Hot answers tagged

9

Record one long shot. Split it from the half. Put one half to the right channel and the other to left channel. Export a stereo file. This way you will get a very wide stereo image that is hard to get from a stereo field recording and your sounds in the front will be clearly distinct from ambience. Do not just transform to stereo. If you do that, you will ...


8

I like to take some interesting ambiences and pass them through a short doppler effect. You can generate a lot of varied material rather quickly and have precise control over the length. It works great with natural elements such as wind but I've had some surprisingly good results with machinery, there is quite a large opportunity for experimentation with ...


6

No. This would come under the heading of selling "derivatives," which most licenses specify that you may not do. If you want to sell sound effects, they have to be ones that you own the distribution rights to...from source to finish. This doesn't preclude you from hiring someone to record or generate some source material for you, but it would have to be in ...


5

Typically, I'll drop a marker and keep moving forward. On most projects that I'm on I don't have the luxury of spending hours on a specific sequence, let alone a particular effect. If it's not coming to me fluidly at that moment, I keep making progress on the rest of the project. Eventually something, a clip down the timeline, a phone call, a daydream, ...


4

Unless you're cutting an instructional film for ornithologists don't worry about the species. This is your scene. What kind of birds do you want to hear? What sounds would enhance the feeling the movie cries out for? This is where the sound editor earns his money. Create a sound environment that dramatically does it for you and the audience will be ...


4

The human voice is one of the most versatile synthesizers going and I've recorded many whooshes that can be used as base sounds and then layered with other sound textures.


4

That's not really how editing and mixing works. Everything that goes into an audio track needs to support the narrative, the characterization of the central figures, the mood in that scene, and the persepctive the director wants in focus. There is no prescriptions that says, "This sound plays at this level." It's a process of decision making that affects the ...


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

Ok, so for backpacking and biking, here are the component parts: recorder: SD 702 - quality sound, durable build, simple operation. Its the heavier and bulkier of the viable options, but it won't ever fail you. SD mixpre + Sony PCM M10 - still quality sound, lighter and more compact, but also a little fiddlier since you're dealing with two devices that ...


4

Record 2 mono claps/pulses/shots, however you're generating it. Move the mic from one side of the room to the other for each, keeping each at the same distance from the source. Match up the initial claps later, save as stereo. It won't be perfect, but no-one except you will ever know ;-)


3

Anyone familiar with this technique??? http://designingsound.org/2010/02/charles-deenen-special-100-whooshes-in-2-minutes/


3

As far as I understand it the copyright applies more or less only for electronically, and preferably (but not exclusively) musical, designed sound. Like the ringtones from polyphonic/PCM-cellphones to name one thing. When it comes to Zippo's, Cadillac doors, Harley-motors, the buttons on a Nintendo NES, et cetera, it is, still as far as I know, like taking a ...


3

Russia is pretty huge, what part of Russia are you after? I'm in finland that is also just next door but a bit further north, so if there is something specific I could help or might even have it already. Alternatively check out this guy http://www.kaamossound.com/ he lives further north than me and has an extensive collection of local recordings.


3

Hi. What kind of things are you looking for? While I don't live in Russia I am in Estonia, next door, and Estonia has lot's of wide open spaces with no traffic, airplane or human sounds. If there is something specific you want maybe I can get it for you!


3

I've always believed that if you are going to process a borrowed source to the extent of being unrecognizable, why not just create it originally? The purpose of borrowing, sampling a source would be to utilize a characteristic of the source. If it's truly processed past that point then why did you use it? If you can only get the result desired by using the ...


3

this is a pretty good starting point for you: http://www.jetstreaming.org/2012/09/05/an-introduction-to-sound-effects-mastering/ Once you have read that article explore the rest of the jetstreaming blog, as a lot of it will be useful info for what you are tackling.


3

This might provide some ideas.


3

Wheel barrows usually have rubber tires on them. Throw some in soft weight that won't bounce (canvas sand bags can be pretty good), rig up your mic to the wheel barrow so you don't have to have someone chasing it, and push that sucker around. The two wheel variants might be more stable and give you better control with less handling noise.


3

Really nice work! I recorded some printing presses last year, and found the big industrial ones to be incredibly challenging to get just right. I was really running and gunning in a massive industrial complex though. Sounds like you had the opportunity to sit and do a study on one machine, which is very cool IMO. What was your recording setup?


3

Yes, Paula Fairfield is really a great talent. She brings that stuff to life so well. They do a great justice to the books for the readers, while still keeping it interesting and balanced.


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

I would suggest naming them after the object that is the sound source for the recording. In the metadata you can then get descriptive and just add anything that would help you find them later into the keywords but as the main name I'd stick with source and other relevant details (e.g. induction_harddrive_writing_... or shorter ind_hd_writing ...).


3

First off, I think it's cool they didn't just ask you to make it sound like Transformers! But I think it's a difficult task because the sound in the clip is very stylised and not actually in very tight sync to the action. It feels like you hear more swooping/flying around and atmos than actual synchronised movement sounds, so perhaps part of the challenge ...


2

Well, that depends on the client. Is the client happy with what you consider 'second best'? If so, make the deadline and quit struggling. Repeatedly missing deadlines even if your work is amazing and perfect won't win you much more work. Does this happen often? Maybe you need to re-consider your process and spring for some gear or SFX packs that will ease ...


2

I wouldn't see any need for a front end Pre if you already have a 702. Those built in Pre-Amps are amazing as they are! The MP-1 is a fantastic little pre though, and I can see how it would improve the R-44 sound.


2

You won't be infringing copyright, because names and titles can't be copyrighted, but you could face legal action over trademark infringement. The exception is when a brand name or trademark is so entrenched and widespread that it becomes a generic term, hoover being the most familiar example. If you want to stay on safe ground, then you're better off ...


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