12

Well, the best way to do it is to find yourself a wild dragon that hasn't been exposed to humans too much and by tickling it behind its ears you will cause it to roar. You just have to make sure to stay clear of the tail and head though. And for the real answer: Most dragon roars or rather "animal" roars are a combination of different roars, breathing ...


10

Great question! It does depend on the sound somewhat, but my process involves all or some of the following: Listen to the sound. Carefully. Listen to it in different ways. Reduced listening is really important for this sort of thing. Analyse the sound. Look at the waveform, taking in the whole sound, and parts of the sound and at single cycle zoom level. ...


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 ...


8

my .02 Adding sync sounds gives a sense a reality and often a sense of weight and grit to any given scene. If reality, weight, and grit are what's required artistically then the tendancy would be to make a sound for the object on screen. The vast majority of the time, this is probably the case. Abstaining from placing sync sounds creates a sense of ...


8

[Boo. Hi, folks. :-)] Is there a standard definition of "abstract sound design?" Smarter minds than mine can probably answer that. Personally and subjectively, I think it can refer to a few things. We talk about this a lot with our clients and sound design folks at work, since we primarily do SFX for interfaces. Just like visual art, sound design can be ...


7

According to my copy of the absolutely essential (!) Master Handbook of Acoustics, to hear shorter tones, that is sounds with a short impulse, they need to be louder: A 1,000-Hz tone sounds like 1,000 Hz in a 1-second tone burst, but an extremely short burst > sounds like a click. The duration of such a burst also influences the perceived loudness. ...


7

There are three parameters of this filter that are described in the phrase "100 Hz 12 dB per octave low pass filter". I'll cover them in reverse order. Low pass filter - This means the filter does not change lower frequencies ("passes" those frequencies through) and blocks higher frequencies. Sometimes these filters are called "high cut filters", but that ...


6

David Farmer did an AMA on Facebook recently where he talked about some of this: https://www.facebook.com/photo.php?fbid=10151753385296286&set=a.101318681285.104099.7513286285&type=1&theater David Farmer: It helps to start with a great performance which Benedict gave us in droves. His voice is arguably the best I've been able to work with. The ...


6

Your real problem is most likely recording technique and possibly the gear you're using. A good sound recorded properly doesn't need any EQ to sound professional. Where you place your microphone is the most important thing in capturing a sound and works just like EQing when in the right hands.


6

I consider using granular synthesis for this purpose as it's ideal here. Create one wing flap (use scheme as making synthetic kick drum in synthesizer - firstly, HF-component and then it gradually decreases to LF, but the range is more to HF part and envelopes are not so punchy). Then, put this to granular synth, try different grain time and amount of grains ...


6

I can't think of a catch all term for what you are describing. There are however, some frameworks for analysing sound. I think the range is equally vast, especially if you consider sound design in the context of its original definition - film sound, then the combination of sound and image is very complex indeed. But I think you are looking for something ...


6

You are most likely experiencing the non-linear frequency reception of the human hearing and the frequency response in your playback system. As listener you perceive a constant loudness of steady tones roughy following this chart (Equal loudness contours or "Fletcher-Munson" curves): In addition your headphones or speakers frequency response curve is also ...


5

I'm fond of how these conflicting yet overlapping answers point to literal language's flaws as abstractions — like a map, they point to the destination that is sound. They try to describe that sensory experience, yet utterly fail over and over... but we persist with using terms like "warm", for they are the "best" we have. Not to dodge the question, but we ...


5

Your friend is probably talking about one of the Sennheiser MKH mics. Possibly the 416 or the MKH40. These are great mics, but are perhaps overkill for what you are proposing to use them for. Often people use these because they are recording at extremes and need the low noise (such as recording quiet atmos at night) or the resilience these mics have. For ...


5

My approach to this would be: Search for appropriate elevator sounds. Maybe you will find the perfect sound with everything you need in a library. If you do, then great. If not... Consider finding an elevator to record. There are still plenty of elevators like that around (at least here in the UK) if you know where to look. Hotels, restaurants and shops ...


5

Normalizing your audio probably won't have the desired effect that you're trying to achieve. Probably what you want to do is load all your audio into a software application, where you can mix the relative levels of the audio files so that they sound good in relation to each other. If you normalize all your audio, the crisp packet rustling along the floor ...


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 ...


5

For the sound of dog I actually normally just use a kind of heavy-duty gloves I've epoxy-glued paper-clips on. I was gonna try other things as well when it was still just gaffed on, like pieces of horn and different types of wood, but truth be told I found this configuration to be absolutely spot-on for what I needed instantly! For the sense of weight, I've ...


4

Well one method is to invert the phase of one channel of the stereo signal. It's a trick long used in moviemaking. When the sound has phase correlation and definite stereo image ("phantom"), we can localize it by panorama on stereo speaker setup. If you rotate the phase of left or right channel, a listener can't localize it in front hemisphere of him, thus ...


4

For Foley Usually LDCs (large diaphragm condensors) since of prime importance, they retain a lower noise floor. U87s are often used for this, sometimes with an MKH 416 or KM81/82 as a room mic. Octava makes a good LDC I've used, although I cannot recall the model number - it's cylinder-looking one. AT2035 would more in the bargain range. For FX, it can ...


4

Why would a German spelling of an English word be different from the spelling in English? Sound designer is the grammatically correct spelling. Sound design also. Capitalization of the words (when not starting a sentence) is used only as a part of e.g. a professional designation e.g. "John Smith, Sound Designer" or e.g. in marketing and company/product ...


4

The classical acid sound comes from the TB-303 Synthesizer. The effect is generated by using high amounts of resonance on its 4-pole 24 dB/Octave Filter. Then the filter gets modulated via an envelope. (Decaying motion in most parts) The Acid sound you here in this intro is a combination of a minimoog like bass synth and a "acid" TB-303-like fx/melody synth....


4

(As an aside, this topic has been addressed very thoughtfully here.) An excellent question, and one that is not asked enough by the inexperienced or newly inaugurated craftspeople in our community. The old adage of "less is more" has never been more true in this case. What's wrong with most of the Hollywood blockbusters these days? NOT ENOUGH SPACE. And not ...


4

In general, it is marketing gibberish, but the most common definition I can think of is that it has kind of an analog sound. Digital processing, especially early digital processing, was extremely precise and sounded "cold" as in "cold and calculated". Earlier tube processing was less precise and the bleed caused a warmer, softer feel. Later digital ...


4

For me "warm" has always described that all analog sound, that sound that when you spin up a record you almost feel it as much as you hear it. You could even compare it to "smooth" in some senses. As for where it came from my guess (and long time assumption) is that it stems from the tube days when you had to wait for things to physically warm up. There ...


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