Bernie,
Your comments regarding "craft and art" are well stated and received
here. I have spent enough time mixing to know the difference subtle
changes in a mix can mean to the final product.
I am learning a great deal from you and your books, along with the
discussions in this forum regarding microphone techniques and
seeking the proper time and location to get the the right recording
of nature's sounds.
I had no idea that anyone would screen a movie--sound only.
Obviously a great deal of the editing is performed dry, without the
final foley, sound effects, and musical tracks. But reversing the
experience; what a concept! I have several DVDs that I will want to
go listen too. I won't be able to cut the voice track, but I am
sure that listening to the audio-only will be most entertaining (and
educational).
-Bill-
http://www.experimotion.com
http://www.wcmsolutions.com
512 336-0842
--- In Wild Sanctuary <>
wrote:
> Sound recording and sound design (incl. any transformation of the
> media from one environment to another) is both the craft and art
of
> illusion. Transforming a cannon or rifle shot or thunder or a
> biophony or single bird or frog sound from a live environment to
> either analog or DAT or MD media, while, at the same time,
retaining
> the "mind's ear" impact, is the craft. Taking it a step further so
> that there is no doubt, no question, no distraction and where the
> impact and impression is totally engaging and captivating to the
> listener's mind, is the art.
>
> There's often a lot of one. But not often a lot of the other.
Before
> LucasFilm released the recent Star Wars episode, they screened it
> with no picture shown. Sound only. They figured if the sound
design
> captured the illusion of action and story, it was worthy of
release.
> Otherwise...
>
> Bernie
>
> >Dan,
> >
> >I built my first "stereo" system in the mid 50's from HeathKit
> >components. I do recall an early 1812 album that I purchased to
> >exploit my new sound system. I am not sure whether it was the mono
> >or later stereo version that I enjoyed playing just to listen to
the
> >cannon shots.
> >
> >Your comments regarding the recording of gunshots are very
> >interesting. It is similar to what (as I understand it) Bernie
and
> >others have stated, that the recording of 'difficult' sounds
> >requires a number of techniques that will result in the effect of
> >realism in the final recreation, as opposed to the accurate and
> >undistorted recording of the original sound.
> >
> >For those who that have not seen (and heard) "Open Range", I feel
> >that it may be worth your while to visit a big screen and listen
to
> >the sound track of this movie. I am not sure whether it is the
> >newly acquired sensitivity to sounds that I have gained from those
> >on this forum, or just my new interest in sound recording that
> >caused me to focus on listening to this sound track. I went
online
> >and read a number of reviews of the movie, and others were
obviously
> >moved by the thunder and gunshot sounds.
> >
> >-Bill-
> >
> >
> >--- In 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
> >
> >
> >
> >To unsubscribe from this group, send an email to:
> >
> >
> >
> >
> >Your use of Yahoo! Groups is subject to
http://docs.yahoo.com/info/terms/
>
>
> --
> Wild Sanctuary, Inc.
> P. O. Box 536
> Glen Ellen, CA 95442
> 707-996-6677 tel
> 707-996-0280 fax
> http://www.wildsanctuary.com
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