The Boom Box Post blog provides insights into the creative sound design process of Boom Box Post's owners and employees.
Viewing entries tagged
compression
If you've spent a Fourth of July in Los Angeles, you know the city transforms into one giant fireworks show. For sound designers, it's also one of the best opportunities of the year to capture unique explosions, whistles, crackles, and distant booms for future projects. In this post we’ll take a listen to the ambience recordings I captured and how to process them to make them library-ready.
So you’ve just recorded the coolest sound out in the field, but it’s buried underneath environmental sounds like distant cars, planes, humans, birds, insects etc… How do we isolate these sounds and minimize that background noise? This is NOT another Izotope RX post. Instead we’re going to talk about a common yet sometimes forgotten audio processor that can help reduce your noise floor and make these recordings more usable.
You’d be surprised just how “quiet” raw gunshot recordings can sound without any processing. When played back dry, the recordings sound like weak little pops, lacking detail and punch. But with some basic processing, we can turn those thin pops into powerful, rich, cinema-ready gunshot sound effects.
As sound editors, it's crucial that we approach our edits with the mixer's needs in mind. In previous posts we’ve covered how to deliver clean, organized edits to help streamline the mixing stage. But what about processing to remove additional steps for our mixer? In this post, I’ll share simple but effective techniques to tidy up your sound editorial without causing a headache for the mixer down the line.
