need some sound effects
- Thread starter brianluce
- Start date
img
Well-known member
make your own shouldnt be to bad thats what i would do. but if you are looking for online sound effects try www.sounddogs.com their not to bad.
SMuir
Well-known member
Head hitting rock: Cabbages are the classic prop for this one. Fresh cabbages will give you a harder sound, while a cabbage that's past it's "sell by" date will provide a meatier sound (in case the caveman is suffering severe head trauma). A squash (such as a pepper squash or an acorn squash) will give you a harder sound, with an exaggerated hollowness.
Head hitting piece of iron: This one all depends on what kind of "piece of iron" you're aiming for. Use the same cabbage or squash as a starting point, and smack it with an appropriate metal produce-smacker. Go down to the hardware store and see if you can find a crowbar that has the tone, weight, and ringiness you're looking for. The tone of the smacking implement will make a huge difference ("binggggg" is funny, but sometimes "tonk" is funnier). If you're Roman is wearing a helmet, you're first impulse may be to find a good cooking pot to smack. However, remember that the helmet has a head in it, so you'll achieve a more appropriate sound by stuffing a head (ie. a cabbage or squash) in the helmet before smacking it.
As for the technical side of the recording: a high-quality condensor mic is a must. In a decently equipped foley studio, you'll almost always find at least one Sennheiser MKH416. The mic should be about 2 or 3 feet from the performance, deppending on the room accoustics and the desired perspective. Because the effects in question are so percussive, keep an ear out for digital clipping.
Head hitting piece of iron: This one all depends on what kind of "piece of iron" you're aiming for. Use the same cabbage or squash as a starting point, and smack it with an appropriate metal produce-smacker. Go down to the hardware store and see if you can find a crowbar that has the tone, weight, and ringiness you're looking for. The tone of the smacking implement will make a huge difference ("binggggg" is funny, but sometimes "tonk" is funnier). If you're Roman is wearing a helmet, you're first impulse may be to find a good cooking pot to smack. However, remember that the helmet has a head in it, so you'll achieve a more appropriate sound by stuffing a head (ie. a cabbage or squash) in the helmet before smacking it.
As for the technical side of the recording: a high-quality condensor mic is a must. In a decently equipped foley studio, you'll almost always find at least one Sennheiser MKH416. The mic should be about 2 or 3 feet from the performance, deppending on the room accoustics and the desired perspective. Because the effects in question are so percussive, keep an ear out for digital clipping.
SMuir
Well-known member
Hmm... K6/me66 and and Octava hyper. First things first, be sure to run that ME66 on phantom power rather than an internal battery; this will give you a slightly lower noise floor. Try using the ME66 as a "pit" mic (2 or 3 feet from the foley artist), while the Octava is on a high stand in the far side of the room pointing towards the foley artist. That way the ME66 will give you a nice dry sound, while the Octava adds density and reverb. Since you're recording fairly loud effects you shouldn't have too much trouble with the self-noise of your mics, although neither mic would perform very well if you were recording footsteps. Mix between the two for the desired perspective (or record them to seperate tracks if you want to go back and tweak your perspective). Sure, you can always add reverb in post, but post-processed reverb will rarely sound as transparent as the actual reverb of a physical space. Also, don't feel confined to recording in the studio if you're not happy with the accoustics; some of the best foley has been recorded in kitchens, basements, gymnasiums, and abandonned monasterys.
Of course, these are just suggestions. Truth be told, I haven't used an ME66 in about five years, and I've never had the opportunity to take any of Octava's product line for a test drive. The bottom line is this: trust your ears and experiment. Also bear in mind that most headphones will significantly exaggerate foley perspectives, so you'd do well to double check everything on a serious set of studio monitors.
Of course, these are just suggestions. Truth be told, I haven't used an ME66 in about five years, and I've never had the opportunity to take any of Octava's product line for a test drive. The bottom line is this: trust your ears and experiment. Also bear in mind that most headphones will significantly exaggerate foley perspectives, so you'd do well to double check everything on a serious set of studio monitors.
Noiz2
Sound Ninja
Hmm. Don't know if I agree. We do a lot of foley and rarely use any shotguns. Maybe it's just a northern California thing but at the SZ film Center and The Ranch I haven't seen shotguns either. Mostly large diaphragm condensers. I would use the Oktava. And I would not go too far away from the source. This (I'm assuming - being a caveman) is not set indoors, so the last thing you want on the Foley is room sound.
SK
SK
SMuir
Well-known member
The mic setup I favour is perhaps more of a Canadian thing (MKH416 in the pit, Neuman TLM 103 for perspective), and regional variations abound. The main reason for the MKH416's popularity in foley around here is that the MKH416 and MKH816 have historically monopolized production dialogue, and using the same mic in the studio makes it much easier to match the foley with the dialogue. However, this is certainly not the only way to mic foley, merely the way that has worked for me.
As for the the interiors, I assumed the caveman in question would be in a cave.
As for the the interiors, I assumed the caveman in question would be in a cave.
Noiz2
Sound Ninja
I have heard the 416 being used for ADR for the same reasons. THey are certainly valid reasons. I tend to favor closer micing, and a cardioid with a pretty dead room. My reasons are that Foley rooms never seem to sound like the set's anyway so I don't want to hear the room at all. It's also a valid reason. I have found it much easier to get the Foley to sit in the mix this way. But the only rule is what works. I have also done both Foley and ADR in my living room with good results when the setting was in a similar room.
I was assuming the caveman was outside, not sure why, but I doubt the Foley stage sounds like a cave either.
I have used shot guns on occasion for Foley. They do have the advantage of distance with sloppy FX. They are really good for getting that unnaturally close kind of sound, but that is also why I tend to shy away from them for other stuff. We also have a pretty small Foley stage so that may be a factor for me.
Hope we didn't swamp you with too many conflicting opinions. There are many ways to skin a cat, or record one being skinned. Now that's a really gross though. Maybe it's because I was recording chicken guts the other day...
SK
I was assuming the caveman was outside, not sure why, but I doubt the Foley stage sounds like a cave either.
I have used shot guns on occasion for Foley. They do have the advantage of distance with sloppy FX. They are really good for getting that unnaturally close kind of sound, but that is also why I tend to shy away from them for other stuff. We also have a pretty small Foley stage so that may be a factor for me.
Hope we didn't swamp you with too many conflicting opinions. There are many ways to skin a cat, or record one being skinned. Now that's a really gross though. Maybe it's because I was recording chicken guts the other day...
SK