Dan Dugan wrote:
> Bill Mueller wrote,
>
>
>>I suspect that gunshots are as difficult
>> >to record and recreate as thunder and surf.
>
>
> My understanding from the film recordists I work with is that the
> successful way to record gunshots and door slams is to let the
> impulse saturate the hell out of the tape, so that the early
> reflections and reverberation are really what's faithfully recorded.
> This only works with analog tape.
>
> <codger mode> I was doing theatrical sound design in the 60s. Mercury
> Records came out with a great mono 1812 Overture, which had a
> documentary of recording the cannon and bells on the B side. That
> cannon was a godsend for sound design, much better than the available
> sound effects LPs. It was heard in a lot of shows!
>
> At some point, Mercury re-recorded the piece in stereo, and published
> it in the same format. I ran right out to get it, but I was very
> disappointed in the sound of the new cannon recording. It was a puny
> crack. I suspect the engineers didn't know the old saturation trick,
> and recorded the cannon "properly" so the impluse didn't distort.
> That put the reflections and reverb probably 20 dB down... </codger
> mode>
>
> -Dan Dugan
I wonder if the opto-electric limiting used in the Sound Devices MP2
might be a good substitute for the analog tape. It saturates in a
similar way. I've not really gotten into trying that limiter on thunder.
It is something I miss about analog tape, you could use that saturation
all over the place as a form of limiter. As long as you understood what
you were doing it was useful.
Walt
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