I am excited to have the opportunity to teach an upper level sound design class to digital film students this Fall. I have several books in my collection that relate to sound design that cover very specific topics, but what I’ll need for the class is a book that covers a broad spectrum of concepts within the field. The course competencies include multi-tracking, mixing, sampling techniques, signal processing, equalization, editing, synchronization of audio and video, Foley, and ADR. Does anyone have any suggestions for a book focused on sound design, but general enough to cover all of these topics?
To give you an idea of what I’m looking for, I currently use Real World Digital Audio by Peter Kirn for an entry level audio production class that is a prerequisite for the sound design class. Peter’s book works really well because it’s current and covers exactly what I wanted for the audio production class in an illustrated, thorough, yet clear and concise way.
Hi, my name is Graham O’Brien and I’m a drummer, audio engineer, and composer living in St. Paul, MN. I play in some really fun bands around town (including Keston & Westdal!) and specialize in drumming and writing for sequenced music. And having gotten a recording degree, I do some work recording and mixing radio commercials at Marketing Architects ad agency in Mineeapolis. I also am building a drum recording studio in my basement that’s coming along really well and I’ll be posting plenty of really cool stuff from there. Now, for my first post to Audio Cookbook.
This is a short but pristine recording of me opening a can of Mendota Springs Sparkling Water (Lemon flavor). I recorded it at the radio production studio I work at, and the recording chain is amazing. First we tuned and sound-proofed the recording booth down to -32dB of isolation. Here’s the recording chain:
Neumann U87a (cardiod pattern, hi pass off)> Great River Electronics MP-2NV Mercenary Edition Class A Mic Pre > Langevin Electro/Optical Compressor/limiter > Pro Tools HD via 192 i/o interface
This recording was done at 44.1Khz, 16bit. The only processing I used is the Massey L2007 Limiter to make it louder: mendota-springs-can-loud
This atmospheric effect is a continuation of the experiment from yesterday involving the Flying Waves VST. This time I loaded up a sample of air bubbles being blown into a glass of water. The original sound can be heard here. I also ran the output through an analog modeling delay and then recorded the results as I manipulated the pitch and volume. The result is a wet, atmospheric, psychedelic texture of ambiance. The next step I might would be to sweep the panning or apply some processing to spread the stereo spectrum since the output at this stage is still in mono.
On YouTube there are a total of seven excellent mini-documentary episodes on how the sound design was produced for Peter Jackson’s remake of King Kong. Here’s a playlist of all seven videos. In the first video Ethan Van der Ryn and Mike Hopkins explain why they prefer not to use sounds from pre-recorded libraries.