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 ...


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 ...


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

I've just watched the longplay of Super Mario 3D Land, and have some advice for you. I work with casual games for about a year, and those sounds is from my type of work. The basic rule for this SFX's is "imagine, that everything is tiny". It's like living in a toy world. The sounds is more rounded and all envelopes is as glide as possible. In foley try to ...


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

Take omnidirectional microphones! In contrast do cardioids, omnidirectional microphones captures much more low end. This gives you the andvantage that your room tones will also have something in the lows instead of cardiodid records. Cardioid microphones cut's bass frequencies which is good for voice and music. For rooms, it makes it thin. In post ...


2

Although the focus is on sound design for theatre, Ross Brown's Sound: A Reader in Theatre Practice is a brilliant resource with a wide-ranging bibliography. 'Reader'-type books are great for initial research for this very reason: someone else has gathered all the essential reading into one book! As @Arran says, theory-based texts about why we use sound are ...


2

From the top of my head, the book "Sound Design" by David Sonnenschein is a very good start! I'm on my second read-through on it myself right now :-)


2

The main thing you will want to do is to enhance the bass part of the spectrum in order to enhance realism. Obviously increased level will be necessary (relevant to other elements in the mix) but the bass part of the mix will be the most important in order to enhance realism.


2

I think this little project going to be dependent on your desire as well as budget. You probably already know this. Getting the audio into digital format isn't all that difficult. There are a lot of different turntables which automatically do this for you now (some doing direct Vinyl to SD card MP3 conversions). Else, you can always just run Audacity on ...


1

I would never use apps for this, I'd count the bars before using an app. I use Rane's Scratch Live. It has some pretty accurate BPM detection. There are other good ones out there though. I have a BPM display built into my mixer actually, but I never use it TBH. What I would do: If you're going to play each track to get a sample, then you may as well run ...


1

Personally, I don't ride the faders too much between single words. Only if 'longer' passages are quieter/louder I turn up/down the gain. Moving the faders within words should be avoided. Until now, I've never asked the boom operator to pull away the microphone as it colors the sound. Since I'm recording at 24 bit, I can leave quite some headroom for ...


1

Hopefully the boom operator knows what they are doing and are trying to capture the best sound and levels, letting the director know when there are noises that will spoil the shot, and coordinating on shooting locations and blocking challenges with respect to the sounds. Along with that, there should be a dialog between the location sound person/people/team ...


1

In this situation, two of your proposals are commonly used in conjunction : ride the levels appropriately have the boom operator pull the microphone at right moments.


1

You could use a time-stretching function (such as what's built in to REAPER, Logic, or ProTools) to line up the transients of the two audio samples, and then play around with mixing and use a vocoder to apply the spectrum from one to another.


1

Sorry to say there is no magic plugin that will achieve this effect for you. The majority of great creature vocals are painstakingly crafted by sound designers for days or even weeks. One insight I can offer is that layering sounds is your friend. From human to bat (or vice versa) you need to weave textures from each character in and out over time, paying ...


1

I think editing and maybe some pitch/formant shifting could get you pretty far. Sometimes convolution can work to get the tone changing to more of a Bat from human. Izotope IRIS would seem like a good tool to try also, I've never used it but it seems like this is exactly what it's supposed to help you with. I would err on the side of natural since you ...


1

Rebal Instinct, I wonder if Dehumaniser would be of use to you? It's an app specifically designed to morph human into monster sounds and back again: http://dehumaniser.com/ That being said, I'd love to see more modern and accessible morph plugins. Aside from Prosonic/Zynaptiq Morph (which is ancient and hasn't had a major update in years) and Symbolc Sound ...


1

Two guesses at methods - I've never actually tried either of these myself... Using an envelope follower to raise the volume of the scream dynamically with the speech. Using VocAlign to try matching the scream to the speech, ADR-style. For both, then perhaps just cross-fading one into the other, if that's the desired final effect.


1

Maybe it's the phrasing or the cadence of speech? Sometimes that's what makes the transition sound wrong. Both "voices" should be performed similarly to seamlessly morph into the other.


1

I don't understand exactly what you're looking after, but you can route each sample/vst/live instrument on different channels in any standard DAW mixer. For example, you have 24 different sine waves samples: Assign each one of the 24 sines on 24 different channels Manualy pan each channel as you wish , until the resulting stereo sound fits your ...


1

I like quad dual ORTF or otherwise spaced pair. Wiiide tonez. :)


1

Most DVD mixes tend to actually be pretty dynamic (relative to the theatrical). On lower budget indies and whatnot there often is no difference between the theatrical and DVD/Blu-Ray. As far as references go, calibrate your room (lots of great online resources for that) and then pick some movies that sound like you want yours to sound and listen to them in ...


1

A deadly gun sound must bring be balanced between the bass, the mid, and the treble. The mid is the most important one. Structure of a deadly gunshot: Punch - Lower and longer punch - body of the gunshot - body and tail transition - tail Like this: (slowed down) Puh - Prrruuuuuh - Rrrraaaaahhh - Wwrrooowwwll - Vvvvrrrrrr The punches is important when you ...


1

I know it as Anemphatic sound too. I've tried to do this once in a film but the director didn't go along with it. It's their shout at the end of the day. Layer Cake Ordinary world.


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