New Sound FX Library releases
subbasshead
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#61
27th July 2010
Old 27th July 2010
  #61
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Thats true about isolating sounds in noisy environments and some long shotgun mics are specifically designed for this purpose - its why I recorded the SEAL VOCAL libary in mono using a Sennheiser MKH70; to isolate them from the environment.... hence the context of capturing the sound...

Despite attempting to, it is hard to genralise about situations - you have to assess each case on its own merits & use your experience....

(the earlier Sennhesier 816 is another great mic for this purpose too)
#62
27th July 2010
Old 27th July 2010
  #62
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Quote:
Originally Posted by subbasshead View Post
Thats true about isolating sounds in noisy environments and some long shotgun mics are specifically designed for this purpose - its why I recorded the SEAL VOCAL libary in mono using a Sennheiser MKH70; to isolate them from the environment.... hence the context of capturing the sound...

Despite attempting to, it is hard to genralise about situations - you have to assess each case on its own merits & use your experience....

(the earlier Sennhesier 816 is another great mic for this purpose too)
I could be wrong but I believe that when I downloaded your trial library, they were stereo files - is this actually just a dual mono file?
subbasshead
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#63
27th July 2010
Old 27th July 2010
  #63
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Maybe you can check your download
the SEAL VOCALS library is definitely mono (there are no dual mono sounds)

btw for anyone who bought the SEAL VOCALS MAX library - I recorded it at 192k but didnt have access to a 192IO when I released the library, so I am now in the process of re-editing & outputing the library at 192k. It will be a free update for all MAX library users - expect an email with new download link next week!
#64
28th July 2010
Old 28th July 2010
  #64
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Quote:
Originally Posted by subbasshead View Post
Maybe you can check your download
the SEAL VOCALS library is definitely mono (there are no dual mono sounds)

btw for anyone who bought the SEAL VOCALS MAX library - I recorded it at 192k but didnt have access to a 192IO when I released the library, so I am now in the process of re-editing & outputing the library at 192k. It will be a free update for all MAX library users - expect an email with new download link next week!
I must be mistaken - thanks for the freebie man - i LOVE the sounds...what's the advantage of running in 192 if they'll be converted down to 48 in projects or are people starting to run projects in higher sample rates? thx again
subbasshead
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#65
28th July 2010
Old 28th July 2010
  #65
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"what's the advantage of running in 192 if they'll be converted down to 48 in projects or are people starting to run projects in higher sample rates?"

The advantage is that if you are doing a lot of manipulation (eg pitch shifting, time stretching etc) then the higher density of data of 24bit 96k and 192k means you get less unwanted artefacts - Plugins work better at higher data rates!
You can try this yourself to prove it - record something at 96k and do a time stretch on it (in a 96k session) eg 5%, 10%, 20% 30% 40% - note when the grain starts to become apparent...
Now down covert the sound to 48k, take it into a 48k session and apply the same time stretch factors - the grain becomes more apparent sooner, simply because it has less data to use for interpolation.

Also for the recording session I just did this week we used a number of Sennheisier MKH8050 and MKH8020 microphones which have a frequency response up to 50kHz.... Capturing those frequencies and then pitching down can also lead to very interesting material! I've been playing some of the sounds at quarter speed in the 192k session and they sound beautiful!

Even if my main edit session is 48k I sometimes go off into a 96k session to do processing & manipulation etc, and then export back to 48k...


(ps the Vege Violence & Swish libraries were split stereo so maybe thats what confused you)
#66
28th July 2010
Old 28th July 2010
  #66
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Quote:
Originally Posted by ggegan View Post
While it is very simple to import stereo files into a workstation in mono using Sound Miner, I tend to record sounds that will be mixed point source or panned, like car byes or a clock ticking, in mono and sounds that will be mixed with a spread, like ambiences or car interiors, in stereo. The primary reason I record sound fx in mono is because a shotgun mic can better isolate the target sound than a stereo mic setup, which has a wider field and will pick up more extraneous off axis sound. If you are recording in a very quiet environment then it really doesn't matter, but the world is a very noisy place where many of us live, so anything that helps isolate the target sound is a big plus.
Yeah, the world is noisy. Even up here in North Idaho the BG can get loud. Certain times of the day/week it's whisper quiet here. The CSS-5 has a narrow stereo mode that's awesome, I use that setting all the time. I only go wide for ambience, thunder, rain etc. I just recorded a Ford F350 Turbo macho truck in Washington state and had to go mono because of BG noise. Still came out good though.
#67
28th July 2010
Old 28th July 2010
  #67
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Quote:
Originally Posted by subbasshead View Post
"
Even if my main edit session is 48k I sometimes go off into a 96k session to do processing & manipulation etc, and then export back to 48k..."
I can understand the advantage of processing at a higher sample rate then converting to 48k for use in a session. Is there any advantage to directly importing 96k files into a 48k session - or is it nothing more than a 48k wavefile once it's brought into the session?
#68
28th July 2010
Old 28th July 2010
  #68
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Quote:
Originally Posted by idahorecordist View Post
Yeah, the world is noisy. Even up here in North Idaho the BG can get loud. Certain times of the day/week it's whisper quiet here. The CSS-5 has a narrow stereo mode that's awesome, I use that setting all the time. I only go wide for ambience, thunder, rain etc. I just recorded a Ford F350 Turbo macho truck in Washington state and had to go mono because of BG noise. Still came out good though.
I live in the west side of LA near the beach and don't need AC, I just open the windows and let the ocean breeze keep me cool, but sometimes the traffic gets so loud that it is oppressive to the point that it is hard to sleep, even in the early morning hours around 3 or 4 am (I have been a dawn patrol surfer for many years and am used to being up at unreasonable hours). The interesting thing is that one morning the traffic roar will be incredibly loud and the next it will be almost silent due to atmospheric conditions. On those mornings that the traffic is inexplicably quiet, I often grab my recording rig and go hunting for exterior sounds in the pre dawn hours. Maybe a lonely cricket, a flock of crows, a distant siren or even a garbage truck a few blocks away. On those quiet mornings I take whatever I can find.
#69
28th July 2010
Old 28th July 2010
  #69
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Quote:
Originally Posted by breaktheory View Post
I can understand the advantage of processing at a higher sample rate then converting to 48k for use in a session. Is there any advantage to directly importing 96k files into a 48k session - or is it nothing more than a 48k wavefile once it's brought into the session?
import it without sample rate converting it and you get it slowed down.
#70
28th July 2010
Old 28th July 2010
  #70
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Quote:
Originally Posted by idahorecordist View Post
My Ultimate Concrete Sound Effects Library is now available: The Recordist

Contains 662 24-Bit 96kHz cinderblock, brick, ceramic, sidewalk slab and concrete debris sounds.

Next up: Ice.... lots of ice!

-Frank
Hello Frank! Your excellent samples of custom DSM mic recorded sounds posted nearly 18 years ago (1993) were the very first examples in the Sound Designer section. And to this day remain still posted on a special page dedicated to your work! FWIW bandwidth of DSM gear is 5-to-over 40,000 cycles taking full advantage of high sample rates!

See: Frank Bry / Creative Sound Design and also Sound Design EFX Samples and http://www.sonicstudios.com/mp3.htm

Since that time many film/catalog/game/ad sound designers have followed your's, Skywalker, and Sound Ideas examples with recording super high quality resource sounds with their own custom made stereo-surround gear I've provided them since 1992.

See credits page: Sonic Studios Film Sound Designer Credits

Email me anytime to update your designer section with more recent examples displaying both our unique contributions to the arts.
#71
29th July 2010
Old 29th July 2010
  #71
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Quote:
Originally Posted by GuySonic View Post
Hello Frank! Your excellent samples of custom DSM mic recorded sounds posted nearly 18 years ago (1993) were the very first examples in the Sound Designer section. And to this day remain still posted on a special page dedicated to your work! FWIW bandwidth of DSM gear is 5-to-over 40,000 cycles taking full advantage of high sample rates!

See: Frank Bry / Creative Sound Design and also Sound Design EFX Samples and http://www.sonicstudios.com/mp3.htm

Since that time many film/catalog/game/ad sound designers have followed your's, Skywalker, and Sound Ideas examples with recording super high quality resource sounds with their own custom made stereo-surround gear I've provided them since 1992.

See credits page: Sonic Studios Film Sound Designer Credits

Email me anytime to update your designer section with more recent examples displaying both our unique contributions to the arts.
Wow, 18 years.... good thing I still feel like a kid in a candy shop doing this stuff!

Frank
#72
29th July 2010
Old 29th July 2010
  #72
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Just bought Swish Max. this thread is gold. I'm doing a Red Bull show in a little while and the producer always wants wooshes and swishes. This library is going to get a flogging!
#73
29th July 2010
Old 29th July 2010
  #73
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Quote:
Originally Posted by musikwerks View Post
Just bought Swish Max. this thread is gold. I'm doing a Red Bull show in a little while and the producer always wants wooshes and swishes. This library is going to get a flogging!
If you need more whooshes here´s a great tutorial to make them yourself:

100 whooshes in 2 minutes
#74
30th July 2010
Old 30th July 2010
  #74
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Quote:
Originally Posted by JSt0rm View Post
import it without sample rate converting it and you get it slowed down.
right, so why would you do this?
#75
30th July 2010
Old 30th July 2010
  #75
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Quote:
Originally Posted by breaktheory View Post
right, so why would you do this?

Sound design purposes... you can get some really cool fx by slowing down high res files by importing a 192khz file into a 48khz session
#76
30th July 2010
Old 30th July 2010
  #76
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Quote:
Originally Posted by FullFrequency View Post
Sound design purposes... you can get some really cool fx by slowing down high res files by importing a 192khz file into a 48khz session
No question about that but aside from these creative uses...

I guess what I'm asking is if a 96k file down converted to 48k THEN compressed (or any other process) is going to be identical to a file that was recorded at 48k

Thanks!
#77
30th July 2010
Old 30th July 2010
  #77
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Quote:
Originally Posted by breaktheory View Post
No question about that but aside from these creative uses...

I guess what I'm asking is if a 96k file down converted to 48k THEN compressed (or any other process) is going to be identical to a file that was recorded at 48k

Thanks!
Ah I see what you're saying...... ..... best thing is to make a recording at 192 or 96 and then export a 48 of it and play back to compare. I'd hope that there'd be a slightly fuller bottom end though.

Talking of using sample rates for sound design, here's a really good interview with Randy Thom

Magical Sounds

FF
#78
30th July 2010
Old 30th July 2010
  #78
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Quote:
Originally Posted by FullFrequency View Post
Talking of using sample rates for sound design, here's a really good interview with Randy Thom
From the interview:
"and we had an eagle up there with a bird handler to chase away birds so we wouldn't get any intrusion."

That's the best idea I've heard in a long time! I toyed with the idea of bringing M80s to scare birds away, but that takes the cake. Must be nice to have a budget!
#79
30th July 2010
Old 30th July 2010
  #79
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Quote:
Originally Posted by breaktheory View Post
No question about that but aside from these creative uses...

I guess what I'm asking is if a 96k file down converted to 48k THEN compressed (or any other process) is going to be identical to a file that was recorded at 48k

Thanks!
It won´t be 100% indentical on an academic level (bit by bit) because you are undergoing a sample rate conversion and it depends on the method used to SRC.

see here:

http://src.infinitewave.ca/

If you work at 48k and don´t plan to slow down your files then 96k won´t be of any practical benefit because the frequency range above 24k will be dropped during the SRC anyway (or if you use a bad SRC you can end up with horrible artifacts, as shown on that site). So you can as well record straight to 48k.

But maybe som admin should move this to a new thread. It´s getting way off-topic an I see another 96k vs. 48k debate coming up ;-)
#80
30th July 2010
Old 30th July 2010
  #80
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Quote:
Originally Posted by apple-q View Post
It won´t be 100% indentical on an academic level (bit by bit) because you are undergoing a sample rate conversion and it depends on the method used to SRC.

see here:

SRC Comparisons

If you work at 48k and don´t plan to slow down your files then 96k won´t be of any practical benefit because the frequency range above 24k will be dropped during the SRC anyway (or if you use a bad SRC you can end up with horrible artifacts, as shown on that site). So you can as well record straight to 48k.

But maybe som admin should move this to a new thread. It´s getting way off-topic an I see another 96k vs. 48k debate coming up ;-)
Ha ...I don't want to ignite a debate and this answers my question - thanks AQ
#81
2nd August 2010
Old 2nd August 2010
  #81
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#82
3rd August 2010
Old 3rd August 2010
  #82
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After 4 long winters my Ultimate Ice Sound Effects Library is released.

Check it out here:
The Recordist Ultimate Ice SFX

This library contains a whopping 715 cracks, impacts, scrapes, rubs, tension and icicle debris sounds. Recorded at 24-Bit 96kHz and over 4 freaking cold North Idaho winters in the making this new library will give you the chills. Ice has lots of character depending on how cold the environment is. I can sound brittle, crunchy, solid, wet and like glass. It has many uses in audio production for video games, film and television but is most useful for keeping your beer cold.

-Frank
#83
3rd August 2010
Old 3rd August 2010
  #83
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downloading ice...
#84
3rd August 2010
Old 3rd August 2010
  #84
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Quote:
Originally Posted by JSt0rm View Post
downloading ice...
Nice! Thanks so much, hope you have a big cooler.

BTW: Ultimate Snow SFX on the way in August 2010.

-Frank
#85
4th August 2010
Old 4th August 2010
  #85
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Quote:
Originally Posted by JSt0rm View Post
downloading ice...
+1...great stuff.

…and you don't have to clean up after recording! Love the breaking icicles, although there's something inherently mean about destroying perfectly good icicles.
#86
4th August 2010
Old 4th August 2010
  #86
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Downloading ICE !!!!!!!
#87
4th August 2010
Old 4th August 2010
  #87
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Quote:
Originally Posted by idahorecordist View Post
After 4 long winters my Ultimate Ice Sound Effects Library is released.

Check it out here:
The Recordist Ultimate Ice SFX

This library contains a whopping 715 cracks, impacts, scrapes, rubs, tension and icicle debris sounds. Recorded at 24-Bit 96kHz and over 4 freaking cold North Idaho winters in the making this new library will give you the chills. Ice has lots of character depending on how cold the environment is. I can sound brittle, crunchy, solid, wet and like glass. It has many uses in audio production for video games, film and television but is most useful for keeping your beer cold.

-Frank
Oh why must all you guys keep putting out such great focused libraries! It's seriously burning a hole in my pocket
#88
4th August 2010
Old 4th August 2010
  #88
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You're telling me! I have to keep putting out new libraries, just so I can afford to buy all the libraries the other guys keep releasing!

Quote:
Originally Posted by FullFrequency View Post
Oh why must all you guys keep putting out such great focused libraries! It's seriously burning a hole in my pocket
#89
4th August 2010
Old 4th August 2010
  #89
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I really like that there is a viable alternative to Sound Ideas, Hollywood Edge and Soundstorm for commercial libraries. Those libraries are so ubiquitous that when I'm mixing, I can often identify where certain FX came from without even looking at the name. I would much rather use a combination of my own recordings and your high quality boutique collections. I hope you guys can continue to churn out new collections so that there is a bit more depth to the offerings.

Just a note, what is really missing big time are complete late model vehicle series and weapons. If you start putting those on your sites, I think you are going to up your income considerably.
#90
4th August 2010
Old 4th August 2010
  #90
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Quote:
Originally Posted by ggegan View Post
I really like that there is a viable alternative to Sound Ideas, Hollywood Edge and Soundstorm for commercial libraries. Those libraries are so ubiquitous that when I'm mixing, I can often identify where certain FX came from without even looking at the name. I would much rather use a combination of my own recordings and your high quality boutique collections. I hope you guys can continue to churn out new collections so that there is a bit more depth to the offerings.

Just a note, what is really missing big time are complete late model vehicle series and weapons. If you start putting those on your sites, I think you are going to up your income considerably.
Thanks for the kind words! I have a slew of libraries coming out in the near future. I'm sure Chuck does also. Time, wish I had more and the older I get it seems to go by faster.

Coming up:
Snow
Rockslides
Water Splashes
Guns
Crazy metal crashes
Servo motors
Insects
All kinds of wood based FX

-Frank
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