13
How about some eggs from the grocery store?
Or watch this:
[youtube]Dp7aJ6zoLXY[/youtube]
11
(fade up on scene already in motion)
The old rickety elevator, which should have been taken out of service a decade ago ago, shimmies up to the 38th floor as it has for years. But, unbeknownst to the lone passenger, this trip will be different...
(cue A MENACING GROAN FROM ABOVE as the cable strains against an unknown force, and suddenly...)
CRACK!!! The ...
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
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 ...
8
Paper spike tape. Not that sticky, good for sensitive surfaces.
Gaffer's tape. Stickier, the standard, gentle on most surfaces.
3M Micropore tape. Excellent for lav placement.
Double-sided wig/toupee tape, for similar.
Self-adhesive Dr. Scholls moleskine, for buffering the edges of a lav from cloth rubbing when concealed.
Electrical tape, for its actual ...
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 ...
6
the few things that I run into when doing forcefields:
1) electrical forcefields are going to sound different than magical forcefields. Be sure to know what's causing the FF story-wise as you pull together your source elements.
2) forcefields tend to be tricky to mix unless you plan the frequency spectrums out carefully. Its very easy to get caught up ...
6
This is a perfect opportunity to get inside your protagonists head and use sound to tell the story more effectively. I imagine we all have a different perception of what heaven sounds like...why not try to nail your protagonists POV. This was well done in the movie Contact for example.
My perception of the sound of heaven might include a collage of my ...
6
Audacity is a great tool for this kind of work. You might be able to make a slightly better sound using a sampler that can crossfade across different sounds for different pitches, but I'm not sure if the result would be worth the extra effort.
It sounds to me like the problem with your "current best" is that you either aren't looking for zero crossings when ...
6
Well, that was fun!
It's actually a pretty complex piece of synthesizer work--the link ObscureRobot posted in the comments sheds some light on this.
Since the music isn't exactly metered, I didn't bother to attempt to quantify that in transcription (I didn't bother to typeset it either, that would've been more trouble than it's worth). So, I used spatial ...
6
As the other comment said. Try a low-pass parametric filter. Adjust the frequency down to about 300 Hz, maybe lower, and see how you go.
6
You need two components - metal clangs for gear hitting gear and grinding sound for the shaft rotating. Record lots of metal clangs - you need many variations and often finding the sound that matches perfectly takes some time. Experiment with samplerate of existing sounds. Grinding sound should match to material shaft is connected to, but if it's unknown ...
5
if your ears say it sounds good, it's probably good.
5
Alternative if you have the time and means:
Worldizing.
5
Editorial calibrated to -18 or -20 dBFS = 85 dB SPL, Dialogue should be hitting a LM100 at -27dB LEQ(A) or -24 via a Stereo Phase Scope (but still about -27 when monitored via a Center channel Phase Scope if you're running a 5.1 mix bus - the -24 is due to a +3dB in-phase summing thing) - which when the room is calibrated to -18 or -20, should sound loud, ...
5
Sorry to disagree with Stavros, but in my humble opinion, it really depends on the room - 85 as a dolby reference is intended for rooms with a volume of 150 cubic metres or bigger.
In a typical edit suite in the near field, you wouldn't normally want to monitor any higher than -20dbFS = 79dbSPL IMHO. Anything louder and you'll probably be under-cooking your ...
5
It would be better to create them by yourself. Download FamiTracker, spend about 2-3 hours on reading the tutorial and studying examples, then voila - you get a handful of NES sounds. :)
Also pay some attention to the YMvst plugin.
5
Since its something in his head, I would start by trying going in the completely other direction, then big.
You could try an approach with a deadening treatment to the voice and objects surrounding him. (Like how a voice sounds like in an anechoic chamber).
Sounds fun.
Best wishes,
Mikkel
5
small skinny rope with a lightly weighted object tied (VERY SECURELY) to the end - record two layers - one of big looping swooshes for the initial flight out the window - maybe a 10 foot extension of the rope, then shorten the rope to 2 feet or so and go much much faster in a circle for the uncoiling.
xlr cable could also work.
5
It is definitely possible that the quality is degraded. All parts of the recording chain have some upper limit on the frequency range they can handle properly. On high-end turntables, this may well exceed the audible range by quite a lot and therefore not matter, but if it was digitalised at 44.1 kHz (which it almost certainly was, if it came back as a ...
5
I agree with what's been said, although don't forget that part of what gives a sound its off-axis/down-the-hall timbre is how it resonates through the building materials. So yes, highs will drop off but you'll likely need to bump sonewhere between 180 - 400 Hz where there's a nice resonant quality, just be careful of the 300 Hz muddiness. This is where a ...
5
That is simply a backwards reverb effect - added post production. To get it you used to play the recording backwards through the reverb unit, record the output, and then play the track forwards again.
With a modern DAW, it is as easy as selecting the section of the track you wish to use backwards reverb on and set the parameters. In this case the mix is ...
5
You are required to gain clearance, otherwise the owner of that sample could demand payment from you.
From this useful article on emusician.com:
Sampling potentially violates the law regarding two separate
copyrights, the copyright of the musical composition (the PA
Copyright) and the copyright of the sound recording (SR Copyright).
You need to ...
5
The two things that come immediately to mind are that you should look at photography and sketches of 19th century London, and you should listen to any audio material you can find from cities that are at about that level of technological development.
Photography and sketches will help you determine what noise-creating objects you need to simulate. It is safe ...
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