Latest posts
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Evolving website design

Thank you! This is the first thing I wanted to say. This blog is very young, but  have more and more visitors and I’m honored by that. Many of you not only read, but wrote me with some suggesstions about how to develop this site for better look and usability. As this is really my personal site, the speed of the development is quite slow, but it is happening, thanks to you, the reader.

I managed to add a few things, I hope you’ll like it:

  •  new twitter feed widget
  •  new follow me on Soundcloud button
  •  new find me on twitter
  •  new find me on linked in
  •  Vimeo widget
  •  updated links
  • a nice image plugin

So far this is it, but still pondering over the header and favicon. Thanks for all the kind words and suggestions, I really appreciate those, so keep them coming. I’ll try my best to make it better.

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Sound design is not easy

It’s probably not a new discovery for most of you, but as I see, there’s really lot of misunderstanding about this whole thing. Right now, I’m in the middle of a really exhausting, impossibly short deadline project. As many would think, I’m cutting and making hundreds of sounds, sync them, then mix them, and in their view, it is so much fun that it’s a sin that I get payed for this.

Well, the reality is somewhat different. I mean I love my job, but this whole process is not a glorious fun activity packed with unbelievable moments and endless fun. Actually sound design is hard. Technically, aesthetically. Of course it’s not hard to search for a simple door close in the library and sync it up with the picture. But we are not talking about one or two effects here. We are talking about hundreds, if not thousands altogether.

While some hard effects are easy to record or find in libraries, there might be many things which is whether not in any library, or not suitable for the situation, for the story, so we have to create a new one. A new one, which is technically good (high quality), believable, and supports the story.

The hardest part of this job is to be able to objectively judge our own work. It is very, I mean very hard! There are many pitfalls throughout the road.

1

One can actually fall in love with his/her own work, so consider each and every fx perfect. This is probably one of the biggest mistakes of all. We need perspective, need to revisit our own work, and if necessary, change direction or start over from scratch. Big ego is really not what we need at this point. Anyone who acts like the know-it-all man is suspicious. Red flag up, ego problem detected…

2

Stuck in the mud, as I call it. That is not accepting anything what we’ve done. This is typical, and I think most of us going through this stage almost every time. At least I know I almost always do. This is everything but not good. It’s not good to feel that all my work simply a huge failure. Probably this is the point where we need a little break.

Not necessarily sleep, but something which can inspire us, or just simply entertain us. This could be anything from listening to music, shoot some photos, play some game, etc. Really, anything.

3

Struggling is necessary. Falling into deep depression is not good, and not necessary. But we have to realize that struggling can actually be a good thing. It force us to work harder, to try different directions, to experiment. And do all these things with amazing focus. This is how we eventually succeed.

I’m not saying that all effect will be this hard to create or select, but the process might have these hard times. I have never met anyone who do this for a living and never struggled. Accept it, it is the part of this lifetime vocation.

4

The fear from failure. I guess everyone know what I’m talking about. This is so embedded into our society. We must not fail… at least this is what we’ve been taught in schools, in work places, everywhere. In my opinion, this is a huge mistake. Instead, we must fail! We must fail to eventually succeed.

There’s no other way. The fear from failure is a huge burden. It kills creativity, experimentation and boldness to try the unseen methods to achieve something.

So, is failure shouldn’t bother you? No, it absolutely should! And this energy is going to push you further, help you make things even better.

Conclusion

Sound design is hard! I know I’m not the first who tells you this, but this is the truth. Lots of struggling, doubt, failure. And lots of fun, experiment, and the real ultimate pleasure when something is born in front of our ears and eyes. Now, back to work.

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Favorite sound of the week #5

The old electric lawn mower. It’s been serving the family for a long time, though it didn’t get much attention if any over the years. As you can imagine, the electric motor is not in a good shape, the blades are dull, the chassis is battered. But still, it just works, well, most of the time.

The motor is not powerful enough to fight the wet grass, and the dull blades don’t help either. Often the machine struggle, and choked with the wet, thick grass so much the motor almost stop working. The good thing is that with all this struggling and choking and fighting, it produces very good sounds. Sometimes rpm drops abruptly, sometimes gradually. Both sounds nice.

Here’s an excerpt from the running, struggling, choking:

The old lawn mower by tamasdragon

Besides that these sounds are nice, they are useful for a number of things:

  • atmospheres
  • sweeteners for vehicle motor sounds
  • sweeteners for car pass-bys
  • motor starts and stops
  • whooshes

And of course for anything you use them for. I made a quick and short experiment.

As usual, the sounds are freely downloadable and you are free to use it in any way you want, I only ask two things in return. Do NOT ever distribute them for money and share with others where you’ve found them.
Enjoy!

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Handheld recorder accessory tips #2

Last time I made a wind protector comparison featuring some well-known vendors. This time I’m going to offer some utilities which can help you use your handheld recorder anywhere, anytime more conveniently.

Don’t over think it, it’s only a handheld, not a big Sounddevices rig, so the accessories are not so expensive and the list is not a big one. Obviously the first and most important in the list is wind protection. Let’s continue with the rest.

BAG

I consider this item to be very important for a number of reasons. First, the bag shall be comfortable to wear/hold/carry, or we won’t use it. Even more importantly, this bag should be able to not only hold our recorder, but protect it. For me, these are the requirements of a good bag:

  • have plenty room for the recorder
  • have some room for additional accessories
  • shock protection
  • weather protection
  • made from quality materials, so it will last for a long time

With these in mind I considered many alternatives, but eventually the Lowepro Apex 120AW won. I know that probably your first thought is that it’s too big. But for me, it’s not. The Sony fits in very well with wind protection on it, you can adjust the space inside the bag, it can hold every necessary accessory and maybe even a little more. It is made from quality material, and weather protection is top notch. On a holiday trip you can put your wallet into it, while you still have your handheld with you.

Take a look at the fully packed bag:

The package includes:

  • Sony pcm D50 with windjammer on
  • Rycote shock mount
  • Windcutter protection
  • Joby gorillapod
  • spare batteries
  • Sennheiser px-200 II headphones
  • Denon earphones for backup

HEADPHONES OR EARPHONES

While I love big headphones like the Sony MDR 7506 or the Audio-technica ATH-M50, they are too big to carry, and if you want to go into stealth mode, these big ones will draw more attention. There are two good alternatives. The first one is a very good sounding little headphone, the Sennheiser px 200 II, which is small enough to fit into the bag comfortably, but still offer very good audio quality. And as it is a well-known iPod headphone, you can wear it anywhere without getting noticed.

The second one, or the backup if you like, is a simple in-ear headset (a good quality iPhone headset for example). It’s cheap, sound quality is good enough, and again, most people will think you use it for your phone, not for some recorder. Of course it’s possible to record without monitoring it, but I love to hear what I record.

GORILLAPOD

This little flexible tripod is perfect for any location. You can put it onto the ground, fences, trees, etc. Really virtually on everything. Make sure you adjust the legs so it really holds the recorder at place. If you are ready, the Gorilla pod will hold the Sony, and you can make some nice photos. This is a great utility when you are at a place and would like to record ambiences. You don’t have to hold the recorder for minutes without any movement. Just attach it to the pod and let it record for a few minutes. Easy and very convenient.

THE RYCOTE SET

I’m a long time Rycote lover, so it was a natural choice for the handheld category. I had one little fear: most occasions companies tend to economize on these products aimed for semi-pro things. Fortunately the Rycote set made for these handhelds are the same professionally made accessories you’ll encounter with their pro-line. I already wrote about their windjammer which works wonders on a handheld, but if you choose the more expensive option (which I recommend), you’ll have some great additions.

The soft-grip, which is a shock mount for your recorder with some built-in extras. First, it is a superb shock mount, I’ve tried to abuse is, and it’s really remarkable how effectively it reduces or completely eliminates any handling noise and vibration. It holds the recorder tight, no chance of any damage. Very comfortable to hold it for longer periods. With a little screw, you can adjust the angle, so you can easily make it even more comfortable. A little cable holder is the icing on the cake really.

And  above all, this grip let’s you put the handheld on virtually any stand you want.  I know that this usage is not a real priority with these little recorders, but still, it comes very handy many times.

And even more: you get a little adapter which is good for smaller threaded stands, or DSLR’s with a flash shoe. So, as you can see, you get many things with this little package. I have one very small addition to this set, I bought a short screw driver so I can easily adjust the angle whenever needed.

CONCLUSION

You don’t have to carry all these things, but remember, they can help you use your handheld in a much more effective way. I received many questions on comparing the Sony and its accessories to much larger things like a Sounddevices recorder, but I tell you that it really pointless. Because they serve different purpose. There are many things a handheld is good for, and a big pro-set is not really convenient. But make no mistake, obviously these little recorders won’t make the pro rigs useless, they are good complement to them.

And at last, let me recommend some excellent article on my favorite little handheld (tests, comparisons):

René Coronado wrote some very good shootouts:

Paul Virostek from Airbornesound wrote an excellent series on these handhelds:

 

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Book recommendation

I recently read a book, which I’ve heard about on the net. This is not a technical guide, or a step-by-step method book, and to be honest, probably it is more likely intended for beginners, or to people who might consider some sort of activity in this industry. Still, I have found it remarkably enjoyable.

Kelley Baker: The Angry Filmmaker Survival Guide Part 2: Sound Conversations With (un)Sound People

I owe you some explanation on why I love this book so much, if it is more interesting for aspiring filmmakers or “sound guys”, and above all, it’s really not about any technical how-to’s.

Because it is about our industry, through the point of view of some of the most respected persons of our vocation. I don’t like to use big words, but if someone really seriously interested in sound, this is the book he/she must read. It is about reality. How sound often get neglected (until the director realize that without it, the film just not good enough), how often sound people looked down, and with all the bad things, how beautiful this vocation really is.

Often the outsiders or the aspiring ones only see the shiny part of this industry, with awards, with nice behind-the-scenes videos, but the truth is what we all know, it is not so shiny, most of the times not so easy, and many times it is exhausting. Still, we all do it, because we love it, and we’re not really able to imagine doing anything else instead.

The interviewees are (not in alphabetical order):

  • Tom Johnson
  • Gary Rydstrom
  • Harry B. Miller III
  • Jim LeBrecht
  • David A. Cohen
  • Dan Olmsted
  • Dianna Stripe
  • Michael “Gonzo” Gandsey
  • Peter Kurland
  • Ron Eng
  • Jana Vance
  • Glen Trew
  • Tomlinson Holman
  • Gregor Hutchinson
  • Jane Tattersall
  • Milly Iatrou
  • Bob Hackl
  • Lee Haxall
  • Ken Karman
  • Reka Yellek
  • Kelley Baker