i just post the colaboration of hello flowers, its cool
anyone else willing to colaborate?
its a free group, join us and particpate!
that is a very nice helicopter sound
..how easy is it to loop a sound like that? i gave it a go in audacity, but it doesn't sound very smooth.
alternatively, can anyone make or provide a helicopter loop?
I'm looking for the kind o sound you'd hear in a wrestling game when you do a joint/bone-popping move or hold. For example has anyone played the wrestling series FirePro Wrestling? I'd need a sound like that which you hear when you apply a submission hold.
Now I don't need someone to break their bone for me to fulfill the request. If someone wants to do this with their mike, I think you could make the sound with your mouth- keeping your mouth closed and sticking your tongue to the roof of your mouth while letting some air pass through the top. That's how I do it anyway . Any help is appreciated- thanks a bunch!
hello everyone im sorry i delayed to answer, i been multitasking here n blogging in several sites...
we are colecting files related to this one string
"there is a sea inside me"
its only one string but you may send anything you belçieve is related to the idea of inner sea, i have received already not only the spoken poem but also a beatbox, some electronic music, the voice of a kid mixed with the sound of sea waves, and images, even a movie. feel free to join our project and colaborate!
So the headphone stops working when I plug something into the spdif? Seems like a real nasty problem. I need to rethink.
Erdie, how do you power the RME box? Could not see how you did it. Seems like a nice setup for quality anyway, maybe not for robustness.
I 'm looking for a kit to record sounds. I want it to be
versatile in order to record ambient and 'spot' FX like Foley, loud or
soft, mono and stereo. My budget is around 2000-3000 US Dollars, and I
was wondering if you have any mics and recorder to recommend. I suppose we need at
least 2 different microphones in order to be able to record many
different kind of sounds. I am thinking of either getting the Audio Technica AT-4073 or the
more expensive MKH-60 by Senheiser, they are both shotgun mics. For a
Stereo mic we were looking at the relatively cheap NT4, although I
am not sure. For a recorder I was thinking about the M-Audio
Microtrack 24/9, mainly because of its low price... but to compensate for the poor preamps I'd like to get the Core Sound mic2496 and go digitally into this unit.
Do you know any of these? Do you recommend them?
Although I am a big fan of Core Sound, I have to say that the combination Microtrack-Mic2496 appears to be a good combination but there is a major problem. When you you go digital out using spdif into the mic2496, you loose your headphone output on the microtrack and you don't have one on the Mic2496, so you can't ear what you record... I contacted M-Audio, it seemed a hardware problem. Len at Core-sound did not seem interested at the moment to incorporate a headphone amp on is unit. I sent mine back when I discovered the problem. No easy solution. Maybe there new 4mic could solve the problem.
Regarding microphones, have you considered the Core Sound High End Binaurals... they are very nice, great response, great dynamic, very interesting...
I am still looking for a unit similar to what you are looking for
Feel free to ask more specific questions...
Sorry, one other thing in contradiction to what I said. I think you may not be able to use the actual sample in a commercial.
The legal code says :
"Prohibition on advertising. All advertising and promotional uses are excluded from the above rights, except for advertisement and promotion of the Derivative Work(s) that You are creating from the Work and Yourself as the author thereof."
So I don't know if you can use music you make from it in ads. Though it could certainly be argued music featured in an ad is a promotion of the music itself. So maybe it is ok anyway... Another reason I'll be glad when this license gets swithched to a more clear one.
try "dbpoweramp" to convert the file to wave file, 44.1khz, 16 bit, stereo...
it's probably in a format that your phone can't handle...
(Ermine, is there anything you don't know ? :wink: )
Thanks for the links, but I think it's little to high for me (and for the moment). I'm trying to do some kind of sound creations, but I'm not ready yet.
Anything a little more "amateur like", and more focused on video and / or animated movies ?
Nice and trippy. Like the minimalist aspect. The fades and whatnot.
You may also consider the Sennheiser K6's. Noisier than MKH but nice, and considerably cheaper. Battery or phantom powered, at your choice. I really love these mics, specially because they are very powerful and have perfect isolation. No handling noise whatsoever!
I tried the NT4 for stereo field recordings, no success and I wouldn't recommend it. Then I went mid-side stereo: a Senn K6 with a shotgun capsule (ME66), plus a figure-8 AKG . The mics go into a Shure FP24 preamp/mixer, which is expensive but hard as a rock (gives 48 V phantom if you need). Then I send the output to either a minidisc, an iRiver H120, or whatever is at hand. As you see my strategy was to dedicate to the recorder a small as possible portion of my budget.
Lastly, don't forget to save some money for a good windscreen! If you get the K6 instead of the MKH you might get a zeppelin, think about it... Hope this helps
cool, thank you very much!
This is the license you use these sounds under:
If you use it in a musically creative way, you'll be safe... This link also explains some ways where uses of sounds on here can get tricky.(it more pertains to use of sounds in movies or video games)
The licenses on here may change in the future as well.
running a lousy recorder with an outboard preamp is a right PITA in the field. I run a HiMD but to use my MKH30/40 I have to use a outboard phantom power unit. It's a drag and I keep thinking i need to get a Sound Devices or a Nagra BB+
The Microtrack only give 30V on phantom and preamps are noisy as hell. You could consider the usual suspects - Tascam HD-P2, Fostex FR2LE, Marantz PMD660 as a step up, but you only get really good mic preamps if you get up to the SD and Nagra BB+ levels. Or as you propose use a a field mixer.
If you want low cost low noise using mics like the Sennheiser MKH series you can do worse than a HiMD + phantom unit which will give you better performance off the bat than the Microtrack - see
and the media are cheap ($5/Gb) compared to CF cards, so you can go for long field expeditions without needing to dump to a computer or spend a fortune in CF cards.
Spending your $$ mainly on the mics as you propose is the way to go - signal quality once lost can never be regained.... Adding a MKH30 fig 8 to your MKH60 will give you MS stereo on that rig, and you could add a MKH40 for the wider soundfields. The MKH series is lovely and quiet and doesn't go into a hissy fit when it gets damp because ofthe RF pickup method.
Don't you need the file in a format the phone can read? Like for my Sony Ksomething or other I needed to convert the sounds to .amr format?
So maybe finding out the capability of the phone is a first start - not all phones can play mp3, and even those that can play mp3 don't necessarily play mp3 as ringtones...
Ah, that is clearer. Your suspensions look fine, but the way you are using them doesn't The mic cable also conducts sound to the mics (wear headphones with no input and listen to the conducted sound if you touch the cable 5cm from the earpieces to confirm this...).
You want a long piece of cable (about 30cm or more) hanging loose and then clamped to a solid structure. Or you need to make a loop and clamp it to something that won't move.
At the moment all the trouble you have taken with your suspension is being degraded by the mic cable transmitting the floor vibrations to the mics via about 5-10cm of the cable, which is resting on the floor. Listen to the mic when you tap the floor, then raise the stand so there is more of a loop of wire, maybe taped to the stand after 30cm of a loose loop, and tap the floor again.
The mics are not necessarily at fault - any mic with an extended LF response will behave similarly. But at least the fix is low cost.
You also have the mics low-down on a table. This will tend to boost low frequencies by working as a boundary, if you raise the stand and have it on the floor aimed across the table you will pick up less sound from the table and have more air for the mics to pick up sound - you may get a better stereo image too. The NT4 have a reasonably good reputation though people sya they are a little more prone to handling noise than others so you will need to take a bit more care with the mounting. This is easier to do indoors though.
You may also want to look at using O rings for your suspension (or old VCR belts) these do not have the bounce that rubber bands do, so they have more internal damping which may help. Also experiment with the tension on your elastic suspension. I use a similar rig to yours sometimes, using wide flat rubber bands, and it works very well. Not quite as good as a dpa shockmount but the price is good. On the dpa they use specially thin and damped cable to reduce mechanical sound conduction through the cable to the mic, but I find if you have a long enough length from the mic to the clamped cable this works well enough with normal mic cable.
Thanks for your reactivity, Ermine, it's really great to ask something and have answers within an hour !
I agree with what you say, and it's true that I recorded the sound on a wood floor. I was still using these homemade suspensions, which are not my best handwork :
(You'll understand why I call them "rednecks"... :wink: )
So, I understand the first point : buy suspensions (or a least one for the NT4) !
But there will be always the problem of low frequencies on the NT4, and the noise on the Sontronics is still bothering me. So, any advice on microphones ?
Hey dude, glad ya liked it. It's a bit drawn out and cheesy when I look back on it now but meh..
I used a 57 close to the shooter and Marshal MXL2001 large diaphram condensors for the ambiance and target mics. The mic pres were via the Allen and Heath Mixer in the tent.
For mixing i had to realign all the tracks as there's a time delay between all the mics and just mixed a few with low ambiance and some with alot for big reverb tails.
And tweaking means giving a slight adjustment to something.
Hope that helps. Cheers.