Q about sfx recording set-up

K

Kugar13

Well-known member
Hey guys/gals,

I'd like to set it up where I can record sound effects in my home, directly to my computer while being able to listen to the effects I'm recording. Is there any way to do this?

Regardless, what is the best way to do this?

I have Adobe Audition CS2, but I can't seem to get it to record anything from a mic. I'll try to troubleshoot it some more and see what I'm doing wrong, but if this is not the best way to record sounds what is?

Thanks guys!



BTW
My comp has 3GB RAM
Plenty of hard drive space
I have a XLR to 3.5 audio cable for connecting a mic to my comp
I'm not sure what other specs/info you'd need
 
You're on the right track, software-wise. You need to have an audio recording/editing application for FX recording.

Using the computer's 1/8" mic in isn't the best solution no matter what program you're using. I'm not familiar with Audition, but I assume that you have to set either it or your computer to that input for signal to make it into the computer.

Again, that's not the best solution. Your best bet is to get even a basic USB or FireWire audio interface. PreSonus, Lexicon, and M-Audio make some decent and inexpensive models. And if you buy one, you'll usually also get something like CubaseLE included with the purchase of the hardware. Should you look at the Lexicon interfaces, stay away from the Alpha and go with either the Lambda or Omega.

You might also look at getting a ProTools MBox, depending on what your budget is. Again, it comes with the software.
 
I actually find it faster and easier to just use an external sound recorder (like a Zoom) that records to flash, pop the card into the computer, and rip everything.

Then again, my computer's fan is louder than a jet.

And if you need to sync to video then that's obviously not the best.
 
Kugar13 said:
Hey guys/gals,

I'd like to set it up where I can record sound effects in my home, directly to my computer while being able to listen to the effects I'm recording. Is there any way to do this?

Regardless, what is the best way to do this?

I have Adobe Audition CS2, but I can't seem to get it to record anything from a mic. I'll try to troubleshoot it some more and see what I'm doing wrong, but if this is not the best way to record sounds what is?

Thanks guys!



BTW
My comp has 3GB RAM
Plenty of hard drive space
I have a XLR to 3.5 audio cable for connecting a mic to my comp
I'm not sure what other specs/info you'd need
Click to expand...

What specifc mic are you using? If it's XLR it might need phantom power to operate and the 1/8 mic jacks on your computer won't supply it. Audition works fine for recording so if there's a problem something is wrong with your setup, either the mic isn't getting signal to the computer or your soundcard isn't configured properly.

I would suggest you look into a small mixer to give you better control over levels, etc, and to power the mic. Plus then you can feed the signal to the computer at line level and bypass the usually atrocious mic preamps on most computer soundcards.
 
Last edited:
Gohanto said:
Then again, my computer's fan is louder than a jet.
Click to expand...

Ah one plus for the Mac., G5's and beyond are SO quiet... but a different thread.

1) Don't use the line in on the computer, even most "sound cards" on computers are quite noisy on the ins. Better cards from music companies in the prosumer range should be fine. Most breakout boxes (USB, FW, proprietary, etc) are fine. Even in inline USB2 addapter like the ones from BLUE, Tascam, etc. are going to be miles ahead of the line ins on the computer. Also most interface boxes have a headphone out so you can listen to the inputs.

2) recording FX around a computer in general is not a great idea, too much noise. Even quiet ones have hardrives. You need to get as far away from that noise as possible, unless that's what your trying to record.

3) the best way is with a portable recorder.
 
I do quite a bit of Foley and sound FX recording for the film work I do. You'll need a clean signal path, at least one quality mic and a quiet recording environment.

I use PT LE with the DIGI002 (I wish for better pres, but...). I also have a couple of mic pres and other external processors. I usually use at least two mics, sometimes as many as five. My room is very quiet (I've recorded bands at 2am with the neighbors none the wiser). The room is fairly live, but I have a number of gobos to treat to taste. I also use a Marantz PMD-660 and a Sony minidisk for field recording.

To echo C2V, you need a decent interface. You need a decent condenser mic. You also need patience and some imagination. And you don't need the actual item to create the sound effect. As an example, for body falls you don't drop interns off of a ladder. I use an old duffel bag stuffed a few large rocks and/or chunks of wood wrapped in towels. And you don't actually stab someone; you use screwdrivers, hammers, files and similar items to abuse innocent fruits and vegetables. Pliers, ratchets and other hardware make great gun handling sounds.

The sounds you create will, for the most part, be representational. Also, they should be "bigger" than you may probably think. An old sound design dictum is "if you want a pistol, use a rifle, if you want a rifle use a shotgun, if you want a shotgun use a mortar, if you want a mortar use artillery, if you want artillery use a tank, if you want a tank use a nuclear explosion, if you want a nuclear explosion stick the mic out the car window and drive at 90 mph." The point is that once sounds are pulled back into the mix with other sounds, the dialog and the score they lose some of their impact, so you have to appreciate and account for in advance the context in which the sound effect will be used.

Creating Foley and sound FX is the fun (and my favorite) part of sound design. I love nothing better than an afternoon of smashing glass, or going to the dump and beating the hell out of an old refrigerator with a sledgehammer and a crow bar.:Drogar-Happy(DBG):
 
BTW, I don't listen in headphones while doing the sound FX. I do a few passes and then go back into the control room to audition the sounds I've made and perhaps adjust mic positions or choose different props. I rarely perform in sync except for footsteps and still do a lot of cutting as I am not a great Foley artist, although the final result is most satisfactory.
 
Noiz2 said:
..
1) Don't use the line in on the computer, even most "sound cards" on computers are quite noisy on the ins. Better cards from music companies in the prosumer range should be fine. Most breakout boxes (USB, FW, proprietary, etc) are fine. Even in inline USB2 addapter like the ones from BLUE, Tascam, etc. are going to be miles ahead of the line ins on the computer. Also most interface boxes have a headphone out so you can listen to the inputs.

....
Click to expand...

I'd definitely agree. I didn't mean to suggest in my post that he stick with the internal sound card, just was working on the assumption that that's what he wanted to do. Should have said that if he was going to stick with the existing soundcard, the line in might give better results than the mic in.
 
WoW!

WoW!

WoW guys! I am shocked by the amount of feedback, all quallity feedback as well! I can't be more thankful for your shared wisdom and insight.

I have 3 mics: a phantom powered Seinheisser ME-66, a non-phantom powered Oktava (812?) and another mic, music recording mic but the name and model escape me at the momet . Sorry, I"m at work and don't recall the models. Sad, right?

Looks like I have a LOT of research to do...... thanks guys/gals!
 
C2V said:
I owe an intern an apology...
Click to expand...
Not really, but you go through a lot of interns that way...

Kugar13 said:
Looks like I have a LOT of research to do...... thanks guys/gals!
Click to expand...
Pick up:

"Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema" by David Sonnenschein which is a great artistic overview of sound for picture.

"The Practical Art of Motion Picture Sound" by David Lewis Yewdall which, though a little dated, covers the more technical aspects.

"The Foley Grail: The Art of Performing Sound for Film, Games, and Animation" by Vanessa Theme Ament (which I got two days ago and have almost finished already) which is a very amusing, informative book that demystifies the weird world of Foley.

You can also lose yourself in the filmsound.org website for a few days. It has lots of great articles and interviews.

And, of course, experiment and have fun!
 
Books for research? Now you're talkin my language! WOOT!

*ordering books now!*

Thanks!!!!!

unclebob6958 said:
Not really, but you go through a lot of interns that way...


Pick up:

"Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema" by David Sonnenschein which is a great artistic overview of sound for picture.

"The Practical Art of Motion Picture Sound" by David Lewis Yewdall which, though a little dated, covers the more technical aspects.

"The Foley Grail: The Art of Performing Sound for Film, Games, and Animation" by Vanessa Theme Ament (which I got two days ago and have almost finished already) which is a very amusing, informative book that demystifies the weird world of Foley.

You can also lose yourself in the filmsound.org website for a few days. It has lots of great articles and interviews.

And, of course, experiment and have fun!
Click to expand...
 
Steve House said:
I'd definitely agree. I didn't mean to suggest in my post that he stick with the internal sound card, just was working on the assumption that that's what he wanted to do. Should have said that if he was going to stick with the existing soundcard, the line in might give better results than the mic in.
Click to expand...

Actually I meant any built in audio in, I hadn't noticed you suggestd line. Line is better than the mic in but both pretty much suck on every computer I have dealt with.


We do generally listen on headphones even when there is someone on the controls and someone performing. But it's mostly because things sound very different through a mic so it's helpful to get some feedback as to what is getting down on "tape". You can't tell if it works with out playing it over speakers.
 
Adding to Uncle Bob's reading list: "The Sound Effects Bible" by Ric Viers.

Woohoo, homework!
 
thx

thx

Ultra cool stuff guys! It's a bit more daunting than I had anticipated, but that's the way it goes, right? Great results take time and money.

Thanks again!
 
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