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(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
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 ...
7
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
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 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 ...
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
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
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
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 ...
5
The DAW is not that important (FL is ok to start). Since you are getting started and you will find difficult to design the sounds, you need a good set of VSTi plugins that emulate the video game consoles' soundchips. The good news is that there are loads of these plugins to make chiptunes (most of them free)... just take a look...
Chipmusic Plugins
9 of the ...
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
I may be wrong but this sounds to me like a simple ring modulator.
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
I went through this exercise on "Road To Perdition". In R1 the young boy is walking through the halls of the huge house where Paul Newman's character lives. The director wanted us to create that sound as the boy would have remembered it from his memories versus what it really would have sounded like at the time. What we ended up doing was focusing in on ...
4
Yea I think the main thing missing from breaking waves is how the water sounds against a body. I would see if you can even mix in a few splashes that you may have, or water sloshing up onto something.
4
That sound has probably never been recorded before since people who are out on the open sea are usually in some sort of craft, whether it be a large liner or a small skiff or lifeboat. In either case the ocean is going to be interacting with said craft, breaking over the bow or slapping against the side. So, unless you're planning on recording from a hot air ...
4
I've had great luck using a home made impulse response created by slamming a 2x4 plank on the floor upstairs with a hammer hard, while recording it downstairs. Try taking the top of your sound off with a filter and send it through an IR like that.
4
Another option would be to ask those artists where they found those royalty-free samples. Though there are sample collections that are sold on CD or DVD, there are also repositories of sound bites and samples that are in the public domain. One excellent source is the Prelinger Archives. Another is freesound.org.
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 ...
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Each individual grain in that loop is a complex piece with varying pitch through its course, repeated fast, but with space between each grain. There are numerous ways to do this, but myself I often use first and foremost my Commodore 64, and make good use of the "revolving waveform"-function it's so well known for, in combination with quick and heavy pitch-...
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