This week was a triple-dose of released sound libraries for your aural pleasure.
First up is from TONSTURM:
With TONSTURM 08 I Morocco you get 61 Soundfiles in 5 Channel Surround Format. All the ambiences were recorded in Tangier, Essaouira and Marrakech, three very different Moroccan Cities.
For this surround ambience library we captured the beauty of the urban Arabic world of Morocco.
We visited three very different Moroccan cities, Marrakech, Essaouira and Tangier. These are all very colorful, lively and diverse cities, where we found a lot of unique places to capture these great surround ambiences. We captured sounds from the souks (markets), the medina (old town), the calls of muezzins, rooftop city ambiences and a lot more! Through some Maroccan relatives we were able to record at special locations where access is normally not possible.
We Recorded with a Double MS setup (Sennheiser MKH30, MKH8040, MKH8050) to be fast and flexible as the environment was very turbulent at times. We could easily change our position and were ready to start a recording within seconds to find the perfect spot and timeframe for each particular ambience.
Apart from beeing showered with old rotten fish blood everything went pretty well!
This library is well-suited for a wide number of different situations, as some of the sounds are more diffuse and could be used as general urban Arabic ambiences. In the old town where nearly no traffic is audible (except some mopeds from time to time) we were able to record some nice wallas and the bubbly hustle and bustle of the people.
We carefully encoded every ambience to a discret 5.0 channel file for convenience.
We offer an introductory price of $99 US instead of $̶̶1̶̶3̶̶9̶̶ US for the Surround version, and $79 US instead of $̶1̶̶0̶̶4̶̶ US for the Stereo version until the 5th of September! ….click here!
When a gamer plays EA’s platinum selling Battlefield title, they will often remember and enjoy the sounds of numerous weapons and vehicles, but of course great sounding voices from clean recordings also make the game shine. In fact, Battlefield has a huge array of characteristic voices!
With the recent large budget allocated for higher caliber sessions, incredible actors were hired for the latest series. Unlike recording for singing or broadcasting, the days of using traditional ultra-expensive microphones and other gear are starting to shift.
To find out more about this I have interviewed Tomas Danko who is the Voice Over Producer and Engineer at Digital Illusions Creative Entertainment (aka DICE) in Sweden.
Tomas was very generous to share with me his years of experience of using various gear for the “best sound”.
Cross-posting from my personal blog.
Let’s start off with a disclaimer.
I am no expert in linguistics and semantics, nor would I consider myself truly conversant in the many critical models employed in film theory/criticism. Semiotics was something waved in front of my eyes a couple of times during undergrad (where I did not studio audio or film, by the way), then explored in much greater depth during a course in my graduate program. For this article, I’ll be falling back to some of the general concepts of Semiotics. They are the points that have truly stuck with me over the years, and they easily apply to many facets of media. They can help explain the significance of events in a narrative, the choice of words in dialog, or the functions of shot composition and sound design.
Javier Zumer has a cool post up on his blog about Using Shotgun Microphones Indoors.
I have been researching an idea that I have been hearing for a while:
It’s not a good idea to use a shotgun microphone indoor.
I want to check this question out and, eventually, make some tests. Here we go!
The main goal to these devices is to enhance the axis captation and to attenuate the sound coming form the sides. In other words, make the mic the more directional as possible in order to avoid unwanted noise and ambience.
To achieve this, the system cancels unwished side signals delaying them. So, the operating principle is based in phase cancellation. At first the system had a series of tubes with different sizes that allows the axis signals to arrive in the same time but forces the off-axis signals to arrive delayed. This idea, created by the prolific Harry Olson eventually evolved in the modern shotgun.
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