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

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

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

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 ...


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

Wiki explains normalization here. I'm not a big fan of normalizing while mastering sfx. I find a lot of commercial sfx libraries are mastered way too hot, especially when I am previewing them in a room calibrated at 79db or 85 db reference level (standard listening levels for TV and Film mixing). There's this belief amongst some that louder sfx are more ...


4

Rene layed this out fantastically, and I've never thought of purposefully distorting a cheap mic before—brilliant! The equivalent technique I've always used is to record 1 or 2 additional channels with the mic medium-close to the source: far enough to capture the entire source evenly but close enough that the reverb or space doesn't take over. In post, run ...


4

Don't be afraid to let the impact sound clip out/distort. Since the impact is such a transient sound, the distortion will add character to the recording, but be short enough in duration that it shouldn't sound like the horrible mess it would on a sustained sound. Recording at a hotter level will let you capture the ring out with some decent level. If you don'...


4

Some links: http://www.jetstreaming.org/2011/09/30/selling-sound-effects-how-to/ How to make money with sound design. This is your competition: http://www.sounddogs.com/ http://www.soundrangers.com/ http://www.airbornesound.com/ http://designingsound.org/sfx-independence/ http://www.sound-ideas.com/ http://www.pond5.com/sound-effects/1/*.html http://www....


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'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

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 ...


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