most recent 30 from http://socialsounddesign.com 2012-02-05T03:46:07Z http://socialsounddesign.com/feeds/user/61 http://www.creativecommons.org/licenses/by-nc/2.5/rdf http://socialsounddesign.com/questions/12476/best-mic-to-record-wind-with/12486#12486 Jay Jennings 2012-02-03T23:50:13Z 2012-02-03T23:50:13Z

<p>You may be able to leave the engine running if you can enough isolation with your mics. This will work to your benefit since you'll be able to increase or decrease your speed at will, or coast in neutral. Plus it will be a lot safer. </p>

http://socialsounddesign.com/questions/12470/mixers-what-are-your-dialogue-editing-preferences/12472#12472 Jay Jennings 2012-02-03T06:48:11Z 2012-02-03T06:48:11Z

<p>My forté is not in dialog editing but I can shed some light based on working with and learning from some really talented people:</p> <ul> <li><em>Do you like 4 frames or 2 frames fade outs and ins on scenes?</em></li> <li><em>How long do you like your fades from character to character in a scene?</em></li> </ul> <p>Depends on the scene but I'd use 2 frames as the standard. That's how I prepare FX, BG and Foley tracks. Can't advise on the character to character fades but I assume it depends mostly on the amount of similar/dissimilar noise from angle to angle. </p> <ul> <li><em>Do you like muted extra tracks on the dialogue tracks in addition to inactive AAF tracks at the bottom of the session window?</em></li> </ul> <p>This is basically a question regarding conveying information and organization. If you prepare a slew of muted regions but no one knows why there are there, then you've created a <strong>problem</strong>. If, on the other hand, you prepare a slew of muted regions and TELL the mixer what they are for and why they may need them, then you've provided <strong>options</strong>. Also, having the editor's tracks (OMF or AAF) running along in the session is <strong>CRITICAL</strong>. You will be constantly referencing and pulling material from those tracks during the mix, and if you don't have the editor's tracks then you've screwed up royally and will pay dearly.</p> <ul> <li><em>Do you prefer characters to consistently be on the same tracks? Do you require this throughout the project or just in a scene?</em></li> </ul> <p>Principal characters should always be on the first four (or so) tracks of the dialog session, allowing room to split for new angles or locations. Secondary characters can bounce around a bit but it's better to keep them up near the top if possible. Definitely keep continuity within the reel but it's not necessary to have the exact same track layout throughout the whole project (unless you can pull it off, which would be fantastic).</p> <ul> <li><em>Do you want your dialogue editor to Izotope clicks and crackles?</em></li> </ul> <p>Depends on a few things: Your proficiency with Izotope (don't render regions that are over-processed), the type of noise you're considering for reduction (certain noises may be better left to the mixer to work with), etc. If you do process regions with Izotope (or similar plugs) then be sure to leave a muted original in sync on a nearby track in case somebody doesn't like what you've done.</p> <ul> <li><em>Do you checkerboard your dialogue from one character to another even if it was recorded on one mic?</em></li> </ul> <p>I think that depends on the scene but I would say generally no. You'd be creating extra work for yourself and may do more harm than good.</p>

http://socialsounddesign.com/questions/12459/snowman-icy-voice/12460#12460 Jay Jennings 2012-02-02T18:51:27Z 2012-02-02T18:51:27Z

<p>If you are having a voice actor perform the voice for you (which is a great idea, btw) make sure you get the best performance possible, with plenty of options. Once you have that in place and working, you may want to start layering in sounds of glass cracking or spiderwewbbing, ice cubes crushing, plastic twists, etc. Maybe those sounds can live under the consanants or percussive parts of speech. Maybe try more open sounds under the vowels, ie. Ice moans, glass rubs, crystal rubs, etc. </p> <p>And see where that takes you!</p>

http://socialsounddesign.com/questions/12441/examples-of-exciting-mixes/12442#12442 Jay Jennings 2012-02-02T00:39:52Z 2012-02-02T00:39:52Z

<p>There are too many to name.</p> <p>Se7en always stands out to me, as do Saving Private Ryan and District 9.</p>

http://socialsounddesign.com/questions/10520/canned-sounds-vs-ones-you-record-yourself/10521#10521 Jay Jennings 2011-09-26T03:48:25Z 2012-01-31T17:06:05Z

<p>That's ridiculous. </p> <p>I don't agree with that comment at all. Just because you're using sounds that you didn't personally record doesn't mean that you're not making creative choices. Very seldom will library sounds work perfectly for the project you're working on, and it's up to you to mold and shape those sounds and make them your own.</p> <p>Should everyone be recording, mastering and using their own custom recorded fx? Sure, in a perfect world with generous budgets of time and money. Now, show me that perfect world ---</p>

http://socialsounddesign.com/questions/12421/removing-duplicate-sounds-different-metadata-in-soundminer-v4pro/12423#12423 Jay Jennings 2012-01-31T01:59:42Z 2012-01-31T01:59:42Z

<p>Hi Chris,</p> <p>I've experienced this many times and I'm afraid you're kinda out of luck re. automated removal of identical recordings. Since both the filename and description / metadata are both unique, there is no way for Soundminer to identify which ones are the same. Your best approach (should you even choose to undertake it) is to delete already existing files when you encounter them. </p>

http://socialsounddesign.com/questions/12331/what-is-the-future-of-recording-technologies Jay Jennings 2012-01-23T08:36:05Z 2012-01-25T05:15:31Z

<p>Great strides have been made in the field of sound recording over the last couple of decades. We've seen (in no particular order):</p> <ul> <li>Digital recording (both tape and disk based)</li> <li>Multichannel recording</li> <li>Multichannel mics (think Holophone or any other mic that captures more than a stereo image)</li> <li>improved contact mics</li> <li>improved hydrophones</li> <li>sub- and super-sonic mics (think miss that can capture below 20Hz or above 50kHz)</li> </ul> <p>…and many more.</p> <p>But, <strong>what's next</strong>? What's that next big tech that will be a true innovation? I'm thinking something akin to what 3-D capture has done for the visual medium (think Avatar).</p> <p>And let's keep this thread clear of any reproduction systems, ie. 5.1, 7.1, etc. I'm interested in the future of HOW we capture sound, not how it is played back. </p>

http://socialsounddesign.com/questions/2563/what-does-the-future-hold/2578#2578 Jay Jennings 2010-08-09T07:35:02Z 2012-01-23T08:26:52Z

<p>I believe there were several eras when the importance of sound was understood and given the resources required (think 1930s, 1970s). I'm not sure we're in one of those eras now, however. Speaking from a feature film standpoint, the budgets for post-production sound have been greatly reduced over the last decade, and this reduction has of course resulting not only in stagnating wages but also smaller crew sizes and shorter schedules. </p> <p>One driving force behind this is the perpetuating philosophy that "digital makes things easier and faster" - which is true in many ways. But just because it can be done faster doesn't mean that it <em>should</em>. Sound is an art, just as much as writing, set design, and picture editorial. It should not be viewed (or budgeted) as a technical task to complete in the last stages of the film's schedule.</p> <p>These budgets will continue to decrease and there's only so much "educating" that can be attempted before the producers and directors get tired of your complaints and take their business elsewhere. This is a <strong>business</strong>, after all, and so long as we keep delivering stellar soundtracks under less-than-desirable conditions, then what motivation do they really have to pay us more??</p>

http://socialsounddesign.com/questions/12327/slowing-down-sound-a-lot-suggestions-needed/12329#12329 Jay Jennings 2012-01-23T05:34:12Z 2012-01-23T05:34:12Z

<p>Try:</p> <p><a href="http://hypermammut.sourceforge.net/paulstretch/" rel="nofollow">paulstretch</a> </p> <p>or </p> <p><a href="http://photosounder.com/" rel="nofollow">photosounder</a></p>

http://socialsounddesign.com/questions/12285/conceptualising-possessed-double-voice-dialogue/12298#12298 Jay Jennings 2012-01-21T06:56:44Z 2012-01-21T06:56:44Z

<p>There are no wrong answers here… Above all, CLARITY is key. If people can't understand the words you're sunk before you leave the harbor. So whatever you do - make sure you protect the dialog. </p> <p>Off the top of my head…</p> <p>Approach #1: Use EQ. High-pass the character's voice around 3k (or higher, maybe 8k) so you simulate a whisper (similar to Utopia's idea). Low-pass the magician's voice around 500Hz or so to capture the body. Perhaps the two EQ curves have a good amount of crossover so you don't miss the mids? In addition, try adding some synthesized low end to the magician (ie. Lowender, LoAir) - this may heighten the menace.</p> <p>Approach #2: Use Pitch. Keep the characters voice as it is but duck it in level by a fair amount. Process the magician's voice through something like UltraPitch 6-voices to give it an otherworldly feel (similar to Andy Lewis's idea). Be careful, it can start sounding faked if you push it too much.</p> <p>Approach #3: Use your fader. Try dropping the character's voice altogether and just use the magician's voice. And make it front and center, no mistaking that it's him. Who knows, that could be completely wrong for your project but could be worth a shot. Sometimes, it's better to just let it jump right out and bite you than to hide everything behind gauzy reverbs and delays and such.</p> <p>Approach #4: Use convolution. I have no idea how this may work, but try using the magician's dialog as an IR and process the character's speech through it. You'd probably have to do it on a word-by-word basis, but it could be incredibly cool! (Or an utter failure).</p> <p>Would love to hear what you come up with - please consider posting your results so we can all benefit from your experience.</p>

http://socialsounddesign.com/questions/12034/request-archival-recordings-of-metropolitan-cities-and-traffic Jay Jennings 2012-01-02T06:35:34Z 2012-01-10T08:09:44Z

<p>Hello all, and happy new year!</p> <p>I'm searching for 1930's to 1950's-era traffic and urban recordings from (preferably) individual or boutique libraries (read: not Sound Ideas, Hollywood Edge, all the usual suspects). My goal is to capture the feel of what the major metropolitan cities of the United States sounded like on any given day. Think downtown New York, Chicago, Los Angeles, San Francisco; traffic ambiences made up of classic Fords, Packards, Plymouths, Studebakers, etc, as well as other modes of transport such as electric street cars, cable cars, motorcycles, etc.</p> <p><strong>UPDATE:</strong> As I stated before, this request isn't limited to the United States; I believe cities such as Cuba and Mexico have many vintage American autos still on the streets and relatively low levels of heavy traffic wash from freeways and interstates. <strong>If there are any SSD folks living in such an area, I would love to talk with you re. your existing recordings or perhaps gathering new ones for this purpose.</strong> </p> <p>I'm looking forward to the ensuing thread and all possible leads!</p>

http://socialsounddesign.com/questions/12057/using-pro-tools-midi-and-tempo-tools-for-sound-design Jay Jennings 2012-01-03T18:11:41Z 2012-01-05T20:31:15Z

<p>Who is using the various Tempo and MIDI functions in Pro Tools for sound design creation, and how?</p>

http://socialsounddesign.com/questions/11525/is-this-the-zoom-killer Jay Jennings 2011-11-23T07:05:49Z 2012-01-04T23:27:06Z

<p><img src="http://www.tascamcontractor.com/content/images/universal/misc/im2_with_iphone_grey.jpg" alt="alt text"></p> <p>Probably not, but at $80 it may become many people's go-to solution for impromptu everyday captures. And although it's currently capped at 16bit-44.1kHz, I imagine it's only a matter of time before a software/firmware update takes care of that.</p> <p>Perhaps someone can shed some light on this: This device has it's own D/A converters so it's not relying on the iphone's capability to do this. Would this mean that rates beyond 16bit/44.1k would be possible?</p> <p>Also, as a note, Tascam says that the mics are adjustable up to 180 degrees front to back, so at least there is a limited amount of control over the stereo image. And regarding the quality of the preamps, they are the same as those used in the DR series. I have a DR-680 and can tell you that they are not very quiet, however they are quite acceptable if you're not recording ultra delicate or sensitive sources. </p> <p><a href="http://www.tascamcontractor.com/product/im2/overview/" rel="nofollow">Tascam iM2</a></p>

http://socialsounddesign.com/questions/357/best-use-of-ergonomics-in-an-pro-tools-editing-environment Jay Jennings 2010-03-16T06:29:16Z 2012-01-04T03:24:55Z

<p>If you're anything like me you spend up to 12 hours a day sitting at an audio workstation, toiling away at your craft. Very often these workstations are set up in an office-type setting, ie. desk, keyboard, monitor and mouse, which arguably is <em>not</em> the best setup for this sort of thing. I mean really, is the QWERTY keyboard the best input device for a sound designer?!</p> <p>So, who has devised good ergonomic strategies? Who's using tablets or scroll wheels, control surfaces or touchscreens (including iPads)? How many video monitors is enough? Quickeys or other software automation packages?</p>

http://socialsounddesign.com/questions/11998/what-was-the-job-you-were-most-proud-of-doing-in-2011/12001#12001 Jay Jennings 2011-12-31T08:17:17Z 2011-12-31T08:17:17Z

<p>I can't judge whether I did a smokin' job on it or not, but I was really proud of the work we did on Captain America: The First Avenger. A very tall order in an extremely short amount of time. Lots of talented people put their 110% into it and I think it shows.</p>

http://socialsounddesign.com/questions/11997/how-do-you-tell-people-what-your-profession-is/12000#12000 Jay Jennings 2011-12-31T08:13:21Z 2011-12-31T08:13:21Z

<p>You know all those cool sounds you hear in movies, like robots, zombies and car chases? I make that.</p>

http://socialsounddesign.com/questions/9502/tension-sounds-like Jay Jennings 2011-08-09T06:16:13Z 2011-12-06T06:14:24Z

<p>What does tension sound like? Tension, in the case, meaning the feeling that if you don't complete your task in time, you will fail or be attacked. You have :05 to sell it.</p> <p>(This is one of those questions that has no context. But that's ok, because the assignment doesn't really have a specific context, either.)</p> <p>UPDATE: <strong>No ticking clocks</strong>! But you may incorporate other sounds that could evoke elements of time…</p> <p>UPDATE: <strong>No heartbeats</strong>! But you may incorporate other sounds that could evoke awareness of one's own self…</p>

http://socialsounddesign.com/questions/3096/update-tech-question-slow-to-boot-pro-tools-9 Jay Jennings 2010-08-24T08:48:58Z 2011-12-05T21:55:20Z

<p><strong>Figured this was worth following up since PT9 is a popular topic as of late. I was hoping that the jump to PT9 would solve this very frustrating and time consuming bug, but it doesn't seem to have. If any of you are experiencing this same issue, pls chime in and maybe we can figure it out. PS. I have tried all of the suggestions below, to no avail</strong>.</p> <p><br> (orig post below with updates <strong><em>in bold italics</em></strong>)</p> <p><br></p> <p>Sorry folks, I know this isn't a sound design question but I'm posting this out of utter frustration and desperation. </p> <p>Pro Tools is not booting up correctly. Click on the icon, it's bounces in the dock for a while, stops and acts like it's not doing anything. 3-4 minutes (!) later it decides to start booting up. <strong><em>This is intermittent, but nearly every time.</em></strong> Things I've tried:</p> <ul> <li>trashing all digi prefs/setup files</li> <li>Diskwarrior on all drives</li> <li>unmounted drives one by one, then retrying boot process</li> <li><em><strong>replaced a drive that I thought was at fault, but did not make a difference.</em></strong></li> </ul> <p>System specs:</p> <ul> <li><em><strong>PT 9</em></strong></li> <li><em><strong>OS X 10.6</em></strong></li> <li>Digi 192</li> <li>6gb RAM</li> <li>3 1TB drives, 1 2TB drive</li> <li>no periph devices attached besides USB querty board.</li> </ul> <p>Your professional advice is certainly appreciated. Thanks all -</p>

http://socialsounddesign.com/questions/2911/a-study-in-effective-sound-design-the-terminator-1984 Jay Jennings 2010-08-18T07:34:02Z 2011-11-30T07:34:25Z

<p>So I'm flipping channels and find <a href="http://www.imdb.com/title/tt0088247/" rel="nofollow">The Terminator</a> on AMC. And it was just starting! It's been a while since I've seen it in its entirety, so I decided to give it my full attention.</p> <p>The thing that strikes me immediately: <strong>Sound design with a purpose</strong>. This is a soundtrack that tells a story right from the first scene. It is not sound <em>for the sake</em> of sound, but rather with the intent of immersing you in a time and place, specifially Los Angeles, circa 1984. The trash truck's groans and squeals, all air pistons and clanging forks. Wonderful.</p> <p>The fights, gun shots, and gun foley are incredibly powerful and beautifully detailed. The shootout in Tech-Noir, the attack on the police station: Brutal. Unforgiving. Uncensored.</p> <p>The smashes, crashes and general mayhem are expertly executed. The car chase through the garages and underpasses: Exciting and clean. This track is really a study in how the <em>right sound</em> can make the scene; you can tell that the redundant layering of elements (as many editors/designers work today) is very much absent here. Each sound is proudly presented and put right out front to affect the viewer and keep the story moving.</p> <p>Does it sound dated? Well, some parts of it do. But be forgiving, this film was released in 1984! And for the number of sounds that sound a bit lo-fi, there are double that number that sound crisp and full of life, ie. the automatic weapons, the terminator vision fx. (I wonder, though, how much of the sound I heard was a product of the restoration that was completed by the folks at Skywalker Sound?) If anyone out there was involved in the making of this track or know someone who was, would you please enlighten us with stories?</p> <p>Of course, having a <a href="http://www.imdb.com/name/nm0000116/" rel="nofollow">director</a>, <a href="http://www.imdb.com/name/nm0005036/" rel="nofollow">producer</a> and <a href="http://www.imdb.com/name/nm0325358/" rel="nofollow">picture editor</a> that nurture and demand this level of prowess is critical. Too many middling, timid filmmakers have caved in on boldly-presented sound, and it's rare for a film's visual style to be so excellent as to be able to support such a track.</p> <p><a href="http://www.imdb.com/name/nm0133095/" rel="nofollow">David Campling</a>, the supervising sound editor credited on IMDB, deserves a huge round of applause for his attention to detail. If you haven't seen this movie in a long time, I encourage you to watch it soon! </p>

http://socialsounddesign.com/questions/4925/how-did-they-do-that-vol-1-the-predator-clicks Jay Jennings 2010-12-01T20:45:12Z 2011-11-26T07:27:55Z

<p>If anyone knows how the iconic Predator "click" vocalizations were created (for the original film, that is), then please, do share! (This means you <a href="http://www.imdb.com/name/nm0831823/" rel="nofollow">David Stone</a>, <a href="http://www.imdb.com/name/nm0027328/" rel="nofollow">Richard Anderson</a> and <a href="http://www.imdb.com/name/nm0654897/" rel="nofollow">John Pospisil</a>!) If you don't, then I'm open to your theories!</p> <p>GO!</p> <p>PS> Let's keep this thread dedicated to this question; if you want to discuss a different iconic sound and how it was created, please start a new thread following the convention of Vol. 1, Vol. 2, etc. etc.</p>

http://socialsounddesign.com/questions/11554/use-of-library-sounds-vs-recording-from-scratch/11566#11566 Jay Jennings 2011-11-25T07:03:30Z 2011-11-25T07:03:30Z

<p>To echo a bit of what @Shaun said, it's definitely preferable to record your own material and build your library. Time and budget don't always allow, but when they do it's a perfect occasion to build your personal stash of sounds and set yourself apart from all the rest.</p>

http://socialsounddesign.com/questions/11369/quick-survey-re-magical-sounds/11498#11498 Jay Jennings 2011-11-21T16:08:05Z 2011-11-21T16:08:05Z

<p>Heavenly choir / voices and any sort of bells.</p>

http://socialsounddesign.com/questions/11443/request-mouse-squeaks/11449#11449 Jay Jennings 2011-11-18T07:08:44Z 2011-11-18T07:08:44Z

<p>Make your way to the local pet store. Talk to the owner / manager about what you need and why you need it; you will probably find them willing to help and interested in what you need the sounds for. </p> <p>Also, try guinea pigs, hamsters and gerbils. </p>

http://socialsounddesign.com/questions/11407/request-elephants/11415#11415 Jay Jennings 2011-11-16T04:48:14Z 2011-11-16T04:48:14Z

<p>Be sure to check with the production company for any location sound recordings they may have from the shoot. </p>

http://socialsounddesign.com/questions/11357/how-would-you-sound-design-a-monster-made-out-of-hair/11402#11402 Jay Jennings 2011-11-15T07:55:53Z 2011-11-15T07:55:53Z

<p>When we were designing the soundtrack for Tangled (the Disney movie), one of the big challenges was how to create the sound of Rapunzel's hair. We recorded a TON of material, mostly plant-based but also using different types of cloth. Some of the results were less than astounding but there were some great discoveries along the way, and although they weren't big players in the final mix, they definitely played a part and contributed to the storytelling.</p> <p>So, I would encourage you to try recording your own foley for your project. Experiment with different plants; the subtle textures and weights may be helpful in developing your character. Also try canvas, burlap, velvet, velcro, any synthetic fabric, etc. Go for small movements that are close-mic'ed - record at the highest sample and bit rate, then manipulate from there.</p> <p>Good luck, and have fun!</p>

http://socialsounddesign.com/questions/82/what-are-your-favourite-sounds/115#115 Jay Jennings 2010-03-05T07:12:33Z 2011-11-07T07:34:11Z

<p>1.) What are some of your favourite sounds?</p> <p>Rain and distant thunder, metal resonances, tires on snow and my children laughing.</p> <p>2.) What are some sounds that you relate strongly with memories of your childhood?</p> <p>Growing up in Maine, I have vivid memories of very specific sounds, including: Blue Jays screaming, Chickadees deep in the forest, tractors in the field, loons on the lake and whipporwills singing with crickets at night.</p> <p>3.) What are some sounds that, in your opinion, are strongly evocative of the city/town that you are currently living in?</p> <p>Southern California has the same blanket of urban noise common to most other metro cities. What sets it apart from the rest? The wild parrots at sunrise and sunset, and the crows vocalizing in the trees, among other things.</p> <p>4.) What are some sounds that you can hear right now as you read this text?</p> <p>The PALAOA hydrophones underneath the Antarctic ice streaming thru iTunes. <a href="http://www.awi.de/de/aktuelles_und_presse/hintergrund/palaoa_wie_klingt_das_suedpolarmeer/livestream/" rel="nofollow">http://www.awi.de/de/aktuelles_und_presse/hintergrund/palaoa_wie_klingt_das_suedpolarmeer/livestream/</a></p>

http://socialsounddesign.com/questions/629/getting-rid-of-room-sound-on-a-voice-recording/643#643 Jay Jennings 2010-04-12T05:14:42Z 2011-10-20T03:50:35Z

<p>Depending on your budget there are several noise reduction tools you can try:</p> <ol> <li><p><a href="http://www.waves.com/Content.aspx?id=259" rel="nofollow">Z-Noise</a> from Waves. Does a great job at a reasonable price but the algorithm doesn't hold up very well against too much reduction (ie. your dialog will start to sound "underwater")</p></li> <li><p><a href="http://www.waves.com/Content.aspx?id=9943" rel="nofollow">WNS</a> from Waves. More advanced than Z-Noise, approaching the quality of a CEDAR. Is very impressive, but beware dialog pumping from too much processing.</p></li> <li><p><a href="http://www.cedar-audio.com/" rel="nofollow">CEDAR</a>. It's what the pros use. Very expensive, but if you can borrow one for a while or if you know someone who owns once and can do a test-pass on some of your material it would be worth your while.</p></li> </ol> <p><strong>UPDATE</strong>: A friend of mine recently turned me on to <a href="http://spl.info/software/microplugs/de-verb.html" rel="nofollow">SPL De-Verb</a>. It works really well at reducing…you guessed it -- reverb! It's a fantastic one knob solution that surely does the trick.</p> <p>Best of luck!</p>

http://socialsounddesign.com/questions/369/who-is-using-a-vocoder-these-days-and-how Jay Jennings 2010-03-17T06:50:46Z 2011-10-13T19:46:02Z

<p>This wonderful little device has stood the test of time but rarely does it make its way into my sound design bag o' tricks. Who has good tips or stories?</p> <p>Btw, my version of a vocoder comes by way of Pro Tools plug-ins…what are you folks using?</p>

http://socialsounddesign.com/questions/10750/wood-workshop-recordings/10753#10753 Jay Jennings 2011-10-06T23:17:49Z 2011-10-06T23:17:49Z

<p>One thing that's sorely missing from my library is lumber being stacked, dropped, etc. Would be GREAT if you could record some of that from many different perspectives, close and distant, interior and exterior. And not so that it sounds like a big white-noisy wood crash, but rather to capture that distinctive "pang" (or whatever) that you hear when logs or lumber are impacted.</p>

http://socialsounddesign.com/questions/4003/hydrophone-as-a-contact-mic/10684#10684 Jay Jennings 2011-10-04T07:22:24Z 2011-10-04T07:22:24Z

<p>I've done a few sessions using H2a hydrophones as contact mics, and they really do a great job of capturing clean, clear signals. My primary problem with using them in that context is that, even with the rubber cup mount, they don't really stabilize unless your surface is completely flat and gravity is working in your favor. Even with mild angles or curves you lose that direct coupling between the mic and the surface, thus reducing the amount of signal you can pick up. A couple of solutions that have worked for me:</p> <ul> <li>Duct or electricians tape!</li> <li>Velcro wraps (tricky to keep them from slipping off the cylindrical mic but doesn't leave a sticky residue like tape)</li> </ul> <p>Sometimes I forgo the rubber cup altogether and press the mic directly onto the desired surface with my hand. I'm pretty confident that this yields a better recording since there's nothing coming between my noise source and the mic capsule, but you've got to be very, very still since the H2a is so sensitive. </p>

http://socialsounddesign.com/questions/12459/snowman-icy-voice/12460#12460 Jay Jennings 2012-02-02T19:07:36Z 2012-02-02T19:07:36Z

Cast both. Have the male do a very high voice and the female a very low voice. Then blend them together! Honestly i have no idea what would work best for your project...talk with your director and start experimenting.

http://socialsounddesign.com/questions/12441/examples-of-exciting-mixes/12442#12442 Jay Jennings 2012-02-02T02:35:19Z 2012-02-02T02:35:19Z

They each had a different emotional impact, none better than the others. Just different.

http://socialsounddesign.com/questions/12407/compressors-for-dia-and-for-music Jay Jennings 2012-01-29T07:18:47Z 2012-01-29T07:18:47Z

@Abhishek Pant, your question is too broad. Pls be more specific.

http://socialsounddesign.com/questions/12331/what-is-the-future-of-recording-technologies/12356#12356 Jay Jennings 2012-01-25T00:06:07Z 2012-01-25T00:06:07Z

I love your ideas!

http://socialsounddesign.com/questions/11525/is-this-the-zoom-killer/12073#12073 Jay Jennings 2012-01-04T23:29:57Z 2012-01-04T23:29:57Z

@Eckhard K, fantastic answer! Thanks for posting all the links -

http://socialsounddesign.com/questions/12066/live-production-monitors-not-working-anymore Jay Jennings 2012-01-04T05:46:14Z 2012-01-04T05:46:14Z

@Nate - this is not the forum for that type of question. First off, it's not related at all to sound design. Second, it's WAYYYY to broad. Could be anything at all ---

http://socialsounddesign.com/questions/12057/using-pro-tools-midi-and-tempo-tools-for-sound-design/12061#12061 Jay Jennings 2012-01-04T05:14:45Z 2012-01-04T05:14:45Z

@Adam Primack, thanks for the add'l info. This is a newbie question, but - does Tempo affect all tracks in the session, or just specific ones? I find this whole side of PT confusing since I work to picture 95% of the time and the way tempo affects things makes me nervous about locking to feet:frames or time code.

http://socialsounddesign.com/questions/12057/using-pro-tools-midi-and-tempo-tools-for-sound-design/12061#12061 Jay Jennings 2012-01-03T22:27:00Z 2012-01-03T22:27:00Z

@Adam Primack, that's fantastic! Can you post some samples, a tutorial, or some step-by-steps?

http://socialsounddesign.com/questions/12034/request-archival-recordings-of-metropolitan-cities-and-traffic/12059#12059 Jay Jennings 2012-01-03T19:27:58Z 2012-01-03T19:27:58Z

@Justin Pearson, thanks for the input -

http://socialsounddesign.com/questions/12034/request-archival-recordings-of-metropolitan-cities-and-traffic/12040#12040 Jay Jennings 2012-01-02T17:04:27Z 2012-01-02T17:04:27Z

@Jascha Viehl, great idea. I will investigate!

http://socialsounddesign.com/questions/11998/what-was-the-job-you-were-most-proud-of-doing-in-2011/12001#12001 Jay Jennings 2012-01-02T06:24:23Z 2012-01-02T06:24:23Z

@Andrew, @Ville, @Utopia, thank you very much for the kind words! As said before, it was a true team effort - and I was really pleased to be a part of it.

http://socialsounddesign.com/questions/11769/river-large-stream-sound-design Jay Jennings 2011-12-08T01:46:14Z 2011-12-08T01:46:14Z

@Dominic, I don't understand your question. Are you recording foley or trying to create the sound of a river?

http://socialsounddesign.com/questions/11655/sound-editors-dilemma Jay Jennings 2011-12-01T17:19:32Z 2011-12-01T17:19:32Z

@Chris Davis, there's much to be said on this topic. I recommend you read through some of the previous threads on similar topics for insight: <a href="http://socialsounddesign.com/questions/5532/moving-worlds-within-audio-post" rel="nofollow" title="moving worlds within audio post">socialsounddesign.com/questions/5532/&hellip;</a> <a href="http://socialsounddesign.com/questions/2050/whats-the-best-city-for-sound-designers-to-start-their-careers" rel="nofollow" title="whats the best city for sound designers to start their careers">socialsounddesign.com/questions/2050/&hellip;</a>

http://socialsounddesign.com/questions/11640/complexities-of-audio-cleanup Jay Jennings 2011-11-30T18:24:21Z 2011-11-30T18:24:21Z

Your question is way too broad. You need to be more specific - are you trying to reduce traffic noise, light buzzes and hums, generators and compressors, ground loops, etc.

http://socialsounddesign.com/questions/11619/addicted-to-sounds Jay Jennings 2011-11-30T07:35:53Z 2011-11-30T07:35:53Z

@g.a.harry, would you care to post a sample of your sound? I'd love to hear it!