HOW TO MAKE DISTANT SOUNDS

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#wecando TOPCASES

Worldizing: a sound design concept - by Walter Murch

Manipulating sound until it seemed to be something that existed in real space. This refers to playing back existing recordings through a speaker or speakers in real-world acoustic situations, and recording that playback with microphones so that the new recording takes on the acoustic characteristics of the place it was “re-recorded.”                                           

Today can we create this kind of ambience in Reverbs called Convolutions Reverbs. A Convolution Reverb consists of a recorded sample (called an Impulse Response or “IR”) of an acoustic space to excitation from a signal such as a sweep tone, or a transient

Convolution reverbs essentially record and process the reverberant behavior unique to a real acoustic space.

A sine wave sweep tone is used do an Impulse Response because of both the reliability and range of the frequency response causes as the room reacts. You can do by yourself and when recording a reverb IR, the speaker you use to play back your sine wave needs to be as flat and accurate as possible, otherwise the tonality of the speaker will colour your IR,you’ll need to run the sweep signal through two speakers. You can record IRs at different locations in the room, put the speaker where the performer would normally be and the mics somewhere in the audience area.

The sweep tone is generated and played back through the speakers, triggering a reverberant response in the space which is then recorded. The takes or samples are then convolution-processed and edited as sound files, the sweep tone is removed from the recording, and there is your church, bathroom, or stairwell, ready for use in the mix.

The first reverb effects created for recordings used a real physical space as a natural echo chamber.

A loudspeaker play the sound in a room, and then a microphone would pick it up again , including the effects of reverb.

The rooms were not nearly as large as you would expect (or as they sounded). Studio architects used what little trickery they had at their disposal to exaggerate the acoustics of what was often little more than a large pantry.

Some studios still use a very natural reverbs the Echo Chamber.

Gold Star Studios is arguably the most famous example of a reverb chamber. Phil Spector made Gold Star his home while recording the early hits of his career, and its reverb chamber played a key role in Phil’s infamous Wall of Sound. If other studios included reverb chambers as fringe benefits, Gold Star included it as a downright necessity. A cramped room where elbow room amongst musicians was a legitimate concern, the reverb chamber was the saving grace. In a Mix Magazine article, Larry Lavine testifies to the speaker in the chamber being a cheap 8-inch speaker being picked up by an equally cheap ribbon microphone (bi-directional). The chambers were a mere 2×3 feet, but the cement lining did wonders to enlarge that. You can hear this reverb on The Ronettes’ Be My Baby, parts of Pet Sounds, and other staples of that era in recording.

EMI Studios (later Abbey Road Studios) was a studio complex built by a record label at a time when it was hard to imagine a better business model than recorded music. There were 3 reverb chambers built inside the complex, one for every studio live floor.

  • Chamber One was built first for Studio Three (the smallest live floor in Abbey Road) and it made use of a single Tannoy speaker being heard by a Neumann KM53. It was approximately 11′ wide by 19′ long and was rectangular except for a diagonal reflective wall on which the speaker was focused.
  • Chamber Two was built to satisfy reverb needs for Studio Two (home of The Beatles). It likely made use of the same Tannoy and KM53. It’s dimensions were rather unflattering for an acoustic environment, featuring two pairs of parallel surfaces measuring 12′ x 21′. To make up for this, engineers pointed the Tannoy at one corner, and used sewer piping to diffuse standing waves in the room. Crude, but it hasn’t hurt sales of The Beatles catalogue.
  • Chamber Three was built for EMI’s classical studio work, mostly being done in the gigantic Studio One. It used staggered, nonparallel surfaces coated with the same reflective tiles as the other chambers. Measuring 17’8” by 12′, it was suitably the biggest chamber in the building.

Capitol Studios, located in the basement of Capitol Tower, was the frat house of Frank Sinatra, The Beach Boys, and the equally charming Beastie Boys. Its four identical trapezoidal rooms were designed by musician cum technological-soothsayer Les Paul. The rooms were built using reinforced concrete and coated with metal lath and cement plaster on the interior. Even the ceilings were sloped to ofter flutter or standing waves. (audiogeekzine)

#wecando MAKING OF

I will show you how to create dimension and depth to the sound. There are four thing.
Distance is perceived by four psycho-acoustic qualifiers,

High end frequencies, Reverb, volume and pan position

First high frequencies are very directional because of the short and long wavelength. Cut high frequencies to get the sound more distant.

Second the closer you are to the object, the less reverb you hear, because you hear more of the original highs. So to create distance in a track, you should add  reverb specially earlly reflexions Early reflections” are often recreated by using a bunch of taps off a delay line, supposedly representing the sound reflected for the first time from all the walls and ceiling, so that what determine the size of the room(space)

The third is gain reduction you ad (-db) and more reverb and less high you ad the farther away it will sound.

The fourth is the pan to position the character.

 

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