Documente Academic
Documente Profesional
Documente Cultură
95 CAN
VIERS
RIC VIERS
I would have loved to have had this book when I was a kid!
Its a brilliant overview of what we do as sound designers, and
The author acknowledges the copyright owners of the motion pictures from
which single frames have been used in this book for purposes of commen-
tary, criticism, and scholarship under the Fair Use Doctrine.
Foreword vii
Prefaceviii
vii.
FOREWORD
viii.
F oreword
ix.
CHAPTER 1
AN INTRODUCTION
TO SOUND EFFECTS
1.
MAKE SOME NOISE VIERS
television shows like The Flash, and video games like Call
Of Duty. Sound effects help make the story come to life
by immersing viewers and players in the sonic world of
what theyre experiencing. However, all of these sounds
are created and added to the production at the end of
the process during what is called post-production (liter-
ally meaning after the production).
2.
A n I ntroduction to S ound E ffects
HARD EFFECTS
Hard effects are sounds that represent a literal action in
a movie, video game or app. These are the most com-
monly recognized sound effects. Sounds in this category
include things like doorbells, dog barks, and punches.
Once recorded, these literal sounds can be reused for
many different things in the future.
3.
MAKE SOME NOISE VIERS
BACKGROUND EFFECTS
Background sound effects are ambient sounds in a scene
and are sometimes referred to as ambiences or atmos.
These types of sounds help tell the audience where the
scene is taking place and possibly what time of day it
is. For example, the sound of birds chirping tells the
audience that it is morning time, whereas the sound of
crickets chirping tells the audience that it is nighttime.
Background sound effects can also provide a consistent
bed of sound for a scene that was shot with multiple
takes that have inconsistent background sounds.
PRODUCTION ELEMENTS
Production elements are sounds that are typically used
for graphics, scene transitions and other title effects.
There are many types of production elements, but the
main ones that are used are hits, whooshes and stingers.
These sounds bring otherwise silent graphics to life and
are commonly heard in movie trailers.
4.
A n I ntroduction to S ound E ffects
5.
MAKE SOME NOISE VIERS
Just watch. Now, play the scene again, but this time
close your eyes and just listen to the scene. Which
time did you notice the biggest impact on your senses?
Undoubtedly, you chose the one with sound. Why?
Because, sound is really important.
Lucass Star Wars is probably the most notable film
that raised the bar for sound effects in movies. Sound
guru Ben Burtt was responsible for creating the sounds
of the spaceships, droids, lightsabers, blasters and all of
the other sounds from far, far away. Up until the late
1970s, it was common practice to use synthesizers and
theremins for science fiction sounds or simply reuse
sounds that had already been created and used in other
films. Burtt had a much different approach. He wanted
to create all new material for the film. So, he grabbed
his recorder and started recording and experimenting
with different sounds to see what he liked. The results
of his experiments have changed the sound of cinema
forever. It was Burtts passion to try new things and to
think outside of the box that was the key to creating the
out-of-this-world sounds in the film.
When Star Wars was released, filmmakers and sound
designers began to take the sounds in movies more seri-
ously. It didnt take long for the video game industry
to catch up either. You can now play most video games
in 5.1 surround sound with some titles offering DTS
soundtracks. This is drastically different than the old
mono sound during the beginning days of Atari systems.
Audiences of all forms of media are now accustomed to
6.
A n I ntroduction to S ound E ffects
SEANS NOTES
7.
CHAPTER 2
RECORDING
GEAR
WHAT IS SOUND?
Since this book is all about recording sound, its impor-
tant to understand what sound is and how it works.
The human ear perceives vibrations in air molecules as
sound. These vibrations produce sound waves similar to
the ripples in a pond that are created when you drop a
rock into water. The ripples spread out from the source
of the splash and head in every direction until they lose
8.
R ecording G ear
SOUND WAVES
A sound wave is created when something vibrates and
sends enough energy out to cause the surrounding air mol-
ecules to vibrate. When air molecules vibrate, they compact
tightly together (called a compression) and then pull
apart (called a rarefaction). Every time air is compressed
from one direction, it tries to pull apart in the opposite
direction, which causes another compression. This spreads
the energy outwards. One compression and the rarefaction
that follows is called a wave cycle. The distance traveled
over one wave cycle is known as the wavelength.
9.
MAKE SOME NOISE VIERS
FREQUENCY
Frequency is the number of wave cycles that occur per
second. We perceive frequency as the pitch of a sound.
Higher frequencies are perceived as higher pitches and
lower frequencies are perceived as lower pitches. Sound
moves at a constant speed through air. This means that
as the frequency of a sound increases, its wavelength
gets shorter. Higher frequency sounds have more wave
cycles occur in one second than lower frequencies.
Frequency is measured in Hertz (abbreviated as Hz).
The human ear can detect frequencies between 20Hz
and 20kHz. The k in 20kHz stands for kilo, which is
taken from the Metric system, and means one thousand.
So, 20kHz is the same as 20,000Hz. Sounds that occur
below 20Hz (known as infrasonic) and above 20,000Hz
(known as ultrasonic) are out of our range of hear-
ing. We, as humans, do not perceive these frequencies
as sound. However, some animals like cats and dogs can
hear well above the 20kHz range. In fact, dogs can hear
up to 40kHz (twice the range of humans), cats can hear
up to nearly 80kHz, and dolphins can hear up to 150kHz.
10.
R ecording G ear
AMPLITUDE
Amplitude is the amount of energy present in a wave
cycle, and is measured in decibels (abbreviated as dB).
Our ears interpret amplitude as volume. We interpret
sound waves with a lot of amplitude as being loud, or
high in volume. Conversely, we interpret sound waves
with only a small amount of amplitude as being quiet,
or low in volume.
The shape of our inner ear affects the way we perceive
volume as well. Our ears are more sensitive to hearing
mid-range frequencies, especially in the 1kHz to 4kHz
range, than lower frequencies. This means that even if
two frequencies have the same amplitude, we do not nec-
essarily perceive them as being the same volume as each
other. You can test this yourself by finding a tone genera-
tor online or in a DAW or app and sweeping through the
frequencies while keeping your amplitude the same level.
When you raise the volume of a sound by 6dB, we
perceive this as being twice the volume. When you
11.
MAKE SOME NOISE VIERS
12.
R ecording G ear
13.
MAKE SOME NOISE VIERS
Handheld Recorder
THE MICROPHONE
A microphone works by sensing vibrations in air mol-
ecules in the same way that the human ear does, except
a microphone uses a diaphragm instead of the eardrum
and has electronics inside it that convert acoustic sound
into an electrical signal. Headphones work the same
way, but in the opposite direction by converting an elec-
trical signal into acoustic sound.
Microphones typically come in mono or stereo. A
mono microphone is the most common and it contains
one capsule to capture sound. A stereo microphone uses
two capsules to capture a stereo image by pointing one
capsule to the left and the other capsule to the right.
The microphone on the top of most handheld recorders
is a stereo microphone and therefore has two capsules.
14.
R ecording G ear
POLAR PATTERNS
Microphones capture sound in different directions. The
directionality of a microphone is known as its polar
pattern. When a sound occurs within the polar pattern
of a microphone, it will sound the most natural and
is considered to be on-axis or on-mic. When a sound
occurs outside the polar pattern of a microphone, it will
sound weak or thin and is considered to be off-axis or
off-microphone. Its important to know what type of
polar pattern (sometimes called a pickup pattern) your
microphone has so that you know how to position your
microphone when capturing a sound.
15.
MAKE SOME NOISE VIERS
Omnidirectional Pattern
Cardioid Pattern
Hypercardioid Pattern
Supercardioid Pattern
Stereo Polar Pattern
The cardioid polar pattern gets its name from its heart-
shaped pickup pattern. This pattern captures directly in
front of the microphone as well as some from the sides.
It has a null in its rear, which means that doesnt pick
up any sound from behind.
16.
R ecording G ear
WIND NOISE
Microphones can capture the tiniest vibrations in the
air. Because they are so sensitive, they are extremely vul-
nerable to wind movement. Even the slightest breeze
17.
MAKE SOME NOISE VIERS
WINDSCREENS
Windscreen
18.
R ecording G ear
WINDSHIELD
Windshield
19.
MAKE SOME NOISE VIERS
FUR WINDSHIELDS
20.
R ecording G ear
HANDLING NOISE
Most microphones are very sensitive, so if you shake
them or handle them too much the microphone will
make a rumbling sound. This is called handling noise.
Here are a few tools to use to help you reduce handling
noise:
21.
MAKE SOME NOISE VIERS
1. Shock Mounts
2. Microphone Stands
3. Boom Poles
SHOCK MOUNTS
Shock Mount
MICROPHONE STANDS
22.
R ecording G ear
23.
MAKE SOME NOISE VIERS
BOOM POLES
24.
R ecording G ear
25.