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 ...


6

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


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


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

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 ...


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

Hi, Benjie! You have already very nice suggestions above and I'd like to share mine too: very recently, by accident, I step into a sonority very close to the laser thing. (Apart from handling the gun and other great details that should make the difference) I took a file of a metal impact with some reverb on it, reversed it (here I might choose to keep the ...


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

This can be done a couple of ways and which way really depends on the most appropriate blend to best support the image. You can either gradually fade a track to a lower volume using a volume envelope, or discreetly have it drop on a dime using the same tool. Let's say I want to have the music drop 6 dB but not completely cut out so I can hear the dialogue ...


3

The "morph" you're describing is known as (both) spectral cross-modulation, and spectral convolution. From what i've read in your question, I gather you're interested in essentially crossfading the two sounds together, but in the frequency domain not the time domain? If that's indeed the case then there are a few ways to go about doing this. you can either ...


3

Instead of simply listing practical details about how you're making your sounds (eg. types of mics, foley techniques and so forth), you might consider making more theory-based speculations about why certain sounds, or qualities of sound, are appropriate to convey the particular messages that you're trying to convey; how they create meaning for the listener ...


3

I'm going to write about how I would record a trumpet. First off, I don't like the recorded sound to be neutral when I'm mixing. I want it to be pre-mixed in the recording process. If the trumpet will be playing a lead, I want a recorded sound that is big and tall and brash and will muscle all the other sounds out of the way all by itself when I bring the ...


3

Yes, it is simply a compressor - typically you'd use one with a relatively low threshold and ratio. And some may store metadata for the whole track once it has been compressed/normalised once. I know my car stereo could do that - would zip through new tracks to identify peaks and normalise against them. You don't need predictive normalisation though - ...


3

It's 'simply a compressor'... however it's a very specialised type of compressor. There are probably others in this field, but the go-to name for radio compression is Optimod by Orban Optimod is, to over-simplify, a multi-band compressor specifically made for radio transmission & includes specific timing & frequency compensation for the way radio ...


2

The example that comes to my mind is the scene from the bollywood movie Mera Naam Joker {my name is joker} where the prtagonist receives the news of his mother's death while the audience claps and cheers in the background.:)


2

My signal flow varies, but i follow this flow for most large mixes, it not only makes it digestible to combine 100's of sounds into a few minutes, but it saves cpu power. audio track > it's stem (aux) > stem master fader > stem track > (print this, and disable all above tracks, you can go back to the later if need be) printed stems stem track* > Master ...


2

My whole basement is a giant Amerigo Vespucci sail boat that creaks wherever you go. There's a spot on the first step of the stairs that has a wide bandwidth going from high to low frequencies. I recorded it by controlling the speed of the creeks with my foot or my hand and got some laser type sounds this way. Laser in real life don't make any sound so I ...


2

I am studying sound design, so there is not much I can say, but the thing that came to me like some kind of angel from the heavens was when i found out about the elastic audio, while editing the dialogue for my second project. During the first one I would ask my ADR friends to start over and over again in order to synch the speech with the picture... and ...


2

I will second all of what Sonsey said above, especially owning up to mistakes and making them right no matter the cost (time or otherwise). One additional tidbit would be, I am usually monitoring the return from tape, or if ITB the output of the record track, while doing my final laybacks. This means that if I am hearing something, then it exists. And I ...


2

I find a general crowd track of the size & type I need, say 200 happy people, provides the bed into which I can sit my specific crowd lines. So go and find a generic sound sound effect of the right size and type and use that as your basis. Alternatively you could try the new Revoice Pro plugin from SynchroArts. It has a doubler feature that might work ...


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