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8

Whoo-whee, that's a subjective area...that's also really fun! Can't wait to see the answers here. Starting with what works (and, granted, is cliched) doesn't hurt: Striking thin metal wires or springs under tension with other metallic objects. Good for base layers and achieving the baseline Star Wars or Wall-E sound, even if you do it just as an exercise to ...


7

The number 1 thing i want from a location recordist (apart from good, clean dialogue coverage, of course) is room tone. It's very important that you record this with exactly the same mic set up that you've been using to record the dialogue, and the same mic positions too. A slight change of angle can alter the character of the sound, so try to keep things as ...


7

Hi This will only cause phase problems if it's routed to the same output as the stereo-pair. Except this won't be a stereo pair. Recording vocals in stereo is pointless, small movements between mics are translated as large movements between speakers. (MS is or Binaural works though) Usually one mic is either a) fail-safe b) different gain or both. The third ...


6

Having been on both sides (sometimes on the same project) of production and post, here's what I like to see: Of course good clean dialog. If good clean dialog cannot be had, then good clean wild lines taken immediately after the setup is finished. Take this with the same mic you have been using - shotgun, hypercardoid, lavs, etc - so the tone can be ...


6

One of the best (most educative, and most memorable) assignments of my undergrad: Record approx 30 seconds of your own voice. Compose a piece using only cut, copy and paste. Clips should be no longer than a single phoneme. No plugs. No reversies. No time-stretch. No sampler playback. No usual suspects. This micro-editing assignment taught me so much. Try ...


6

Noise Reduction always makes things sound different, not necessarily better. Not everything needs to be pristine.


5

A couple of thoughts. Go to a trade show like AES or NAB. Many of the dealers have mics set up on the floor feeding a preamp with headphones. Also, a few dealers will lend out demo mics for you to check out. That being said, field recording and sound design is such a niche field, that there is no way to check out all of the gear before you buy. I bought my ...


5

Pink noise. I know it sounds a little crazy, but it can work. I had a really short turn around on a project recently, and didn't have time to mess with layering up more than 3 or 4 crowd recordings. I just didn't have time to search for and audition more recordings. I started thinking about my own experiences and remembered how noise-like the crowd can be ...


5

how about: don't use bright mics on bright sources also, headphone gain affects an actor's read. edited to add: don't eq things when they're soloed out - eq relies on context


4

Some good advice above however if you approach the task with the following in mind you'll be happier with your efforts. Removing reverb from a "continuous sound" i.e. a train of impulses like speech or music where the previous envelope causes the reverb envelope to merge with the next direct sound envelope, is like trying to remove the egg from a cake :-) ...


4

Best sound rolls I ever got came from Teddy Haleron at FJH Studios in Houston for the film All She Can (formerly Benavides Born) I've never met him, but the stuff they turned in was so good I had to look him up and let him know how much I appreciated it. everything was slated and file named appropriately. Some things were tail slated but nothing went ...


4

I have a theory about this. It goes back to the caveman days when the most everything thing (important, scary, useful, revered, &tc.) was fire. When you distort something, what you're really doing, aside from destroying the waveform, is messing with its harmonic content. Depending on what kind of distortion you're using the harmonics that get added in ...


4

I had a Drummer friend a while back who paired back his kit from an 8 piece full kit to a small 3 piece Jazz kit... being in a metal band, he had to get pretty insanely creative to keep delivering the same dynamic of drumming... but he did it. Sometimes I try to do the same with Audio... force myself to do something new. I feel like sometimes we get too ...


4

Hi audiLE, I have had the same problems in the past where I have been sound editor/designer and not the on set recorder. What I suggest is you first ask for any room tones they may have recorded. If they are clean and well recorded then you may be able to mask some of the background noise. If they are not usable then its going to be even more difficult ...


4

Try to run sounds through a fast doppler and layer those sounds together with real world weapons and wire sounds. Could be a way to give each laser sound a subtle character. Try to experiment with feedback loops and run it through a doppler. It's already late and these ideas are all that came into my mind. I hope that you can use them.


4

As the old saying goes... "nothing to it, but to do it"... I routinely check all my deliverables COMPLETELY before sending them out. Yes it's a pain, yes it takes time, but yes, it saves those annoying voicemails for the most part. Visually check all your waveforms, double check all your routings, if the program is long, at least do spot checks on all the ...


4

A gem from Randy Thom: An omnidirectional mic placed close enough to a sound source becomes effectively directional. It's all about S:N! :-)


4

Spend more time watching the video and less time with your eyes glued to Pro Tools. This is something I try to keep in mind because it can be so easy to get sucked into the computer screen. Automation Preview mode is also a god send.


4

When designing a layered effect, mute layers/regions once in a while- What can't be heard/felt is only clogging up your signal path Low frequency energy adds up really quickly


4

I am thrilled to have this community and I have learned so much from so many questions and answers here. The previous responses touch on many great answers and I agree with them all. But, to me, the most important things that I have taken to heart from SSD are two concepts underlying the whole board that are constantly reinforced. “There are naive ...


4

Honestly, I just use whatever I have - even if all I have is mono. Never let the equipment get in the way of a good roomtone (or for that matter, ambience). I certainly agree with @Guido that high quality gear is best suited for roomtone to obtain the most robust S/N, but beyond that, I'm pretty loose about this type of recording. Roomtone is one of those ...


4

Right off the top of my head [& I'm not a foley artist, so you'd have to work out the details] elements... sharp points to feet - high transients lots of legs - 'skittering' rhythmic walk - pattern that could become 'signature'... & don't forget ...big, so lots of things dropped an octave, added subs 'skin' movement noises, not synced to ...


4

I don't know if any of the following will work or not, but maybe worth an experiment. Try a delay of about 1/2 of a millisecond, if you have the capability, between the two channels, of the mono signal. The goal is for the delay to match the amount of time it takes a sound to travel from one ear to the other. I can't remember the exact number--something ...


3

We have an instructor up here at VFS that dropped this tip on us earlier in the year, I think distortion is one of those psychoacoustic tricks that 'hints' at a larger sound as you mentioned. I feel like it's been around for a while, but maybe it's on track to become the Stutter Edit of 2012! Seen it anywhere else? Only thing that comes to mind immediately ...


3

I 100% agree with Tim. Let the stage make the decision. The ONLY EQ I ever (rarely) use in the edit is a 12-18dB/oct high pass rolloff at 80Hz on the Master if the production mixer left me with some nasty low end, but that's only if the low end is so bad that you can actually see the modulations and its making every single minute sub-frame edit snap ...


3

I've had great success using compression to squash the ADR, since this tends to happen with production. Load up something like a C1 with a pretty harsh compression, and adjust the threshold in A/B comparisons with the production until it feels balanced. This goes without saying that all the other listed techniques work well too, and many are needed after ...


3

Using noise removal plugs such as RX or XNoise as sound design tools rather than for noise removal. For example, take a longish, constant waveform that has some variation in it dynamically like a backhoe digging a ditch. By either using extreme settings or swapping over to difference monitoring you can create some very unique source material with a little ...


3

The ear-scene in Reservoir Dogs was the first thing that came to my mind too. The second ting that came to my mind was a movie (and a book) that's full of music that (kind of) juxtaposes the scene (at least if we're not to look at the scene from Alex' psychopathic view)... ...A Clockwork Orange, a movie full of contrapuntal/anempathic/juxtapositional/...


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