Comments on: Andrew Lackey Special: Foley Sessions for Games

By: Cave in – Audio Blog Pt 3 – Foley | Adib's Audio Archive

Cave in – Audio Blog Pt 3 – Foley | Adib's Audio Archive — Wed, 26 Aug 2015 05:52:09 +0000

[…] Isaza, M. (2015). Andrew Lackey Special: Foley Sessions for Games | Designing Sound.Designingsound.org. Retrieved 23 August 2015, from https://designingsound.org/2009/12/andrew-lackey-special-foley-sessions-for-games/ […]

By: Researched Production Techniques | saeaudiostudio1grahamj

Researched Production Techniques | saeaudiostudio1grahamj — Sun, 23 Aug 2015 07:12:13 +0000

[…] Isaza, M. (2015). Andrew Lackey Special: Foley Sessions for Games | Designing Sound. Designingsound.org. Retrieved 23 August 2015, from https://designingsound.org/2009/12/andrew-lackey-special-foley-sessions-for-games/ […]

By: Bernard

Bernard — Tue, 09 Mar 2010 20:49:15 +0000

desingingsound.ogr, how do you do it?

By: Andrew Lackey

Andrew Lackey — Thu, 17 Dec 2009 18:17:03 +0000

Thanks for the question. I'll clarify. Diffuse and direct mic position isn't about capturing room ambiences at the foley stage. There are occassions when you'd like a really direct and present sound. Other times you may prefer to have the sound blend into the existing ambiences in the game more. Foley artist typically keep the mic about 3 feet off the source...which is in effect allowing more room reflections to enter the mic in relation to source sound. This is nice for film because the re-recording mixer will need to blend it into the production track. You may or may not want that for your foley....the best way to tell is to have the audio track of the game availible to reference. The over arching point I'm making is that having the audio track influences many aspects of the performance...think of it like overdubbing a guitar solo. The artist will get a better feel by knowing what the other sonic elements are.

Your points about post processing are good, and I use altiverb extensively on mixes and samples. However, I rarely record sounds 'as dry as possible'. After years of experience, I've found that you often loose the essential character of a sound by taking a 'record as clean as possible approach'. I also feel that by recording something with the intention of future use robs your current project of best absolute sound you can make.

By: Rinus Aarts

Rinus Aarts — Sat, 12 Dec 2009 09:52:16 +0000

Nice list of tips! I was wondering however regarding the amount of ambience that needs to be recorded. With plugins like Altiverb you can add any room to a sound afterwards (even placement in the room), so isn't it wise to always record as dry as possible? In this way, the foley can be used for other projects that require a different ambience.