Making sound effects

[dapoopta]

Hey Guys,
I am very new to the forum and had a few questions. I am attempting to record sound effects/Foley and currently using an Olympus LS-10. I want to make a soundproof room or 'box' that I can do sounds in and get good quality recordings. Any recommendations?

 

[Capriccio]

For soundproof - isolation is the technical term - blocking out every possible external sound, you need lots of mass and then more mass. Building that will be expensive and subject to the building regulations in your country.

To get good quality recordings using an Olympus LS-10 rather than something which will allow you to add or adjust EQ, compression, reverb, delay and more to the recordings, you will want a room in which you can change its liveliness to match the acoustics of the picture that the foley sounds are meant to be for.

Any recommendations?

You don't say what rooms you have available, what they are made from, what sizes they are, how remote you are from external sounds, what acoustic treatment is in your rooms or what problems you have so far encountered in recording, so recommendations are as vague as the details we have.

For the budget you have spent on equipment I think soundproofing will be disproportionately expensive.

For the acoustic quality of your recordings I suggest reading up on acoustic treatment and the sound characteristics of different live rooms in studios so that you have a better idea of what you are wanting to achieve with room acoustics.

You would do well to consider more equipment so that you can export the recorded sounds for editing.

 

[dapoopta]

The area I want to use for the 'box' I am trying to create is 4'x4'x7' . I know it is small, but I want something to put items into and record the effect. It is mainly to create generic sound effects.

 

[Bobbsy]

As Capriccio says, to create a true sound proof room you need mass, combined with some de-coupling from the outside to prevent transmission of vibrations. A heavy box inside an existing room, preferably on rubber pads would do it--there are lots of books suggesting methods.

However, I record lots and lots of sound effects (probably many thousands over the years) and have never felt the need of a sound proof box to do it in. A directional mic, close to the source and maybe a bit of portable deadening to control reflections to be only the ones I want has always been enough. Most sound effects are pretty short duration things so, even in a noisy house, you can usually get the door slam or the glass breaking in a gap in the noise--just mic nice and close.

For me, recording is only the starting point though. I do far more manipulation after the fact--pitch changing, speed changing, EQ, looping, layering, etc. etc.

If it was me (and it has been) instead of a permanent booth, I'd invest in a few good mics (plus interface) and some computer recording software--then some mover's blankets and a plastic framework to hang them on. With that, you can record anywhere and anything without trying to figure out how to get the garage door or a large dog into a four foot square booth.

(Though, if I'm being honest, the last time I needed a large dog barking, the one the director finally approved was a small dog slowed down and pitch shifted downwards...if you see what I mean!)

Bob

 

[dapoopta]

Great info Bob!

I am currently looking at other options. I really want to get into doing Foley and am willing to spend ~1500USD to updgrade/change equipment. I have been reading the Sound Effects Bible (Great Book) and they recommend Fostex_FR2_LE

What would a good mic be to go with this field recorder?

What software do you recommend? Isn't there one like "power tools" or something . I have Cubase LE that came with my presonus firebox. I also own a cheap mxl condenser mic that came with the kit.

 

[Bobbsy]

Okay...you didn't mention Cubase, the MXL condenser or the Firebox before. You have the basis to get started right there. Grab the condenser, put it on a stand, and start recording slamming doors, dropping pots and pans and the next heavy rain out your back door and have a play. You'll soon work out what you're happy with and what you want to change.

Personally, I use Adobe Audition for my stuff...it's an effective sound editor with a good range of built in effects to play with the sound. The "Power Tools" you mention is likely "Pro Tools" which is in use in a lot of professional studios. I used to use that at work, but chose to have Audition at home because I liked it better when I didn't need to worry about exchanging files with other studios.

For microphones, I have a range but the two or three most useful for sound effects are a short shotgun, a small diaphragm condenser and a large diaphragm condenser. Probably the must useful would be the short shotgun and one that works well without breaking the bank would be a Rode NTG2. (It's the same mic as an NTG1 but with an internal battery compartment allowing you to use it when you don't have a source of phantom power). My main mic used to be a Sennheiser 416 but the Rode was my back up and I found I could use them pretty interchangeably. To field record properly, don't forget a fishpole and a good wind gag like a Rycote.

For recorders, the Fostex is a very nice unit--but also have a look at the Zoom H2 or H4. Especially with extra mics they do a very nice job for a good price--and, at a pinch, can do nice stereo with the built in mics. Most sound effects are okay in mono...but for the P51 flypast or the steam train, you may want stereo!

However, I wouldn't dash out and spend any money until you have a good time experimenting with what you already have!

 

[dapoopta]

Bob,
I get a lot of 'ambient hiss' from my mxl recording in a regular room. I've had trouble with it doing vocals in a regular room. That was one of the main reasons I didn't try to use this mic yet. I guess I can give it a shot, it also came with a little instrument mic too, maybe that is kinda like a shotgun

 

[Capriccio]

A heavy box inside an existing room, preferably on rubber pads would do it ...
... I needed a large dog barking ...

I am laughing trying to picture Bobbsy shoving a large barking dog into a small soundproof box!

Sorry, back on topic ...

Dapoota, this hiss that you get withn the MXL mic. Try unplugging it and then recording. Has the hiss gone (with the mic) or is it part of the rest of your setup? Try to identify which piece of equipmenet, cable or joint is causing it so that you know what to service or replace.

 

[dapoopta]

I think the 'hiss' is just room noise... if I cup the mic it gets lower.

Hey Bob, I have a LS-10, which is similar to the H2 and H4 systems. The one thing I have heard with using these handhelds with shotgun mics or even condenser mics is that you need a pre-amp. I am not familiar enough with all these jargon . I am a video guy.

 

[diggy_dude]

A lot of the sound effects in Star Wars were recorded outdoors. No isolation or soundproofing there.

 

[Bobbsy]

I think the 'hiss' is just room noise... if I cup the mic it gets lower.

Hey Bob, I have a LS-10, which is similar to the H2 and H4 systems. The one thing I have heard with using these handhelds with shotgun mics or even condenser mics is that you need a pre-amp. I am not familiar enough with all these jargon . I am a video guy.

Just had a look at the LS-10 on the Olympus site and, yeah, it doesn't have proper microphone inputs, just a line jack so for that you would need a pre-amp. Even then I wouldn't recommend it--the spec on the LS-10 line input is a funny compromise. The Zoom units tend to have proper XLR inputs and, from memory, as does the Fostex you mentioned.

As for recording outside, a quiet, windless area is the deadest acoustic you can find. Alas, finding a quiet windless place is pretty hard!

...and I once tried recording a Spitfire flypast in my studio. You wouldn't believe the mess it made of my acoustic treatment!

 

[garethjones]

you should check each of the equipment to know clearly what is wrong in the system setup.