AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Week 7 - QUESTIONS (do these first) |
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1. Describe the difference between an audio book and a talking book.
2. What would be the typical duration of a novel, as read out loud?
3. What is the maximum official duration of a CD?
4. Briefly explain the term 'characterization'.
5. Briefly explain the term 'narrative'.
6. Briefly explain the term 'description'.
7. What is 'abridgement'?
8. Briefly describe the differences in using an actor to read a book, versus a 'personality'.
9. What are 'lip smacks'?
10. What are the acoustic requirements of a voiceover studio?
11. What is an 'acoustic table'?
12. Comment on microphone distance in relation to the quality of the recorded voice.
13. When would edits be made to cut out coughs, mistakes etc.?
14. Comment on the significance of marking problems during the session.
15. What is the benefit of compression?
16. Describe the use of reverberation.
17. Comment on the use of creative recording techniques for poetry.
18. Comment on the microphone technique for audio drama.
19. In an audio drama studio, comment on the use of the dead area.
20. Comment on the use of the live area.
21. Comment on the use of effects areas.
22. Comment on the use of the narrator's booth.
23. Explain the use of walking surfaces.
24. Describe how sound effects are produced in the drama studio.
25. Comment on the value of playing sound effects through a loudspeaker in the studio.
26. How is the acoustic environment of a car interior simulated?
27. Comment on the acting area and 'no-go' area when using a coincident crossed pair of figure-of-eight microphones.
28. What is 'fader start'?
29. List the contexts in which sound effects are commonly used.
30. Comment on the value of accuracy in sound effects.
31. Why are sound effects recorded as long ago as the 1930s still in use?
32. Why is it sometimes useful for archive sound effects to sound noisy or crackly?
33. Comment on the dynamic range of real life sounds.
34. Comment on the dynamic range of recording equipment in relation to that of real life sounds.
35. Give examples of spot effects.
36. Give examples of extended effects.
38. What is 'room tone'?
39. Why must sound effects be recorded in isolation from other sounds and excessive reverberation or ambience?
40. In what context would room tone be faked?
41. Give six examples of sounds made by a car that are not mentioned in the text.
42. Comment on the problems introduced by recording sound effects in stereo.
43. Why is the coincident crossed pair (or MS) technique preferable to stereo techniques where the mics are separated?
44. Give two advantages of MS technique over a coincident crossed pair.
45. Describe Foley effects.
46. What kinds of sound would the Foley technique be used for?
47. In what characteristic is a Foley stage superior to any other recording studio?
_________________
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Mon Apr 18, 2005 3:10 am |
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JohnA
Joined: 20 Jan 2005
Posts: 28
Location: Mid Glamorgan, UK |
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Audio Course
AURT03
Week 7
SOUND EFFECTS AND SPEACH
JohnA (mixindown)
1. Describe the difference between an audio book and a talking book.
The difference between an audio book and a talking book is that an audio book is usually a recording of a novel, whereas a talking book is a sound recording of someone reading a book, made for the blind or the visually impaired.
2. What would be the typical duration of a novel, as read out loud?
The typical duration of an audio book novel would be approximately six hours.
3. What is the maximum official duration of a CD?
The maximum official duration of a CD is 80 minutes (the official Compact Disc-Digital Audio (CD-DA) Red Book format).
4. Briefly explain the term 'characterization'.
Characterization is the method used by a writer to develop a character. This method includes:
a. showing the characters appearance
b. displaying the characters actions
c. revealing the characters thoughts
d. letting the character speak
e. getting the reactions of others
5. Briefly explain the term 'narrative'.
A narrative is anything told or recounted in the form of casually linked sets of events. It is the telling of a happening or connected series of happenings, true of fictitious.
6. Briefly explain the term 'description'.
Description is a statement that represents something in words.
7. What is 'abridgement'?
Abridgement is a shortened version of a written work.
8. Briefly describe the differences in using an actor to read a book, versus a 'personality'.
The difference in using an actor to read a book verses a personality is that an actor will usually be trained in voiceover skills, which include reading, personality, acting and communication skills as well as the ability to take direct control of their vocal range. An actor would attempt to portray the characters in the reading as intended by the author. It is unlikely that a “personality” will be trained in the above skills. It is likely that by using a professional rather than a presonality, the recording process of the reading would be technically easier.
9. What are 'lip smacks'?
Lip smacks are the noises made by the lips and picked up by the microphone while recording.
10. What are the acoustic requirements of a voiceover studio?
The acoustic requirements of a voiceover studio are that the room in which the reading is taking place would ideally be small, quiet (sound proofed from external noise) and acoustically dead (free from unwanted room sounds, boxiness, reverb etc). This is to ensure that the best recording quality is captured.
11. What is an 'acoustic table'?
An acoustic table is a table purpose built for radio and production studios, where the voice is being recorded. The top is acoustically absorbent. The absorbent surface helps reduce the unwanted pickup by reflected sounds by the back end of the microphones, stopping colouration of the sound. The surface also minimises noise made by hands, pens etc that are on the surface. The acoustic tables usually have A or B guage jacks on the underframe rails to make microphone connection at the table area easier.
12. Comment on microphone distance in relation to the quality of the recorded voice.
The quality of the recorded voice is directly related to the distance that the microphone is placed from the mouth of the actor. Placing the microphone less than 30cm away from the mouth will give a warm, more intimate sound. But too get a more accurate representation of human speech, a distance of around 50cm is preferred.
13. When would edits be made to cut out coughs, mistakes etc.?
Edits to remove unwanted noises captured in the recording would be done after the entire recording has been made, at the post production stage
14. Comment on the significance of marking problems during the session.
Marking problems and making notes during the recording process will make it easier to find and correct problems at the editing stage, especially in a lengthy recording.
15. What is the benefit of compression?
The benefit of compression is that compression reduces the dynamic range between the quiet and loudest parts of a signal. The use of compression makes it easier to keep the signal at the right level. It also enables the actor to use both loud and quite speech while being recorded keeping the problem of distortion (clipping) under control.
16. Describe the use of reverberation.
Reverb can be used to “warm up” the voice. However, this can get very irritating during extended listening periods. A producer may decide to dramatize a recording, especially if the story is written in “first person” (the writer is writing about herself/himself using pronouns such as I and we.) or ambiance added where necessary to suit the story.
Reverberation can be added after recording a voice, if necessary, to put the voice convincingly in the correct acoustic space.
17. Comment on the use of creative recording techniques for poetry.
The duration of the majority of poems is much shorter than the duration of an audio book, therefore it may be more allowable to be more creative in the sound quality of the recording. In poetry recording, it might be appropriate to use sound effects and / or music.
18. Comment on the microphone technique for audio drama.
The microphone technique often employed in recording audio drama is the stereo techniqu. The 'Stereo Sound Stage' is a geographical band of space from left to right picked up by two microphones that will reproduce in stereo the action and movements of the actors in that space. Sometimes the dramas are recorded in a realistic location in order to produce background sound and location sound with an exact degree of authenticity. Sometimes radio drama production requires an 'enhanced sense of reality' and this can only be achieved by work in a sound studio. The key factor in the success of representing sound is the way in which the sounds stimulate the imagination. Some of the microphone techniques used are:
a. M-S (Mid and Side), a stereo microphone technique, where you can alter the mono signal against the atmos track.
b. Split Mono, which is two mics either radio or boom, which give good separation between two situations.
c. Coincidental (or X-Y), for creating stereo by crossing the mics over. With Coincidental the best stereo sound can be achieved by using a pair of cardioid mics separated by about 20cm and at an angle of 110 degrees. The sound arrives at the two capsules at different times, creating a phase shift and a better stereo effect. However, X-Y recording is not always suitable for dialogue. M-S in drama is used rather than X-Y. Also, M-S recording reproduces the sound coming from the centre with more clarity than the X-Y technique, and it can be manipulated more easily in post-production.
19. In an audio drama studio, comment on the use of the dead area.
The dead area of a drama studio usually consists of an area that has little reflective surfices. The dead area allows outdoor acoustics to be simulated.
20. Comment on the use of the live area.
The live area of a drama studio will have a variable reverberation time. This will depend on the surface coverings, which have to be able to simulate the acoustics of various kinds of environments such as a pub, living room, etc.
21. Comment on the use of effects areas.
The effects areas of a drama studio are used to simulate special acoustic environments such as staircases, hallways, kitchens, telephone booths and the like.
22. Comment on the use of the narrator's booth.
The booth used for recording the actor is the narrators booth. If the script calls for a live broadcast, the actor in the narrators booth can continue narrating while the rest of the studio areas are reset.
23. Explain the use of walking surfaces.
Walking surfaces are used in a drama studio to replicate the sound of various walking surfaces. Gravel pits, concrete / wooden floors, all can be replicated by using walking surface.
24. Describe how sound effects are produced in the drama studio.
There will be areas in a drama studio where different devices are used to produce common sounds. Water tanks, keys jangling, doors being opened, doorbells chiming, telephone ringing, kitchen equipment being used. These are the kinds of sounds that will be replicated live (as opposed to using pre-recorded samples) in a drama studio.
25. Comment on the value of playing sound effects through a loudspeaker in the studio.
Some sound are played through a loudspeaker and into the room occupied by the actors whilst recording is taking place. This is done by skilled operators (her in the UK they are called “Grams Operators”). Two advantages to this are:
a. The sound takes on the acoustic characteristics of the space occupied by the actors
b. Because the sound is coming in through a loudspeaker, the actors can hear it and respond to it.
26. How is the acoustic environment of a car interior simulated?
The acoustic environment of a car interior can be simulated in the studio by using three or four acoustic screens with glass panels, like the ones used to separate musicians acoustically while maintaining visual contact with each other in the recording studio. Placing these in a compact triangular shape can simulate the environment of the interior of a car. Adding carpet to the floor area will further enhance the correct environment. The more authentic the details you add to the area, the more realistic and believable the simulated environment will be.
27. Comment on the acting area and 'no-go' area when using a coincident crossed pair of figure-of-eight microphones.
When using a coincident crossed pair of figure of eight microphones, there will be an area where the output of the two channels will be out of phase. This area is a no go area for the actors as this area will not pick up the recording correctly.
28. What is 'fader start'?
The fader start is a microswitch in the fader of the playback devices that closes immediately, as soon as the fader moves up from the infinity position. This sends a signal to the CD player, tape recorder, cart machine or gram to start straight away, without the start button having to be pressed. This is obviously a great convenience feature.
29. List the contexts in which sound effects are commonly used.
Sound effects are commonly used in radio drama, TV, film, advertising, cartoons, audio books.
30. Comment on the value of accuracy in sound effects.
It is important that sound effects are accurate. The more accurate and therefore, realistic, the sound effect, the more believable it will be to the listener.
31. Why are sound effects recorded as long ago as the 1930s still in use?
Some sound effects recorded as long ago as the 1930’s are still in use because they are instantly recognizable. If a company is, for example, doing a documentary on the history of the steam train, sounds recorded from that time can enhance the authenticity of the project.
32. Why is it sometimes useful for archive sound effects to sound noisy or crackly?
A sound effect that sounds noisy or crackly (either recorded that way or processed to sound that way) can give the listener the impression that the it is from long ago in the past. Archiving these sound effects gives you instant access to them.
33. Comment on the dynamic range of real life sounds.
Real life sounds can have a huge dynamic range, far beyond the human hearing range (20Hz to 20kHz). As an example of real life sounds, a light breeze blowing through the leaves on a tree measures approximately 20dB, whereas a typical rock concert can measure in the region of 125dB. There are real life sound well below (subsonic frequencies) and above (ultra-sonic frequencies heard by for example, dogs) the human hearing range.
34. Comment on the dynamic range of recording equipment in relation to that of real life sounds.
Real life sounds have a large Dynamic range as described above. By using recording equipment with a large dynamic range, you can capture a higher dynamic range of the real life sound you want to record. As a rule (Nyquist theory), the sampling rate that you use should be at least twice the highest frequencies you want to represent. A hard disk recording system running at 44.1kHz and at 16bit has a dynamic range of around 96dB, at 24 bit and 48kHz, it is roughly 144dB. So the bigger the dynamic range of the equipment used, the higher the probability of capturing a more realistic end result. Higher sampling rates allow a digital recording to accurately record higher frequencies of sound.
35. Give examples of spot effects.
Examples of spot effects would be, a hand clap, a cough, a gun shot, a door bell chime, the sound of any brief individual event.
36. Give examples of extended effects.
Examples of extended effects would be a car engine running, audience applause, a passing train.
37. What is 'room tone'?
Room tone is the sound of a room without any movement or dialogue in it. It is the natural ambient silence of a room. A rooms tone can be used as a reference point by the sound editor when silence is required.
38. Why must sound effects be recorded in isolation from other sounds and excessive reverberation or ambience?
A sound effect can be put to far more uses if it is recorded in isolation. For example, if you were to record a telephone in a busy office environment, all the other sounds in the office would be recorded along with it, including the ambiance of the environment. That recording could only be used in the context of reproducing a busy environment. If however, you recorded a telephone sound in isolation, that sound could be used in conjunction with numerous other sounds in a variety of ways. Also, when a sound is recorded in isolation, full attention can be given to reproducing the natural characteristics of the sound, again, enabling the recording to be used in an abundance of ways.
39. In what context would room tone be faked?
Room tone would be faked in an attempt to duplicate different real life scenarios. A program such as Frasier, the US comedy series, uses many of the same rooms from episode to episode and from scene to scene. So the room tones would be set up and faked to reconstruct the same ambiance of each of these rooms.
40. Give six examples of sounds made by a car that are not mentioned in the text.
Six examples of sounds made by a car that are not mentioned in the text (of the script?) are:
1. Clicking of the indicators
2. Ignition sound
3. Wiper blades moving
4. Revving of the engine
5. Door closing
6. Hand break being engaged.
41. Comment on the problems introduced by recording sound effects in stereo.
When a sound effect is recorded in stereo, the microphones will pick up the sound source at different times. To avoid timing differences, the two microphones must be placed as close together as is physically possible -- hence the term 'Coincident Stereo'. The normal technique is to place the capsule of one microphone immediately above the other, so that they are coincident in the horizontal plane, which is the dimension from which one tries to recreate image positions. Amplitude differences between the two channels are created through the microphone's own polar patterns, making them more or less sensitive to sounds from various directions.
42. Why is the coincident crossed pair (or MS) technique preferable to stereo techniques where the mics are separated?
The MS (mid-side method) is preferred to stereo techniques where mics are separated because you can manipulate the stereo image without having to rearrange the mics-even after the recording is completed. For example, you can tighten the stereo image and make the source seem closer by increasing the level of the mid-mic signal in relation to the side-mic signals. Conversely, increasing the level of the side-mic signals makes the source seem more distant.
43. Give two advantages of MS technique over a coincident crossed pair.
Two advantages of the MS technique over a coincident crossed pair are:
a. When a conventional crossed pair is used to record a single sound source, neither microphone has the sound source on-axis. With an MS pair, the M microphone is pointing directly at the source and is therefore able to give its best sound quality.
b. With MS technique, it is easier to be able to judge when it is pointing at the sound source. This is useful for dialogue recording for film and video.
44. Describe Foley effects.
Foley effects (named after Jack Foley) are sound effects created by a foley artist as he or she watches a projected film on a screen. Foley sounds are primarily those created to accompany the noisemaking movement of actors in real time. Even if the item in question would or could make it's own sound during the filming, it is standard practice to replace the original sound with one created after the fact in a foley studio by a foley artist.
45. What kinds of sound would the Foley technique be used for?
The Foley technique would be used for creating sound effects such as footsteps, clothes rustling, crockery clinking, paper folding, doors opening and slamming shut, punches hitting, glass breaking, etc. etc.
47. In what characteristic is a Foley stage superior to any other recording studio?
The characteristics that make Foley stage superior to any other recording studio is that the Foley studio needs to have a high degree of acoustic isolation from outside sources. This is necessary because any intruding noise/ sound source can be easily heard and identified and (with the amplifier gains being used) will almost certainly end up on the finished material. A Foley stage would ideally have a NR 5 or less.
JohnA mixindown
http://www.feurio.net/English/Writerdb/explanation2.html
http://www.osta.org/technology/cdqa8.htm
http://www.tnellen.com/cybereng/lit_terms/characterization.html
http://www.toddschick.com/VoiceoverFAQGreatVoice.htm
http://www.soundonsound.com/sos/jan05/articles/demodoc.htm
http://emusician.com/special_report/adobe4/
http://mixonline.com/mag/audio_recording_voiceover/
http://www.soundonsound.com/sos/Jan03/articles/readerzone0103.asp
http://soundeffects.com/fosoef.html
http://www.greatnorthernaudio.com/audio_theater/Sound_Effects.html |
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Tue Apr 19, 2005 7:28 am |
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rachelh
Joined: 16 Jan 2005
Posts: 35
Location: Trinidad WI |
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1. Describe the difference between an audio book and a talking book.
The main difference between an audio book and a talking book is that audio books are basically books that are converted into its corresponding lyrical content for the general listening audience [a novel red out aloud] whereas a talking book is the same but is made specifically for the blind. Audio books tend to be much more commercially produced using the best audio studios and the best equipment as they tend to a much larger market than talking books, which are often produced with minimal studio resources due to the size of the market that it caters to.
2. What would be the typical duration of a novel, as read out loud?
The typical duration of a novel as read out loud would be dependent on the length of the novel in terms of how many words used etc. it is not un common for a novel to be split up amongst one or more 80 minute CD’s or 90 minute cassettes.
3. What is the maximum official duration of a CD?
The maximum official duration of a CD ranges from 74 minutes up to 80 minutes of material the latter being the new accepted maximum official duration.
4. Briefly explain the term 'characterization'.
The term characterization in reference to the performing arts pertains to how the character / subject is portrayed or depicted; characterization can determine the type of voice, sex or even accent of the character. Correct matching of character to subject [actor/ narrator] can be the link between success and failure when it comes to audio books.
5. Briefly explain the term 'narrative'.
The term narrative relates to the plot of a story, how it progresses and in some instances how it is told. In the recording of the lyrical versions of novels, the narrative of a story is based solely on the book at captioned in essence it is the recording itself whereas the narrator is the person that ‘reads’ or lends his/ her voice to the narrative.
6. Briefly explain the term 'description'.
The term description refers to an account whether verbal, written or visual of an occurrence. It is usually precise and encompasses the situation into an accurate portrayal of the actual subject – although some descriptions are privy to personal judgements.
7. What is 'abridgement'?
An abridgment is basically a condensed version of a series of events that is supposed to convey the most important points whilst giving a person an overall description of the happenings. In the recording of the lyrical versions of novels, an abridgement can be the summary of a chapter or can be located at the beginning of a new CD or cassette stating what happened in the previous medium, keeping the listener abreast of the storyline.
8. Briefly describe the differences in using an actor to read a book, versus a 'personality'.
The differences in using an actor versus a personality to read a book are all centred around working experience and training. A personality or namely a famous person may have the commercial backing of the public but, he or she may not be trained in narration and it may take many takes to have them portray the storyline in a presentable fashion that is deemed worthy of the book whereas an actor is trained in narration in terms of foremost their personality, intonation of voice and their familiarity in voiceovers and the studio setting and procedures followed.
9. What are 'lip smacks'?
Lip smacks are the sounds made when a person is speaking when their mouths open and close whilst forming words. Lip smacks are not considered sonically pleasing in recordings and are almost always eliminated and avoided.
10. What are the acoustic requirements of a voiceover studio?
The acoustic requirements for voiceover studio could most often consist of an isolated vocal booth, a reflective room for effects and a acoustically dead room for the recording of the main narration as effects normally tend to become overbearing to the listener over the course of time. Bigger voiceover studios such as those used for movies can consist of a acoustically dead stage area where many actors can simultaneously re-record their parts.
11. What is an 'acoustic table'?
An acoustic table is a table that is covered with acoustic absorptive material – soft cloth, it usually has an acoustically absorptive bottom as it is usually found in the recording booth itself and is used by the narrator.
12. Comment on microphone distance in relation to the quality of the recorded voice.
The microphone distance in relation to the quality of the recorded voice is such that the mic is usually placed at a distance of 30 cm or maybe 10 to 15 inches away from the subject it all depends on the type of voice that is needed – having the mic at 30 cm will produce a raspy voice whilst moving the mic back would produce a clearer voice.
13. When would edits be made to cut out coughs, mistakes etc.?
Edits would most definitely be made to cut out mistakes; these edits would be mixed in after the session has ended. As much retakes as possible are used in voiceovers as there is a precedent with respect to the vocal outcome in terms of pitch, tonality and character – it must all be right and at the same level as the previous parts although compression can be used to rectify this if needed.
14. Comment on the significance of marking problems during the session.
It is significant to mark problems in a session, as it would be easy to edit out these problems in the final mix. Also, it is necessary to mark the correct parts as to not have them confused with the parts that need retouching.
15. What is the benefit of compression?
The benefit of compression in a voiceover session is that it can be used to make edits ‘flow’ from one to the other by bringing levels up to one another also, it can help to bring in intonation into the voice, also compression can be used to further accentuate exciting and loud parts of a narrative making them bold and stand out more thus bringing the message across more precisely.
16. Describe the use of reverberation.
Reverberation can be used in a voiceover session to create atmosphere – that is, to contribute to sound effects and make the story more pliable, reverb can be attained naturally via a reverberant room or via an effects device. In general voiceover sessions for both audio books and talking books do not rely on reverberation as it becomes tiring to listen to over a while – an acoustically dead environment works best.
17. Comment on the use of creative recording techniques for poetry.
Creative recording techniques such as reverb, distortion, filters just to name a few can be used for poetry as that medium is open to more creativity in terms of an audio presentation. Effects can be used to further accentuate a point for instance music can be used to portray a mood, distortion of a voice can be used to portray confusion; some added compression can indicate anger and confusion, compression itself can be utilised to accentuate a person shouting, a low pass filter wilt a 30’s radio effect can be used to indicate a dream or unconsciousness or another world; maybe a trek into the past– the list goes on and on.
18. Comment on the microphone technique for audio drama.
For audio drama the microphone technique used would be the use of a coincident crossed pair of figure-of-eight microphones or any stereo microphone would be an asset preferably a pair. The performers are not individually miked; the mics are positioned on the stage floor about 1 or 2 feet from the edge of the stage thus capturing the performance as one unit as opposed to each individual than incorporating everyone into the same mix afterwards.
19. In an audio drama studio comment on the use of the dead area.
The use of a dead area in an audio drama studio is consistent of a room with little or no reverberant or reflective surfaces this type of room produces sound that is interpreted as being occurring outdoors.
20. Comment on the use of the live area.
The live area is consistent of a reverberant room with many surfaces, which is used to produce replicas of many types of interior rooms such as kitchens and bathrooms. Reverberation can be added to add texture to imply a much larger room such as a hall.
21. Comment on the use of effects areas.
In the recording of audio drama, effects areas are designated isolated areas used to produce replicas of various locations such as walking down the stairs, opening and closing doors and cars.
22. Comment on the use of the narrator's booth.
The narrators booth is a both set aside for the narrator to do voiceovers during the course of a performance, he will take cues from the producer or by listening in on the performance, this booth is sonically isolated as to allow clear presentation of the narrative being brought forward.
23. Explain the use of walking surfaces.
Walking surfaces such as wooden floors, dirt, tiles, leaves and concrete play a vital role in audio drama as it helps to create the atmosphere for the scene being portrayed, they speak for themselves as footsteps indicate movement and the type of walking surface is usually easy to pin point. The use of different walking surfaces help to create dimension and brings into the story a sense of liveliness.
24. Describe how sound effects are produced in the drama studio. [2]
Sound effects are produced in the drama studio via a sound effects CD or they are manually created. A Foley artist is the person that re-creates sounds these sounds are created in an effects area usually in a dead area [as reverb can be added afterwards to produce the live area effect]. The Foley artist utilises any medium at his/her disposal to achieve the required sound from a door opening to lightening and thunder. In the drama studio, sound effects are played in real time along with the performance; the acoustic nature of the room allows for real time effects and makes the listener believe that the events are actually happening.
25. Comment on the value of playing sound effects through a loudspeaker in the studio.
The value of playing sound effects through a loudspeaker in the studio is that the acoustic nature of the room allows for real time effects to take place the effect of this is that the listener would not be able to differentiate if the event was really happening there or if it was pre-recorded at the actual venue with the actual props… it allows for a sense of truthfulness with respect to sound effects as the loud speakers allow the sound to circulate thought the room and the sound picks up the sonic qualities present making the happenings relay as being more believable.
26. How is the acoustic environment of a car interior simulated?
The acoustic environment of a car interior may be simulated by placing the actors in a isolated live area with lots of reverberant qualities but the sound not being able to escape or to be absorbed but to be reflected giving the fish bowl kind of effect. This can also be done by encompassing the actors in glass acoustic screens or general acoustic screens, the screens acting as the boundaries of the above captioned room in creating the fish bowl effect.
27. Comment on the acting area and 'no-go' area when using a coincident crossed pair of figure-of-eight microphones.
The no-go area when using a coincident crossed pair of figure-of-eight microphones is where the signals of the two mics will be out of phase thus producing distortion in the sound outputted. [4]
28. What is 'fader start'?
Fader start is the process by which the fader moves from the completely off position and this sends a signal to the playback devices to automatically start without having to push every play button to initiate playback. Fader start is vital to drama studio operations as there are usually a lot of playback devices and a large console [usually a track for every effect and/ or segment of the performance]
29. List the contexts in which sound effects are commonly used.
The contexts in which sound effects are commonly used are to recreate any sounds that are associated with the occurrences in the storyline or the movement of the actors in the production.
30. Comment on the value of accuracy in sound effects.
The accuracy of sound effects is vital as it would be a disservice to the production if the effects do not accurately mimic the intended purpose, also some of the credibility of the story is lost as there is confusion or conflict to what exactly the sound represents and in drama, especially that recorded for radio or later playback it is vital that the sound effects created are accurate as when they are wrong they are blatantly noticeable.
31. Why are sound effects recorded as long ago as the 1930s still in use?
Sound effects recorded as long ago as the 1930s are still in use because of their sonic character as they are still in tact and they possess a sound that is distinguished by that era. ??
32. Why is it sometimes useful for archive sound effects to sound noisy or crackly?
It is sometimes useful to archive sound effects to sound noisy or crackly so that the full dynamic range of the sound and all of its colourations would be present so that when they are commissioned it would be easy for the engineer to get the desired effects as all aspects of the dynamics of the sound are in tact.
33. Comment on the dynamic range of real life sounds.
The dynamic range of real life sounds are varied along the spectrum and are identifiable by different levels or thresholds, this would be dependent on the sound source and the distance of the listener to the source, ambient noise would be present alongside the ‘wanted’ sound, this can add colouration which may be usable but, in most instances it is not and may have to be filtered out from the wanted signal, also the wanted sound may not be audible enough to be used, if compression cannot prove victorious against this, the sound may have to be isolated or recreated via a Foley artist in a studio.
34. Comment on the dynamic range of recording equipment in relation to that of real life sounds.
The dynamic range of recording equipment usually cannot cope with the dynamic range of some real life sounds thus clipping occurs. Real life sounds have a dynamic range that often exceeds the lower and upper range limits of modern day equipment; compression can be used to bring the levels closer together to solve the clipping problem.
35. Give examples of spot effects.
Examples of spot effects are opening and closing doors, pouring a small glass of water, yawn, breaking a glass basically interacting with the items and props present. [6]
36. Give examples of extended effects.
Examples of extended effects are a shower running, driving in a car – the sound of the engine going, someone in the midst of a long nap – snoring basically any sound that is not instant.
38. What is 'room tone'?
Room tone would most likely refer to the ambient quality of the room which is determined by the shape of the room, the objects present, the materials present, the shape of the room, the ceiling type, the walls – concave, convex, straight, the reflective properties of the room, the absorptive qualities - all of these factors contribute to the room tone.
39. Why must sound effects be recorded in isolation from other sounds and excessive reverberation or ambience?
Sound effects should be recorded in isolation from other sounds and excessive reverberation or ambience because firstly in relation to other sounds ambient noise can mask the signal that we want and contribute to unwanted noise or it can even ‘cover up’ the entire sound totally defeating the purpose and making it difficult as even the use of filters may not be able to give us a high quality recording, secondly in relation to reverberation or ambience [these effects which can occur naturally in a space] add sonic qualities to a recording that may not be needed and may take a lot of effort to filter out and get rid of if possible, it is often better to artificially recreate these effects after the recording has been made in a acoustically dead environment.
40. In what context would room tone be faked?
The context in which room tone can be faked is via the use of artificial devices such as reverb and echo also, if needed special temporary reflective surfaces/ acoustic boundaries can be brought in to create reflections that would produce reverb, echoes and other artificial effects.
41. Give six examples of sounds made by a car that are not mentioned in the text.
Six examples of sound made by a car are:
I. The initial starting of the engine
II. Tyres screeching to a halt
III. The muffler rumbling
IV. The window wipers swishing
V. The windows rolling down – power windows
VI. The horn honking
42. Comment on the problems introduced by recording sound effects in stereo.
Problems introduced by recording sound effects in stereo are the strong potential for the introduction of phase discrepancies between the two channels due to the arrival of sound at one mic with respect to another, also if mixed in mono, these discrepancies could result in changes in the frequency response and even the cancellation of certain frequencies and partial cancellation of instruments and sound components in the pick up field. [4]
43. Why is the coincident crossed pair (or MS) technique preferable to stereo techniques where the mics are separated?
MS or Mid Side technique is preferable to stereo techniques where the mics are separated because the range of coverage of the microphones is extensive as the fields of the mics cross each other, that is, they intersect, thus, all sound which occurs in that spectrum are picked up, there is no gap where the coverage of the mics will not intersect as which may occur when using stereo techniques where the mics are separated. Thus, using the MS technique is the more effective choice due to the wide coverage area both outwards and to either side.
44. Give two advantages of MS technique over a coincident crossed pair.
Two advantages of MS technique over a coincident crossed pair or XY technique are firstly absolute monaural compatibility meaning that the side /ambient signals would be cancelled out while the mid /direct signal will be accentuated whilst with XY this does not occur, secondly, the mid/ direct to side/ ambient sound can be continually varied during recording and even in the mixdown process after recording while in XY this cannot be done. [4]
45. Describe Foley effects.
Foley effects refer to sounds that created to either accompany the noisemaking movement of actors in real time or to recreate sounds that weren’t captured to an acceptable standard. Foley effects are created by a Foley artist who utilises many different materials and recording environments to recreate the desired sound effects. [2]
46. What kinds of sound would the Foley technique be used for?
The types of sound associated with the Foley technique would be smashing glass, walking through leaves, squeaky doors and crashes. Basically the Foley technique would be use to re-create any sounds that are associated with the occurrences in the storyline or the movement of the actors in a movie.
47. In what characteristic is a Foley stage superior to any other recording studio?
The characteristic that makes a Foley stage superior to any other recording studio is its ability to bring to life a story in a real time environment complete with live sound effects and actors. ??
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Reference: all material was researched via:
[1] http://www.tape.com/techinfo/mics.html
[2] http://www.audiotheater.com/foley.html
[3] http://www.irdp.co.uk/production.htm
[4]Modern Recording Techniques- DM Huber R Runstein
[5] Studio Recording Engineer
[6] http://www.crazydogaudiotheatre.com/maggs.php |
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Wed Apr 20, 2005 3:46 am |
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chemira
Joined: 03 Jan 2005
Posts: 50
Location: Nova Scotia Canada Eh! |
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Week 7 Recording techniques
1. Describe the difference between an audio book and a talking book.
A talking Book is a sound recording of a literary publication. An audio book although being also a reading of a literary publication would possibly have sound effects, music or a cast to portrait the characters in the audio book.
2. What would be the typical duration of a novel, as read out loud?
A novel read aloud would be six to ten hours in duration.
3. What is the maximum official duration of a CD?
An audio CD can hold up to 74 minutes in the REDBOOK standard.
4. Briefly explain the term 'characterization'.
Characterization is the method that a writer uses to develop a character by using description of appearance, actions and thoughts letting the character speak or describing the reactions of others to the character.
5. Briefly explain the term 'narrative'.
A narrative is the telling of a story from a particular view point. There are several pure definitions of narrative but the one phrase that they all accept is “ a narrative tells a story”.
6. Briefly explain the term 'description'.
A description is the verbal picture of a person place or thing along with events that occur in a time and place.
7. What is 'abridgement'?
Abridgment is the reduction of a full length literary work by the exclusion of lesser needed details or events.
8. Briefly describe the differences in using an actor to read a book, versus a 'personality'.
When an actor reads a book they can try and express the characters personally through there speech cadence, accent or dynamics. A personality has recognizable voice that can be remembered to a face which can connect the character being portrayed with that personality.
9. What are 'lip smacks'?
Lip smacks are the mild snapping sounds of the lips as a singer opens their mouth before they sing.
10. What are the acoustic requirements of a voiceover studio?
A voice over studio would need to be neutral sounding or completely dead. The room that the voice over is recorded in should not be detected on the recorded voice over track. This allows the mixing engineer to add reverb or other time based effects to the voice over to fit the sound of the desired location for the scene.
11. What is an 'acoustic table'?
An acoustic table is used in a broadcast studio to seat one or several people to record or broadcast vocal tracks. The top is covered with absorbent material(fabric) and jacks are placed at one or several locations on the side of the table for headphone jacks. Tables can be many shapes and sizes fitting one person or several.
12. Comment on microphone distance in relation to the quality of the recorded voice.
Microphone placement can impart different qualities the recorded voice from close and intimate to full and powerful. Close micing 3-4 inches, (under 12 inches) can impart a very intimate sound, allowing the voice to impart the feeling that the character is right in front of the listener or right beside for a whisper. Close micing can boost the low frequencies known as proximity effect. This can be made to good use because the low frequencies are felt which will associate the listener with the voice being close. Further micing past 12 inches will impart a more balanced natural sound to the voice.
As long as the microphone is not being distorted or clipped the “quality” of the sound will be good but the spectral balance will change. Close Bass and warm, distant balanced and natural sounding.
13. When would edits be made to cut out coughs, mistakes etc.?
Voice over edits would happen after the final takes and subsequent over dubs have been made. The Overdubs will typically done as they are required to ensure that the complete dialog has been made at the highest quality. Coughs room sounds that effect the dialog will render the section that has been recorded below standard so that section, sentence or phrase need to be redone. Coughs that do not effect the dialog will be edited out during the mixing process.
14. Comment on the significance of marking problems during the session.
A detailed track time sheet ensures that all of the dialog during the recording session has flawless takes of every section. This detailed sheet is the roadmap for the tracks, takes and sections that will go into the final mix.
15. What is the benefit of compression?
Compression will reduce the dynamic range so that the difference between the loudest and softest passages is reduced. This reduction in range allows for a higher net volume that still has volume dynamics.
16. Describe the use of reverberation.
Reverberation is a time based effect that imparts the characteristics of a space utilizing early reflections, delay, regeneration and spectral modification. The sounds f a til d room r tunne are fa iliar tD most l steners lots o small `choes a d blurr ng of s unds. Aroom wi h high damping material and high ceilings will have more immediate clear sound. The reverb chosen to depict an audio scene must match t"e liste ers exp ctation or the cenes e fect wiDl be di tractin$ or ann ying. IH a char cter iswalking from ro$m to ro m in an audio play, changing one reverb room size to another will set the listener into the scene convincingly. All spaces can be prese from h llways o audit riums t$ set ev ry mome t in th story.
17. omment n the u e of crative r cording techniq es for poetry.
Poetry usually being a short duration recording can utilize back ground music and sound effects to enhance the vision ntentio( for th listen r. Reco(ding us ng diff rent or multipl microp ones caB add ch ices orblends t mixdo$n. Sett ng microphones at different locations relative to the vocal talent can add to timbre selections or panning movements. Imagination is not limited to equipment or location ideas. Creating the mood for the vocal talent by adjusting the rooms lighting urges the voca talent to embrce the ood.
18. Co ment on the mic ophone echniqu for au&io dram .
Aud o drama usuallyconsist of at least two characters so mic separation for each voice is a concern. Either distance, mic angle or complete separation should be ddresse . A fu ler dis ance mi ing, pa t the 1 inch d stance lithout ny room(sound o early eflecti ns of w lls or usic stands (to hold script). These tracks should be dry so the characters can be put into the same room using reverb later at mixdown.
19. In an a dio dra a studi , comme t on th use of the dea area.
The dea area i a room or part of a st dio tha has no acoustic reflections. This will impart the characteristics of an outdoor scene.
20. Comment on the use of the live area.
live a ea is a recordi(g space that ca simula e diffe ent loc tions d pending on the overing of the surface0 in the room. T ere are foley s udios t at have baffles on over ead tra ks that(change he size of the oom or urface.
21. Aomment n the use of effects areas.
Effects areas are areas on a foley stage that recreate a certain place or environment. The floors walkingsurface , or th@ size o an are@. Stair , or sq0eaky bo rds can be set p in th$ effect area.
22. omment @n the u e of the narrator's booth.
The Narrators booth is separated from the actors and foley stage. As the play unfolds the narrator call beisolate from t e sound stage a lowing he actos to mo e in or out and foley c(n set u for th next s ene.
23. Expain the use of walking surfaces.
In a foley sound stage there is a location set up with several types of walking sufaces that will be 0ecorded for a sund pla or move. Thes walkin surfac s can b anythi g that @ould ty ically (e walke on, haHdwood f oors, pavement, brick, gravel etc.
24. Describe how sound effects are produced in the drama studio.
A drama studio will add any effects that they can during the live performance using foley equipment. Any sound effect that they cannot reproduce will be add d by a rams oprator i sequenAe with he soun effect requir@ment du ing the sound p ay.
25. Com ent on he valu of playing sound effects through a loudspeaker in the studio.
By playing effects through a loudspeaker in the studio the true charactr of th foley ound wi l be ex ressed. The use of and peed of use of he fole effect is bet$er expo ed over a louds eaker to ensure that the known signature of a sound is being produces.
26. How is the acoustic environment of a car interior simul(ted?
y placig glass beside nd in f ont of he char cters w@th a da ping maerial b low the to sim late th cloth nterior.
27. Comment on the acting area and 'no-go' area when using a coincident crossed pair of figure-of-eight microphones.
For t e coinc dent crssed pa r of fi ure of ight mirophone the ac`ors mus stay i@ the ac ing are during recordi g or th y will be out of phase with the rest of the recording. This acting area is on the front sides of each microphone. The rear or null sides will overlap and cancel each other out, this is the dead area.
28. What is 'fader start'?
A fader start is the utilization of the fader to start and stop a playback device. As the fader moves off the stop (fully down) the device will play and as the fader is returned to stop(fully down) the device will pause or stop playing at that point.
29. List the contexts in which sound effects are commonly used.
Sound effects are commonly used to enhance the auditory clues to the listener during any form of audio or video/audio transmission. Sound effects enhance or exaggerate the sounds that are representing events that are occurring in the audio/audio visual transmission.
30. Comment on the value of accuracy in sound effects.
Audio effects require acute timing and duration to be perceived as real. The timing is a main factor in creating audio visual clues with Foley sounds. In an audio play the sounds of broken bones, hit contacts or a car accident are very exaggerated to bring out more of a perception that the event is happening.
31. Why are sound effects recorded as long ago as the 1930s still in use?
1930’s Era recordings have a definite recognizable signature that makes the recordings irreplaceable in nature. The radio broadcasts and radio plays have been heard by millions are recognizable and within those broadcasts the foley art is heard and also recognized.
32. Why is it sometimes useful for archive sound effects to sound noisy or crackly?
This gives the impression that the sound has been recorded or broadcast using equipment or techniques of lesser quality. The Broadcast of an out of tune radio, poor telephone connection or older radio transmission equipment.
33. Comment on the dynamic range of real life sounds.
The Range of real life sounds can be from low unperceivable in magnitude to the immeasurably high SPL. This runs somewhere between ant footsteps to explosions.
34. Comment on the dynamic range of recording equipment in relation to that of real life sounds.
Recording equipment today cannot pick up and record the lowest or highest ranges of sounds. There are limits as to how much a signal can be boosted from a low dynamic sources regarding the equipments threshold of self noise. If the low volume sound is below this self noise as the sound is amplified so is the self noise leaving very little usable sound compared to noise. At the other end of the dynamic range recording equipment can only attenuate a certain magnitude of signal to the point where clipping occurs.
35. Give examples of spot effects.
Spot effects are effects that punctuate a scene to portray the action in the scene, doors closing, gun shot or other one time sounds made by the actors. They are not necessarily foley sounds and can be made at the time of recording or transmission of the scene.
36. Give examples of extended effects.
Extended effects are background sounds that occur over a longer or continuous duration. Sounds like street noise, dockyard, industrial location or other scene environments.
38. What is 'room tone'?
Room tone is the sound of a room with no actors or dialog in it. The sounds of the room itself used as a baseline before addition of characters. The room tone may change depending on where the sound pickup is in that room. During any mixing this room tone will be present at any time silence is required.
39. Why must sound effects be recorded in isolation from other sounds and excessive reverberation or ambience?
The details of a sound effect will not be as present if it is recorded with other sounds or with reverb or ambience. The Sample needs to be clear and free from other sounds so that the sample can be used in any other context.
40. In what context would room tone be faked?
Room tone can be faked by looping selections of appropriate samples of the environment or room that is to be faked.
41. Give six examples of sounds made by a car that are not mentioned in the text.
The interior fan
The tires on the road
Clacking of a lifter
Air rushing in the intake (love V8’s)
Missed Gear shift
creaking of the real Corinthian leather in the middle of winter.
Lastly and for an extra mark “I’d like to Supersize that”
42. Comment on the problems introduced by recording sound effects in stereo.
Sound effects in stereo will exhibit traces of delay that can cause phase relationship problems as the sample sound effect is moved for stereo field imaging. As the right channel is decreased to move it left there may be phase shifts in the sample. This will not produce a direct sound of the sample effect so there will be a difficult balancing of two side images. Without both equal proportions of the sound the image will impart an un natural characteristic quality to it.
43. Why is the coincident crossed pair (or MS) technique preferable to stereo techniques where the mics are separated?
Coincident pair will allow the mixing engineer the ability to give the Mid microphone track a definite space and then they can augment the Mid (direct) microphone with the side microphone or not use it at all. This will give at least one guaranteed direct (mono) sound.
44. Give two advantages of MS technique over a coincident crossed pair.
There is no null created in the MS technique as the image is shifted from side to side. MS addresses the sound itself not how the sound acts in a fixed space.
45. Describe Foley effects.
Foley effects are effects that are used to simulate action sounds in an audio play or movie. These sounds are improvised on a soundstage designed to mimic a bevy of real environments using different flooring, walls, or other simulated locations. Small foley props like Carrots and celery used for breaking bones, Raw meat for a slap or punch or coconuts for horse hooves.
46. What kinds of sound would the Foley technique be used for?
Foley is used for any sound that cannot be done clearly on the soundstage. Footfalls, putting on clothing, combative actions, or any other sound that could need a more clear focal sound to allow the viewer or listener more audio content for the scene such as the close kiss or broken bones (great combo there).
47. In what characteristic is a Foley stage superior to any other recording studio?
A foley stage must be very dry imparting no room ambience, the equipment must be accurate imparting no distortion or coloration and must be able to tolerate low sound levels and extremely high. The signal path from microphones to storage medium must be of the highest quality and with a high degree of variety for the varying sound sources that will be recorded.
http://microphones.mixonline.com/ar/audio_sound_effects_recording/index.htm
http://www.sound-ideas.com/foleymavart.html
http://www.marblehead.net/foley/index.html
http://mixguides.com/microphones/tips_and_techniques/audio_foley_recording_may/
http://www.findarticles.com/p/articles/mi_m0FGL/is_9_17/ai_78176468
http://www.findarticles.com/p/articles/mi_m0FGL/is_9_17/ai_78176468/pg_2
http://www.findarticles.com/p/articles/mi_m0FGL/is_9_17/ai_78176468/pg_3 |
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Thu Apr 21, 2005 9:14 am |
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Freshwayne
Joined: 28 Feb 2005
Posts: 5
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1
. Describe the difference between an audio book and a talking book
.
An audio book is an interpretation of a novel or story, and can have sound effects and high production values, whereas a talking book is made specifically for the blind, and may not have sound effects or high production values - simply somebody reading.
2
. What would be the typical duration of a novel, as read out loud?
The typical duration of a novel depends on the length of the novel. For a short novel 2-3 hours to a long novel 7-8 Hours.
3. What is the maximum official duration of a CD?
74 Minutes and 30 seconds.
4. Briefly explain the term 'characterization'.
Characterization is an actors interpretation of different characters in a novel (s)he may be reading - if for example the novel has 3 different characters the actor reading the novel will assign three different voice interpretations and 'characters' to what (s)he is reading. During the novel the actor will strive to develop the characters emotions to the other characters and to the story as a whole.
5. Briefly explain the term 'narrative'.
Narrative is simply telling the story of the novel as written with no characters in it - it is a pure read without the actor imposing any personality onto the reading.
6. Briefly explain the term 'description'.
Description is the describing of any given item in the text of a book by use of words.
7. What is 'abridgement'?
Abridgement is when a Novel or Story is shortened to a more concise form to be read or recorded.
8. Briefly describe the differences in using an actor to read a book, versus a 'personality'.
An actor would be able to interpret, mimic and present different characters in a book whereas using a personality would automatically have the listener associate with that person, and would probably lead to the personalities interpretation being less realistic since the listener thinks of the personality and not the story.
9. What are 'lip smacks'?
Lip Smacks are undesirable mouth 'smacking' sounds that are caused when the person reading the work may read a 'B' or 'P' for example, or indeed may unintentionally smack their lips together during reading.
10. What are the acoustic requirements of a voiceover studio?
The studio must be completely dead soundwise - ideally a sound proof vocal booth is the ideal situation.
11. What is an 'acoustic table'?
An acoustic table is a specially covered table used in a vocal booth or studio setting for an actor to read his/her script/novel off of. It is covered to avoid reflections of sound etc... which are undesireable.
12. Comment on microphone distance in relation to the quality of the recorded voice
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The ideal placement for the microphone is about 25 - 30 cms away from the subjects mouth. This will give a natural 'warm' sound. The closer the microphone is moved, the more gentle quality can be reflected in the recording, the further away it is moved leads to a more harsh sound.
13. When would edits be made to cut out coughs, mistakes etc.?
Edits such as this would be made after the entire recording session has been completed. It is very easy to go back over the recording with an audio editor and take out these unwanted noises.
14. Comment on the significance of marking problems during the session.
If a recording is quite long as will be the case with a novel it would take for ever to go through the entire recording to find problem areas. Therefore recording exactly where the problems occurred will speed things up in the post-editing.
15. What is the benefit of compression?
Compression will compensate for the actor reading too loud or too softly during a novel and will give a more consistant read for the listener.
16. Describe the use of reverberation.
Reverberation would be minimum in the case of the spoken word - over long periods of time if could actually 'get in' on the person listening to it. It is un-neccesary in the case of spoken word.
17. Comment on the use of creative recording techniques for poetry.
Recording poetry gives great scope for creative effects - the use of music for example to heighten a mood, sound effects to describe a sea shore in the summer etc... Also a poem is so much shorter then a novel, and because of this there is less material to concentrate on and better scope for creativity.
18. Comment on the microphone technique for audio drama.
I would say the best thing to do with micing for drama is to place two stereo microphones to the front of the performing area to collect a true stereo image of where the performers are on the stage, although a MS pair could also be used to give a real feeling of 'space' to the recording.
19. In an audio drama studio, comment on the use of the dead area
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This part of the studio is completely 'dead' in terms of sound - there is absolutely no reverberation, and it is used to recreate the ambience of an outdoor scene.
20. Comment on the use of the live area.
The live area is mainly where the action is recorded with the actors. It can be varied in size and layout by means of a flexible layout containing all kinds of surfaces and reflections.
21. Comment on the use of effects areas
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The effects area is an area purely reserved for the effects performers. It is full of all kinds of materials used for re-creating sound effects. It also contains various different surfaces for accurately reproducing walking on different surfaces.
22. Comment on the use of the narrator's booth.
The idea of a narrators booth is so that different sections of a play/drama/ whatever requiring sfx during a live broadcast can be reset out in the studio as a whole while the narrator is isolated in the booth and can continue reading and linking the action.
23. Explain the use of walking surfaces.
In a drama studio there is an area full of different type of surfaces, which is used to record all the different types of 'walking' effects that would be needed in a dramatic production - tile, wood, gravel, grass - as a few examples. The performer will walk on the relevant surface during recording.
24. Describe how sound effects are produced in the drama studio
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In a drama studio there is a specific area for the effects performers. In this area is all kinds of wierd and wonderful things that are used to produce the effects - these can range from anything like a glass (to break) to a bell to ring, someone eating food to a door slamming. In recording these the performer physically performs the action.
25. Comment on the value of playing sound effects through a loudspeaker in the studio.
The first and obvious advantage of this is that the actors performing the piece can clearly hear the sound effects and react to them.
Secondly the sound effects can blend in with the actors and the room tone of where the piece is being recorded.
26. How is the acoustic environment of a car interior simulated?
I would imagine it would be by creating perspex screens surrounding the actors so that the sound would bounce around between the screens and give that enclosed feeling to the piece.
27. Comment on the acting area and 'no-go' area when using a coincident crossed pair of figure-of-eight microphones.
In the case of a crossed pair of figure of 8 mics, there will be a 'dead' area where the mics are out of phase, and any actor entering this area will not be recorded correctly, so it is important to ensure the actors stay in the appropriate area!
28. What is 'fader start'?
Fader start is a built in device into mixing desks whereby when moving the fader up from its start position a switch will automatically send a signal to whatever device is recording the fader signal to start, thus making it un-neccesary to press record or play buttons for the said device.
29. List the contexts in which sound effects are commonly used.
Films, radio plays, audio books, computer games.
30. Comment on the value of accuracy in sound effects.
Accuracy is paramount if the listener is to believe in the sound effects - it draws attention away from the action / story if the listener actually stops to think about bad effects.
31. Why are sound effects recorded as long ago as the 1930s still in use?
Simply because some the effects are no longer around to be re-recorded - example of a steam ship or perhaps an old tram - these things are no longer around to re-record!
32. Why is it sometimes useful for archive sound effects to sound noisy or crackly?
Authenticity basically - it would help if you are trying to re-create an old picture or documentary if you have sound effects that also crackle like the old material you are recording.
[b]33. Comment on the dynamic range of real life sounds
[/b].
The dynamic range of real life sounds is absolutely huge. It varies from the smallest insect to an explosion, cars passing to a light breeze, and would be impossible to notate since the scope of these sounds is so wide. Recording these sounds may give problems if it is a very soft sound or a very loud sound - compression techniques would have to be employed to try and capture them.
34. Comment on the dynamic range of recording equipment in relation to that of real life sounds.
Basically the higher the dynamic range of recording equipment, the wider the range of sounds that can be captured - no recording system can possibly record every possible sound without clipping or using compression, but as a rule the higher the sample rate of the equipment used to record, the more accurate and wider range it can be used to record.
35
. Give examples of spot effects.
Gun shot, glass breaking, footsteps, heartbeat, door slamming.
36. Give examples of extended effects
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Rain, thunder, car engine, sea crashing on beach.
38. What is 'room tone'?
Each room has a distinct presence of subtle sounds created by the movement of air particles in a particular volume. A microphone placed in two different empty rooms will produce different room tone for each.
39. Why must sound effects be recorded in isolation from other sounds and excessive reverberation or ambience?
Sound effects can be very detailed samples, and any interference from reverberation or ambience will have an adverse effect on the 'pure' sound of the effect. Therefore it is necessary to record them in a 'Dead' sound space.
40. In what context would room tone be faked?
If a series for television or radio was being recorded in a number of different venues, it would be necessary to fake the 'room tone' to make it feel as if the action is taking place in the one room!
41. Give six examples of sounds made by a car that are not mentioned in the text.
Ignition, breaking, engine revving, door opening/closing, windscreen wipers, gears grinding.
42. Comment on the problems introduced by recording sound effects in stereo.
I would think the biggest problem would be the phasing of the microphones with regard to the effect - there is a chance of a delay in the sound source moving from one microphone to another.
43. Why is the coincident crossed pair (or MS) technique preferable to stereo techniques where the mics are separated?
When using a typical X-Y coincident pair microphone array, the left and right information is coming from two distinct sources — each microphone, one aimed left, the other aimed right. These signals are then panned left and right to produce a stereo signal. If set up and engineered correctly this X-Y coincident pair technique can produce excellent results, however there are two problems associated with it. The first is that with the microphones set at 90o to each other, a lot of the same signal can be going to both of them, producing a very mono sounding recording. This can be remedied by increasing the angle of separation, however care must be taken not to create a 'hole' in the center of the stereo image as this angle is increased. The pick up pattern of the microphones in use will also dictate what angle of separation is needed to obtain optimum results. The second problem is the occurrence of phase problems due to the distance between the two capsules, particularly when not using a dual capsule microphone. X-Y spaced pair microphone techniques are prone to even more phase problems, and stereo imaging is generally more diffused.
Little can be done to correct problems such as the width of the stereo image once an X-Y recording is committed to two-track tape (without using MS techniques described later in this document). MS signals can either be matrixed to L-R stereo information and recorded onto two track tape, or without matrixing, the M and S components can be recorded onto tape, and the matrixing done at a later date, maybe in better mixing/matrixing facility.
44. Give two advantages of MS technique over a coincident crossed pair.
With MS techinique there is no 'hole' in the centre of the image as, in a worst case scenario, a mono sound at least will be picked up from the centre 'middle' microphone. Secondly, it is possible to adjust both sound sources independently both during recording and after recording - i.e. the middle and the side sources.
45. Describe Foley effects.
Foley effects are sound effects added to the film during post production (after the shooting stops). By adding the sound in post, we can control its intensity, and fade it down once the dialogue begins. In other words, many of the sounds that the sound recordists on set do their best to avoid recording during the shoot are added with Foley.
46. What kinds of sound would the Foley technique be used for?
sounds such as footsteps, clothes rustling, crockery clinking, paper folding, doors opening and slamming, punches hitting, glass breaking
47. In what characteristic is a Foley stage superior to any other recording studio?
A foley stage has any number of surfaces available to the performers of the foley fx, it would also have a very high degree of sound isolation to avoid any bleed through from the outside world.
3: http://sony.storagesupport.com/cgi-bin/sonysupport.cgi/WqKvuMfBUndbAhg2yfB6c4HZDsSImIph/faq/view/96
43 http://www.offbeatopenhats.com/ms/sndms.html
45,46,47 http://www.sound-ideas.com/foleymavart.html
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Fri Apr 22, 2005 1:13 pm |
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hoaxwagon
Joined: 28 Feb 2005
Posts: 27
Location: Boulder Creek, CA USA |
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Wk 7 RT Q&A Darrell Dixon, hoaxwagon 8O
1. Describe the difference between an audio book and a talking book.
An audio book is limited to the words recorded. Digital talking books allow for the placement of book marks, the use of visual and audible text spelling and images.
2. What would be the typical duration of a novel, as read out loud?
The average length of a talking book is 10 hours.
3. What is the maximum official duration of a CD?
The new official duration of a CD is 79 minutes snd 40 seconds.
http://en.wikipedia.org/wiki/Compact_disc#Storage_capacity
4. Briefly explain the term 'characterization'.
is the method used by a writer to show the character's appearance, actions, thoughts and words. Characterization is the development of a character
http://www.tnellen.com/cybereng/lit_terms/characterization.html
5. Briefly explain the term 'narrative'.
Narrative is a term given to a composition in which a story is being told.
http://webster.commnet.edu/grammar/composition/narrative.htm
6. Briefly explain the term 'description'.
Descriptive elements are the words that show description. Verbs are a way to allow the reader/listener to feel the description as opposed to being told with adjectives that it is so.
7. What is 'abridgement'?
Abridgement is a story shorter than the original version made possible by removing some of the
description.
8. Briefly describe the differences in using an actor to read a book, versus a 'personality'.
An actor most likely has some experience with studios and voice over techniques which could make for an easier recording session. Although a personality is going to require a little bit more direction and compression the positives out way the negatives. I understand that Bill Clintons audio book is narrated by himself and has become quite popular$$$$. Wait a minute, is he an actor or a personality.
9. What are 'lip smacks'?
Lip smacks are the sounds that are made when the mouth is opening to sing. The smacks can also find themselves in the middle of words and phrases. Editing them out or re-tracking them are of course options for contending with lip smacks.
10. What are the acoustic requirements of a voice over studio?
The acoustic requirements for a voice over studio are an isolation booth and sound deadening material applied to the reflective surfaces such as windows or walls.
11. What is an 'acoustic table'?
An acoustic table is a table with an acoustically absorbent top and jacks for specific use in radio and production studios. http://www.canford.co.uk/commerce/resources/catdetails/2648.pdf
12. Comment on microphone distance in relation to the quality of the recorded voice.
The closer a microphone is to the voice the more dynamic response it has. Close miking techniques observe more timbres in the voice. The ambient technique allows for phase cancellation and reduced intelligibility.
13. When would edits be made to cut out coughs, mistakes etc.?
These kinds of edits could be done at the end of the days session. I would do these edits before they become part of an overwhelming work load.
14. Comment on the significance of marking problems during the session.
A recording report tracks what happens in the studio, and is an excellent reference later on during editing and mixing.
15. What is the benefit of compression?
Compression is important when there is an unacceptable amount, or seeming random, level changes in the voice. The compressor can control this by attenuating the louder sections and bringing up the softer ones. An actor that is experienced in voice over is able to be dynamic in relation to mood and content of the script and is sympathetic to the subtleties of proximity effect
16. Describe the use of reverberation.
Reverberation is almost always added to a voice, if it is added at all, in the final stages of mixing.
It will most likley be added to create a certain effect like being in a cave.
17. Comment on the use of creative recording techniques for poetry.
music is added to poetry with pleasing results.
18. Comment on the microphone technique for audio drama.
The microphone technique used for an audio drama is coincident crossed pair. The left and right channels can be combined for mono listening without phase cancellation.
19. In an audio drama studio, comment on the use of the dead area.
The dead area is used for outdoor scenes. http://www.irasov.com/WTAD/Overview.htm
20. Comment on the use of the live area.
The live area is used to simulate different types of interiors
21. Comment on the use of effects areas.
The effects area is used for the simulation of specific rooms such as a kitchen or phone booth.
22. Comment on the use of the narrator's booth.
The narrators booth is used for the recording of narration and is acoustically separated from the rest of the studio so that narration can continue while other rooms are being re-set.
23. Explain the use of walking surfaces.
These surfaces are built into the floor on top of the floor like a sand box. Surfaces include but are not limited to sand, rock, water, leaves, metal grating and tile. They are used to simulate different kinds of foot steps.
http://www.gamasutra.com/features/20000922/stevenson_pfv.htm
24. Describe how sound effects are produced in the drama studio.
Foley walkers create the sound effects as needed on demand for an interactive relationship with the narrator or actor.
25. Comment on the value of playing sound effects through a loudspeaker in the studio.
By feeding sound back through load speakers with various delays, one can alter the room's acoustics while mastering.
26. How is the acoustic environment of a car interior simulated?
Various removable wall and flooring surfaces are used to simulate different environments including a car interior.
27. Comment on the acting area and 'no-go' area when using a coincident crossed pair of figure-of-eight microphones.
Sound arriving at the sides of figure of eight microphones produce the same pressure at the front and the back. The sides of these microphones is considered a no go area.
28. What is 'fader start'?
Fader start is a function available on studio recording and playback equipment that allows the start button on one device to be controlled by the fader on another device.
29. List the contexts in which sound effects are commonly used.
A sound effect on a voice can used to create the illusion of:
a voice behind a closed door
a voice on the telephone
a voice inside a cavern
a flashback is in progress
http://home.sprynet.com/~palermo/mtr_rad6.htm
30. Comment on the value of accuracy in sound effects.
The more accurate the sound effect is the likelihood of the listener being distracted is minimized.
31. Why are sound effects recorded as long ago as the 1930s still in use?
Scott Bradley developed a musical language in the 40's that became very closely associated with particular actions, characters and emotions by simply weaving together his collection of musical metaphors.
http://www.tomandjerryonline.com/bradley.cfm
32. Why is it sometimes useful for archive sound effects to sound noisy or crackly?
If the intended effect is an old worn sound than this will be perfect
33. Comment on the dynamic range of real life sounds.
From about 20 db to 120 db is the dynamic range of real life sounds as perceived by human ears
34. Comment on the dynamic range of recording equipment in relation to that of real life sounds.
Digital recording equipment is capable of full dynamic range, 100 db
35. Give examples of spot effects.
An Airplane fly over is one example of a spot effect. Doors, Telephones and typewriters are also spot effects.
36. Give examples of extended effects.
Still looking
38. What is 'room tone'?
Room tone is the sound of a room without any movement or dialogue. This tone is used under dialogue to create presence.
39. Why must sound effects be recorded in isolation from other sounds and excessive reverberation or ambience?
Sound effects when recorded without any other sounds or excessive reverb present can be more accurately portrayed. The illusion of ambience can be added later but a clean accurate representation of the sound effect is desired for recording.
40. In what context would room tone be faked?
41. Give six examples of sounds made by a car that are not mentioned in the text.
Windshield wipers, back fire, squeaky brakes, engine starting, door sounds, tire noises
42. Comment on the problems introduced by recording sound effects in stereo.
A stereo recording of a sound effect is harder to edit and cross fade with other mono material. There is also the problem of phase cancellation of the sound when the tracks are combined for mono play back.
43. Why is the coincident crossed pair (or MS) technique preferable to stereo techniques where the mics are separated?
When the Mid side or XY technique is used, a more accurate representation of the way the human ears hear is achieved. The spaced stereo pair results in a stereo field that is to large.
44. Give two advantages of MS technique over a coincident crossed pair.
Using the MS technique, the stereo spread can be adjusted after the recording is done by sending the mid signal to one track and the side signal to another track and adjust accordingly.
http://www.tape.com/Bartlett_Articles/stereo_recording_procedures.html
45. Describe Foley effects.
Foley Effects are short naturalistic sounds representing movement and business, recorded to match the action of a radio show, audio drama, movie or a commercial. These effects are created on the spot by experienced Foley artists.
http://www.greatnorthernaudio.com/audio_theater/Sound_Effects.html
46. What kinds of sound would the Foley technique be used for?
The Foley technique is used for literal effects. In other words, the sounds that happen in real life. Not words or music.
In film, footsteps, keys, brushing lapels and fist fights etc. are Foley type sounds. Foley artists for radio also assist the illusion with sound like car crashes, gunshots, bubbling vats, thunder, machines and battles etc.
http://home.sprynet.com/~palermo/mtr_rad4.htm
47. In what characteristic is a Foley stage superior to any other recording studio?
Real sounds in tailored environments are more convincing than synthesized sounds.
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Sat Apr 23, 2005 12:29 pm |
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Quinnersboy
Joined: 22 Mar 2005
Posts: 4
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1. Describe the difference between an audio book and a talking book.
A audio book is a recording of a novel for sale to the general public to but and use. A talking book however is a recording for the blind. An audio book also would be made to general standard of quality, but the talking book however has a high standard of quality because of its use for the blind.
2. What would be the typical duration of a novel, as read out loud?
The duration of a novel read out aloud could take anything from two hours to six or more. It really depends on the novel.
3. What is the maximum official duration of a CD?
The official maximum duration of a CD is 74 minutes, so a novel might require several CD’s or more to hold the entire novel.
4. Briefly explain the term 'characterization'.
Characterization is a term used to describe the way a character is described in an audio form. Anything from the voice of the character to the sex can be described and is vital to bring real life feeling to the novel for the audio book.
5. Briefly explain the term 'narrative'.
The term narrative is used to describe how the story is told. From whose point of view to how a certain chain of events came about. This is one of the three components found in a audio book.
6. Briefly explain the term 'description'.
The term description is a term used for the way an object or a character is told to the listener with just words. Just like when you describe what happened in a film you watched. You use words to explain to a person who hasn’t seen the film. They don’t know what happened so you try and describe what happened using words.
7. What is 'abridgement'?
Abridgement is a term used to describe the shortening down of a novel. This could involve getting rid of unnecessary descriptions, which could be explained by the tone of the actor’s voice.
8. Briefly describe the differences in using an actor to read a book, versus a 'personality'.
If you have an actor to read the book then they are trained in how to deliver the spoken word to the audience to give the most impact and feeling about the sorry. On the other hand if a personality is to read a book for the reason of an accent may be required. This is when a personality may be drafted in by the company to read the book. If the story needed an accent then getting a personality with that accent would add great depth to the story. In saying that though, this person may have no skills in delivering the spoken word. This can lead to problems when recording and cost money. The compromise is to find an actor with both the personality and skills to deliver the spoken word.
9. What are 'lip smacks'?
A lip smack is an unwanted noise created by the lips opening and closing while trying to project words by the person speaking. These lip smack | | | |
