a contact mic instead? Since the sound transmission through water is not the frequency response you're seeking, perhaps using the drill or other electric motor on another surface, like metal or wood, would imply the same idea but provide a way to get the density of sound you're hoping for and you get to stay dry in ...


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

The answer is MS, or Mid-side. There are 2 types of "ambiance" situations that are very different. The first is dialogue recording with mono mics. Mono ambiances from those mics are needed to patch up issues and replace the talent mics at certain parts to cover other sounds. That is a critical function of mono sounds, but those are not technically field ...


3

metal, glass, chimes, bells, that sort of thing. super high screechy stuff is the only stuff that really makes any sound up there. alternatively try contact mics and electrostatic mics


3

Generally when recording you're looking for the best signal to noise ratio possible. If you record something too low then need to turn it up later in post, you're also going to be turning up all the unwanted noise. Personally I try to record as hot as possible without clipping or activating limiters. This may mean initially backing off the gain a little in ...


3

I wouldn't be afraid to use any good recording I made for whatever purposes I needed them. Some of the greatest and most award winning photography in the history of the medium is of people in great pain or distress. That the photographer captured and then released the images doesn't detract from the art of what that was or from what that photographer was ...


3

I think even if you can't get away from the show and bus too much you've got a good opportunity to build a library of genuinely useful recordings. If you can take your recording kit into the venues you'd probably have an opportunity not many field recordists get, to record the sound of music venues without people or music! That should yield some interesting ...


3

There are these pool toy guns that are just long water cannon tubes, but hovering them at different depths in and out of the water and also just blowing the empty air tube into different tubs makes some cool sound. This isn't for the propeller obviously, but could be a good compliment for that water expulsion -dave


2

I think it's pretty obvious answer that to value a "rare" recording more than lives in danger would be a pretty dick thing to do. But no doubt that we/some tend to be dicks in many aspects, ignoring to help, when the loss or pain (which there always is) doesn't touch personally. The good way to go, in my opinion, would be to react like reporters/journalists....


2

I think you're going to find that it's usually the other way around. It's the companies / studios making the documentaries, radio ads etc. that will hit the web and search for companies / individuals selling sounds of whatever it is they need or rather record it for original use. Some common big sfx stock sites like prosoundeffects.com might take your ...


2

For what it's worth I've used an RE20 on an H4n and it sounded just fine. The fact that the website claims the H4n has great quality mics, and seems to make some other questionable claims on other recorders, I'm not entirely sure the information on that site is worth putting a whole lot of trust in. You run into potential output level issues with ...


2

I think it's ok for your question to be here. Not sure which examples you have looked at in-class, but here is some potential inspiration: Having said that, perhaps it's just a question of ...


2

I have quite a lot of experience with 'found' sounds, and as far as melodic sounds go: try a metal kettle or some saucepans (you might want to hit them with something soft, like a mallet, to avoid the loud 'clang') – a lot of them can produce a melodic note which you can then pitch-shift. I don't know if a glass/plastic bottle filled with water counts, but ...


2

I use a a mkh8040 ortf setup into a mixpre into a pcm m10 with a smal "slik" mic stand. Very small, lightweigt and stunning quality. Shure.... Expensive!


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

The key difference is calibration: a hand held sound meter, even a cheap one, has been calibrated in the factory. Your app and phone (microphone, internal preamp, dac) aren't. If you find a way to calibrate your app - most apps have a calibration setting - using a reference sound source or a calibrated SPL meter, you can improve the usefulness of those apps. ...


2

Welcome, good question! If your recording atmospheres why are you recording only 1-3 minutes? An atmosphere develops over time and has interesting changes in it's sound, I'd advice to at least record 5 minutes. 10 minutes is even better. And chopping on in PT11 is fine, as long as you haven't change perspective in the recordings. You could use 'strip silence'...


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