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

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

Recording ambiences needs high quality preamps and microfones. If you want to record sensitive things like wind, grass and trees, you need an good recorder if you want some sound level on the tracks and not only the hiss from bad microfones. Recording 5.1 ambience you need in minimum 4 channel for quad. Take 4 Neumann KM184 with windshields and stands. If ...


3

The Roland CS-10EM's are a really good pair. I recently bought them and am really happy with its result.


3

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 ...


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

I always try to drag myself in front of a mic when I have a nasty cold. As difficult as it can be, a scratchy throat and flem filled lungs and sinuses can make for some great monster source if you get creative with it. Something I learned many years ago that can be useful for many sound design tasks is the experimentation with mixing attack transients of ...


3

Ive been doing a lot of hyper-real monsters in the past year and I've come accustom to laying down my own vocal tracks first to start building a foundation so I can start getting a sense of the personality. Then Ill mess with that as far as pitch and any light modulation and then start getting weird with animals and build around what I did with my own vocals....


3

I have the Tim Prebble Seals library, and its amazing! I have also used my 7 year old daughter and 9 year old sons voice to a great degree. The human voice is an indistinguishable element for Monster design. Many of us are already close to monster status, and the cultural baggage and recognition for the audience is very strong.


3

If you have enough time in advance you could pick up a cable tester that has a tone generator in it for about $20. Here's one. Pull it into the studio, run it through your mixer, and mark the point at which its output = -20 dbfs. It'll probably be close to unity gain. Then when you're out in the field you can just plug the tester into the mixer, set the ...


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

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

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

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

It depends on what the monster looks like etc. whether it's a cartoon, science fiction monster or you just want to make an animal "hyper-real" For me though, I like using musical instruments (especially deep woodwind instruments such as a bass clarinet or bassoon) and then just completely messing with them!


2

I have only used the Roland CS-10EM's but I will say that they surprised me! Much better signal to noise ratio than I had anticipated and a relatively flat response, however the LF does roll off as might be expected. Comfortable to wear, however, be careful when monitoring as feedback will strike fairly easily. I have only heard that the Soundman plugs are ...


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