Im new on freesound and cant figure out how to download samples. It says that you right click and save but does not specify where!
I concur on the Nagra. Very good preamp, loooaaads of gain without getting too noisy. LS-10 is very sturdy and good quality as well.
If I were goind I'd complement the kit with a handheld mic such as the Beyerdynamic MCE 82.
My two cents worth. (looking forward to Costa Rica uploads here
If money is no object and weight and size are, you may want to check into the Nagra ARES-MII.
Smaller and lighter than the Sony (and about twice the price). Also about half the power
consumption (runs for about 12 hours on two AA NiMHs). And can record MP3 in addition
I have two, and carry one with me almost everywhere.
Downside vs. the Sony is that you're limited to 2GB of non-removable memory.
One thing to bear in mind wen choosing a recorder that will serve as back-end to a pre-amp is the line-in sensitivity or "input-level" as it is sometimes called in gear manuals.
The rationale is that you must be able to linu-up mixer and recorder signals. A 0dBFS signal on the pre-amp must yield 0dBFS on the recorder. Most (professional) pre-amps or field mixers allow you to output a line up tone, either at 0dBFS or Full Scale line-up or at nominal gain, usually at 0dBu, which depending on the standards used corresponds to -18dBFS (in Europe) or to -20dBFS (US).
Zoom recorders (I am told) do not have enough input sensitivity to adequately line-up to a pre-amp, nor does the Olympus LS-10 (I've got one and tried it). The TASCAM DR-1 however does comply. Needless to say that Sound Devices, Zaxcom etc. do comply as well.
To me this is what distinguishes (a.o.) professional from non-professional gear.
Have you got any idea, how the "usual suspects" differ on that score?
"Also another one I am looking for is the old "test tone" or whatever it is that old tapes used to have, You would put on a audio cassette and it used to have that "bo boo booo booooop" kind of thing"
I remembered seeing this on freesound
might be what you are looking for.
Inchadney, you know my opinion: in order of importance mic > preamp > recorder
As regards 'cheap' digital recorders, one picks a particular model considering characteristics unrelated to sound quality such as weight, size, battery life, ease of use, reliability, type of media, and... price. Uber-expensive recorders with good preamps play in a different league, of course
Zoom H2 100g without batteries. Included foam windshield. Dead Kitten fits perfectly.
As I use a preamp most of the time, I wonder if there is a big difference in the quality of line-in recordings, depending on which field-recorder one is using?
Any ideas? :?:
d50 is 366 g (batteries included), 33x74x155 mm
LS10 is 165 g (binc), 22x48x131
R09HR 174 g (binc), 27x63x113
Unless weight/size is a really serious issue the D50 seems the best option (quality-wise). Be sure to get AD-PCM1 windscreen...
Looking for a sample from those old childrens tapes that you would read a book along to, the kind of thing where you would put the tape in, press play, it would have a voice and tell you that "when you hear -this- sound *the sound plays*, Turn the cassette over to side b" type of thing. (quotation marks pretty much denote exactly the sample I am after, if anyone gets what i mean, or even remembers these things??)
Also another one I am looking for is the old "test tone" or whatever it is that old tapes used to have, You would put on a audio cassette and it used to have that "bo boo booo booooop" kind of thing
I do hope this is a "good request" as I have never posted on here before, but thought someone might with a lot of luck be able to help me out here.
I am looking to use these for a live performance as a sort of intro to the show. Will ofcourse have links to the live material [video and audio] all in good time, but it is amazingly hard to try and find anything of any real relevance nowdays with the sheer amount of "information" on the internet haha!
Sad thing is too, about ten years ago I had both the tapes with the aforementioned, but I guess growing up, they got lost/given away or something somewhere! So, itd be really nice to find both again if anyone can help me out!
Shall keep checking, and keep up the good work everyone
Regards from "the land down under"
Well loving mine. Had it a few weeks got it from B+H (came with the windscreen which is essential in my opinion). haven't got many files here at work, but could post up something simple. what would be good for you for a test. have a few controlled condition stuff and some ambiant stuff (train stations etc). haven't totally put it through its paces yet.
Time for me to start daydreaming about a new recorder, my microtrack now lasts about 15 minutes on a full battery charge...
And it's firmware is really, really broken in various ways.
On the 9th of November I'm going for 3 weeks to Costa Rica and I want to take some recording material.
This will be a relatively lo-fi trip, with backpacks mostly, so I need something rugged and small.
I was thinking Sony PCM-D50... I'm guessing there are no real contenders right?
Perhaps + the sony windscreen?
Does anyone have a test of the recorder + windscreen?
I need a sound that starts out low then builds up and has a hard KABAAM! that you hear like in electro music.
Does anyone know what im talking about?
If I knew what it was called I would type it but I don't.
Hi, Have a look at this website:
I would be really happy to see lots of sounds in the public domain.
Kind people will usually credit the authors but when you create a sound mix for example and use 500 sounds for it it's really a mess to credit everyone.
If you create a game(or even a mod) you have lots of soundmixes using hundrets of sounds and the same with pictures/textures too.
You can print a book to credit everyone correctly and get a bunch of license .....
That's why PD is so good. You can really use the sounds in anyway you want.
For the same reason I started to release lots of my pictures(useful for 3d-game textures) to the public domain at http://www.burningwell.org.
I hope freesound 2.0 will be there soon ( and every artist will be initially asked if he will release his sounds into the public domain).
I go for logo 1, it refeeshes the old one but keeping it's spirit.
I could only suggest searching for this on ccMixter. Perhaps requesting on their forum too.
I would say it is allowed. Commercial use is all fine, as long as the works (in this case sounds) are not used to advertise for or promotoe anything other than the work you create from it. I read that as you may use it in commercial works (movies, music), but you may not use them for commercials other than those for the work you created. So you may not make a commercial for shoes or cars or anything, but you may use the sounds in a movie trailer or ad for music album, when you use a part of the work (movie, album) containing that sample. I hope that's clear.
For example, I made a video using freesounds, posted it on Revver, which makes it commercial use (as Revver pays for overlayed ads). I can make a trailer of that video in which you hear the freesounds, that is ok. But I cannot use the video to advertise for anything else.
That's one part of the Sampling + license. A second part is the line "For any reuse or distribution, you must make clear to others the license terms of this work. The best way to do this is with a link to this web page." Just as Bram said, you must attribute the sounds, you can think of it as metadata. When people choose sounds in a computer system, they should on the respective pages see who created the samples (attribution) and how I read it, you must also show the sounds are licensed under Creative Commons Sampling + license.
If people can choose sounds from a list on paper, it can be done easily by simply format the list as by [creator] and a line at the bottom with the license.
Again, if you want to be really sure, you should ask a lawyer.
Remember that the chain keeps going after the splash !