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 ...
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 ...
How to make money with sound design.
This is your competition:
Ok, so for backpacking and biking, here are the component parts:
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 ...
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 ;-)
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.
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?
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 ...
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.
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 ...
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 ...).
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 ...
One very simple and very basic technique would be to take a transient sound with a long decay, duplicate it and reversing the duplicate and then combining the original and the reversed region in a way that their peaks meet. This is what I did for a few arrow whooshes on my last project and it worked pretty well for me..
What type of sound?
Vocalizations? Footsteps? Tongue lick?
If I were you, I would just make the vocalization myself and do some leaf-finger-footsteps, and get a wet rubber band for some tongue-swinging action.
Here is another perspective amongst some great posts already made. About 14 years ago I released an SFX library which was sold by all the usual suspects. It became very popular and sold well. A few years down the road one of the companies who was selling it released a library in the same genre. While working at my current and long-time gig I was auditioning ...
Is this just teeth clacking together with little in the middle? Hollow wood, like those percussive frogs you can buy in music stores, might be a starting point, although it might also be too tuned/chromatic/musical. Using actual bone-on-bone impacts that are pitched down might be a useful layer, too. And of course, metallic clacking sounds could be great if ...
There's this one library called big whoosh. Can't remember if that one is more over the top or not, so look for some samples to listen to first. It takes a bit more effort, but for more "tame" whooshes I've often had luck with arrow whiz bys and whooshes intended for fight sounds. Sometimes you want to pitch them down a touch and give them a little verb. You ...
Bowed metal and Waterphones are very a-typical of the sound you are describing. Go and demo some of the many great Cinematic trailer SFX libraries from people Like Time Prebble (Hiss and Roar), Frank Bry (The Recordist), Boob Library and the like. You will find that man of them sell amazing libraries with cinematic stingers for reasonable prices. Some of ...
Hey, a fellow Australian sound editor. First up Rabbit Ears Audio have a bunch of tank libraries. You can buy them separately or in a bundle here: http://rabbitearsaudio.com/rea005-military-vehicles/
Are you in Victoria per chance? I was actually out at a track that has WW2 era Centurion tank. Though the Rabbit Ears library doesn't any recording of the ...
I haven't had an opportunity to watch it yet, however I do personally know some of the sound crew and have heard it's a very great-sounding show - and I imagine that from seeing hat's it's aesthetic is like, it is a highly-demanding show as far as sound.
The earlier seasons were helmed by Peter Brown over at Soundelux, which they recently garnered a Golden ...
The majority of that video sounds like granular synthesis. You can find components that do this in Ableton Live, Reaktor, or Max/MSP. I think MOTU ship an awesome granular in MachFive. Or you can google Imperial Grains or a PC equivalent.
Re the little sounds sprinkled all over the video, many are microsampled bits such as metal and glass particles (or you ...
I've just watched the longplay of Super Mario 3D Land, and have some advice for you. I work with casual games for about a year, and those sounds is from my type of work.
The basic rule for this SFX's is "imagine, that everything is tiny". It's like living in a toy world. The sounds is more rounded and all envelopes is as glide as possible. In foley try to ...