| In order to record sound effects for a personal or | | | | best recordings possible. First, make sure that you |
| professional sound effect library one needs two things: | | | | record as “hot” as possible, meaning with the |
| sound itself and an object with which to record | | | | loudest signal that does not clip or overload the |
| sound. The former should not be a problem finding | | | | microphone. If you notice a red LED light blinking |
| as sound permeates existence. The later is easily | | | | when recording it means that your incoming signal is |
| available in a variety of formats and forms, though a | | | | too hot and you will want to pull back your mic a bit |
| basic handheld digital unit with a T shaped stereo | | | | from the source. You want the loudest signal without |
| microphone is the simplest and most efficient. | | | | distortion. Related to this, it would also be wise to |
| Personally I’ve tried all sorts of pricey gear and | | | | purchase a 10dB pad that fits between your mic and |
| mics throughout my sonic adventures only to discover | | | | digital recorder will enable you to record sounds with |
| that a solid $150 to $400 handheld digital recorder no | | | | high decibel levels, such as jet engines or weapons. |
| larger than an old-school cassette tape box suffices to | | | | The pad lowers the incoming signal by 10dB and can |
| create sounds good enough for placement in any film, | | | | be found online for $20. |
| tv, and media project. In addition, these units run on | | | | Second, try to keep background noises at a |
| battery power and the recorded files can generally be | | | | minimum. However, don’t be too obsessive over |
| dragged onto your desktop via USB. | | | | a “pure” recording because these background |
| Be aware, however, that any device you use must | | | | sounds can often afford surprising results such as an |
| record up to at least a 48k sample rate. Always | | | | unexpected car honk, bird call or human noise. Also, |
| record at the highest bit and sample rate possible | | | | much of the background noise can be filtered out |
| because video uses audio with a 48k sample rate, not | | | | when editing your recordings to create the sound |
| 44.1k. Any 44.1k samples you have will have to be | | | | effect product. The point here is to keep unwanted |
| upconverted to be used in a video production and this | | | | noise to a minimum but not so much that you might |
| process always runs the risk of audio damage. | | | | lose the opportunity for some unique recordings and |
| Because of these potential problems with lower quality | | | | slow yourself down being overly strict about the |
| files, 48k sound effects are generally valued more by | | | | “perfect” recording environment. |
| video editors and thus command a higher sale price | | | | Third, wind will ruin any recording so protect the mic |
| should you choose to sell your sounds online. | | | | with a windscreen or simply keep your recorder out of |
| There are two basic types of sound effects that you | | | | the wind by using physical barriers such as trees, walls, |
| will be recording: “hits” and | | | | or even your jacket. Sometimes wind noise can be |
| “ambiences.” Hits are single short sonic | | | | cut out during editing with a high pass filter and cutting |
| events such as a slap, gun-shot, or dog bark. | | | | frequencies below 200-500 khz but for the most part |
| Ambiences are longer background elements such as | | | | wind will destroy your recording efforts. Finally, your |
| ocean waves, restaurant environments, or playground | | | | efforts can also be compromised if you have |
| noises. In creating a library it is most valuable to have | | | | inadvertently recorded music in the background, such |
| many of both types as they are both used in sound | | | | as the music played in a restaurant. This music is |
| design. You will find that ambiences are the easiest | | | | copyrighted and if it appears in your ambience |
| to obtain as you merely have to go to a new location | | | | recordings you will be violating copyright law and such |
| such as a supermarket or post office and just stand | | | | recordings are essentially unusable. |
| there and record. Hits need a little more forethought | | | | These tips are simple and meant to point an aspiring |
| and preparation such as collecting the items you’d | | | | sound effect artist in the right direction toward the |
| like to record or stalking the neighbor’s dog for that | | | | creation of a sound effect library for use or for sale |
| perfect dog bark. | | | | online. Future articles will discuss the process of |
| The basics of recording a sound effect is literally as | | | | editing, categorizing, and marketing these raw |
| simple as hitting the record button. However, there | | | | recordings. |
| are several tips to keep in mind in order to get the | | | | |