Something to make all of you sound designers think

Discussion of music production, audio, equipment and any related topics, either with or without Ableton Live
Forge.
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Re: Something to make all of you sound designers think

Post by Forge. » Tue Feb 21, 2012 12:33 pm

:?

I used to get paid £150-170 a day 10 years ago to eat fruit and occasionally set up a projector for a banker, and that didn't make me into an arsehole.

Z3NO
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Re: Something to make all of you sound designers think

Post by Z3NO » Tue Feb 21, 2012 12:49 pm

Forge. wrote::?

I used to get paid £150-170 a day 10 years ago to eat fruit and occasionally set up a projector for a banker, and that didn't make me into an arsehole.
Then clearly, you haven't been doing it right.

Forge.
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Re: Something to make all of you sound designers think

Post by Forge. » Tue Feb 21, 2012 12:52 pm

sorry, I didn't realise that was the ultimate goal.

Z3NO
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Re: Something to make all of you sound designers think

Post by Z3NO » Tue Feb 21, 2012 12:55 pm

No need to apologise. You're on the right track already, and you don't even know it.

Forge.
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Re: Something to make all of you sound designers think

Post by Forge. » Tue Feb 21, 2012 12:57 pm

:lol: ha ha touche!

TheUriah
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Re: Something to make all of you sound designers think

Post by TheUriah » Tue Feb 21, 2012 6:43 pm

Z3NO wrote:Yes you are right. I apologise. All sound is done in post.
I've been getting paid £250/day to peel potatoes for the last 8 years. Silly me.
If you're gonna say that, at least quote the post where I said "all sound is done in post". (Spoiler alert: it's not there to be quoted.)

Wow, 250 a day. You must know more than everyone else then. I stand corrected.

How can I be the guy recording all the explosions on set that we hear in the movie theaters in Michael Bay movies, and can you give me the secret insider tips on what mics got all the pristine dialogue I heard in Star Wars on location without picking up the clanking of all the stormtrooper armor? Also, how do they record such amazing gunshots on set all the time?!

Z3NO
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Re: Something to make all of you sound designers think

Post by Z3NO » Tue Feb 21, 2012 10:21 pm

TheUriah wrote:
Z3NO wrote:Yes you are right. I apologise. All sound is done in post.
I've been getting paid £250/day to peel potatoes for the last 8 years. Silly me.
If you're gonna say that, at least quote the post where I said "all sound is done in post". (Spoiler alert: it's not there to be quoted.)

Wow, 250 a day. You must know more than everyone else then. I stand corrected.

How can I be the guy recording all the explosions on set that we hear in the movie theaters in Michael Bay movies, and can you give me the secret insider tips on what mics got all the pristine dialogue I heard in Star Wars on location without picking up the clanking of all the stormtrooper armor? Also, how do they record such amazing gunshots on set all the time?!
Yes, but can you touch the tip of your nose with your tongue?... ha haaa

Seriously though. You may be George Lucas, but you can well fucking field record some muppet walking in an alleyway into a club without having to synthesise the stuff from sine waves... Is the only real point I was trying to make.

You can keep your stormtrooper collection safe in the display cabinet. Put your gun down, I won't touch it.

TheUriah
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Re: Something to make all of you sound designers think

Post by TheUriah » Tue Feb 21, 2012 10:51 pm

Z3NO wrote:
TheUriah wrote:
Z3NO wrote:Yes you are right. I apologise. All sound is done in post.
I've been getting paid £250/day to peel potatoes for the last 8 years. Silly me.
If you're gonna say that, at least quote the post where I said "all sound is done in post". (Spoiler alert: it's not there to be quoted.)

Wow, 250 a day. You must know more than everyone else then. I stand corrected.

How can I be the guy recording all the explosions on set that we hear in the movie theaters in Michael Bay movies, and can you give me the secret insider tips on what mics got all the pristine dialogue I heard in Star Wars on location without picking up the clanking of all the stormtrooper armor? Also, how do they record such amazing gunshots on set all the time?!
Yes, but can you touch the tip of your nose with your tongue?... ha haaa

Seriously though. You may be George Lucas, but you can well fucking field record some muppet walking in an alleyway into a club without having to synthesise the stuff from sine waves... Is the only real point I was trying to make.

You can keep your stormtrooper collection safe in the display cabinet. Put your gun down, I won't touch it.
Sure. All he's gotta do if find a club. With a door that leads to an alley. And will let him pump his song on his sound system. And a few hundred friends to fill the club with. And a mic of the quality to pick it all up properly without distortion. And a field recorder. WAY easier than sound designing it in post production.

And who the heck said anything about "synthesizing stuff from sine waves". Haha. You seem to be reading all kinds of stuff I haven't said once. Where is all of it coming from?

(P.S. George Lucas doesn't do sound design. Ben Burtt does. And it doesn't take Ben Burtt to make a track sound like it's playing in a club.)

Z3NO
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Re: Something to make all of you sound designers think

Post by Z3NO » Tue Feb 21, 2012 11:07 pm

Someone please help me out with a nice picture of a facepalm. I give up.

Tell John Williams I said hello. The photography on his last film was ace.

Muzik 4 Machines
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Re: Something to make all of you sound designers think

Post by Muzik 4 Machines » Tue Feb 21, 2012 11:20 pm

from my experience it's 50/50
some things are recorded on location
some are foley
and many are a blend of the 2 and/or processing 1 or both
in Hollywood style films most dialogues nowdays are re recorded

Machinesworking
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Re: Something to make all of you sound designers think

Post by Machinesworking » Tue Feb 21, 2012 11:48 pm

Muzik 4 Machines wrote:from my experience it's 50/50
some things are recorded on location
some are foley
and many are a blend of the 2 and/or processing 1 or both
in Hollywood style films most dialogues nowdays are re recorded
Bingo! Christ could you guys be more anal? Yes people talk out their ass here all the time, but respond to the original question maybe? A guy wants to do a reasonable facsimile of folly for his song and wants to try to do it without using much location material. So with that in mind who gives a shit what professionals use?
Dude PM'd me in reply to my post and I thought it was a mistake, but reading the snarky-ness fussing and bitching in this thread I don't think it was a mistake! :lol:

TheUriah
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Re: Something to make all of you sound designers think

Post by TheUriah » Wed Feb 22, 2012 12:05 am

For the record, I did reply very specifically to his question...just 2 posts in.

Then later on I was called out for mentioning how most audio for videos happens in post production, and a guy jumps in talking about how wrong that is and how he makes a bunch of money working in TV and movies...and then he goes on to quote a bunch of things I never said. So there's that.

aradder
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Re: Something to make all of you sound designers think

Post by aradder » Wed Feb 22, 2012 7:53 am

Fun challenge! Here's my take. Two chains. "Door closed" and "Door open". Put a low-pass at about 90Hz. on the "door closed" chain. Crossfade this with a "door open" chain which has a few things going on (in order of signal path): One, a stereo delay set to about 25ms on the left and 50ms on the right. Two, a hall reverb, bandpass filtered from about 200hz to 8Khz. Three, a subtle phaser that signifies stepping through the door and goes from 100% wet to 100% dry during the crossfade between chains.

There are a few things you can do in addition to this that will make it more realistic. First, put a hall reverb on the "door closed" chain and move the dry/wet from 100% wet at the very beginning to 100% dry as the footsteps approach the door. Second, create some leakage into the hallway by adding a third chain. This chain should have reverb set to full wet, with a low-cut at about 120Hz. As the sound begins, this chain is turned all the way down. Bring it up to about -30dB right before the door opens, then fade down to match "Door closed". Also, on your "Door open" chain, you can use a utility to ramp up the stereo width from 0 to 100 as the door opens.

ekord123
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Re: Something to make all of you sound designers think

Post by ekord123 » Fri Mar 02, 2012 9:35 pm

Hey guys, so here is the finished project; I could not have made it happen without all of the great advice. Thanks everyone!


http://www.youtube.com/watch?v=XZ8Fvd9J ... tube_gdata

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