THE LOCATION SOUND BIBLE PDF

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The location sound bible by Ric Viers, , Michael Wiese Productions edition, in English. PDF Books File The Location Sound Bible [PDF, ePub, Mobi] by Ric Viers Books Online for Read "Click Visit button" to access full FREE ebook. LocationSoundBible_SamplePages - Free download as PDF File .pdf), Text File .txt) LOCATION SOUND BIBLE How To Record Dialog For Your Productions.


The Location Sound Bible Pdf

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View eBook The Location Sound Bible: How To Record Professional Dialog For Film And Tv By Ric Viers EPUB site. PDF. Professional Dialog For Film And Tv pdf the location sound bible how to record professional dialog for film and tv ebook, the location sound. This books (Location Sound Bible: How to Record Professional for Film and TV [NEWS] PDF files, Free Online Location Sound Bible: How to.

On this site, you have to right-click on the link and choose Save Link As in order to download the audio file. Luckily, anyone can download them without needing to register or login. Also, on this site, you have to right-click on the download link and choose Save Link As in order to download the MP3 file. GRSites GRSites has a couple of hundred simple sound effects that you can download for free and without registration.

All sounds are free for personal use. If you need any sounds effects for commercial use, you have to download the commercial license. SoundJay SoundJay has few hundred sounds that are completely free and can be downloaded without any need to login.

The files are good quality also, mostly bit stereo SoundGator SoundGator is another site with a decent number of good quality free sounds. You do have to register and login in order to download the files. The site probably has a couple of hundred sounds. The collections are quite large and the audio quality is superb. Those are 10 sites I have used in my own work that will get your just about any sound you will need.

Of course, if you are willing to pay, there are lots of sites with a lot more sound effects of better quality. In this post, I wanted to only focus on the free sites. If you use a website not mentioned here, post a comment. Founder of Online Tech Tips and managing editor. He began blogging in and quit his job in to blog full-time.

The average frequency range for human speech is Hz 3KHz, although harmonics can far exceed this range.

The location sound bible

Some males can produce speech frequencies as low as 60Hz. Higher frequencies are perceived as being higher in pitch. Lower frequencies are perceived as being lower in pitch. This transmission will weaken the sound waves. Lower frequencies are stronger and can pass through objects much more easily than weaker higher frequencies.

The Location Sound Bible: How to Record Professional Dialog for Film and TV

An example of transmission would be a car radio blaring down the street. Most of the higher frequencies wouldnt make it out of the car, let alone be able to pass through a brick wall; however, the lower frequencies are much stronger and would transmit through the car and past a brick wall. This makes sense when you realize that great energy must be exerted in order to create low frequencies. Remember, the waves in the pond will be bigger and stronger if the rock is heavy and thrown at a great rate of speed.

Of course, the amount of control and reduction greatly depends on the amplitude of these frequencies, which nicely segues us to our next topic: amplitude. Amplitude Amplitude refers to the amount of energy present in a wave. The human ear perceives this amplitude as volume.

With a heavy rock, the splash is deeper and the waves have more energy and are larger as a result. The same is true with sound sources.

Loud sounds occur when there is a greater force behind the disturbance in air molecules. The amplitude of sound waves is measured in decibels.

The term decibel is named after Alexander Graham Bell bel and the Latin word for ten deci. The more amplitude a sound wave has, the larger the number will be in dB. A sound wave that is ten times more powerful than 0dB is written as 10dB. A sound wave that is one hundred times more powerful than 0dB would be written as 20dB.

This measurement tells us how loud a sound wave is in relation to perceived silence 0dB. The range of human hearing is amazing. Gently sliding your finger across a sheet of paper might produce an audible sound that is only a few decibels.

The threshold of pain for the average human ear is dB. This is an astonishing one trillion times louder than the threshold of hearing! Dynamic range refers to the difference between the quietest sound and the loudest possible sound before noticeable distortion.

After dB, the human ear starts to distort and will eventually become permanently damaged. Longterm exposure to Sorry to be the adult in the situation, but if you plan on having a long career in audio engineering, you should never attend a rock concert without earplugs. According to generally-accepted practice, you should only expose yourself to SPL of 85dB for less than eight hours each day. This is the recommended highest level of SPL for studio monitors.

Signal Measurement For the human ear, 0dB represents the threshold of hearing. On audio equipment, 0dB represents the maximum amount of amplitude that can be received without distortion. The measurements on this scale are relative to this level and, therefore, the scale is reversed. This overage is permitted because most analog equipment can function above 0dB without noticeable distortion.

Digital equipment, however, has an absolute ceiling for the amount of amplitude it can receive without a type of digital distortion known as clipping.

Digital equipment will have a scale that begins at infinity and measures amplitude up to 0dBFS FS stands for full scale.

Digital audio is further explained in Chapter Different mixers, recorders, microphones, and distances to the sound sources will greatly affect these numbers. When monitoring signals, you will notice that a 6dB increase of amplitude will be perceived as double the volume.

A decrease of 6dB or -6dB will be perceived as half the volume. Mic level signals require an amplifier to boost the signal up to line level so that it can be used in audio equipment. This amplifier is called a preamplifier or preamp for short. All microphones send a mic-level signal. Professional audio equipment usually provides switches to let the user select what type of signal is sent and received.

Amplitude versus Volume it should be noted that amplitude is often confused with volume. While there is a direct correlation, it is not always an accurate one. A study by scientists Harvey Fletcher and Wilden Munson revealed that there is a curve in the human ears perception of volume at different frequencies.

This contour is known as the Fletcher-Munson Curve. This curve shows that humans perceive different frequencies of equal amplitude as being different in volume. This demonstrates why amplitude and volume are not the same thing. Phase When multiple sound waves are combined they create a single wave called a complex wave.

When two waves of equal amplitude and frequency are combined, the result is a wave that is double in amplitude. The result is a thin, weak sound or no sound at all.

This is called phase cancellation. To oversimplify this concept, take the example of adding 2 plus 2. The sum is 4. This is because -2 and 2 cancel each other out when added together. Multiple microphones recording the same source can produce sounds that are out of phase when combined together.

The new sound wave would be the sum of the two waves. Once separate sounds are combined onto one track of a recorder, the sounds cannot be separated. Therefore, if phase cancellation occurs, the effect cannot be reversed. Echoes and Reverberation Sound waves continue to move away from the sound source until they either lose energy or they encounter a surface. Upon encountering a surface, the energy of the wave will bounce off the surface and continue in the opposite direction. The echo does not have as much energy as the original wave because some energy is lost upon impact.

To understand this, imagine throwing a racquetball at the side of a building. As the racquetball hits the buildings wall, the energy redirects in the opposite direction. Now consider the matter of angle trajectory. Reverberation is the continuation of echoes in an enclosed space.

Throwing the racquetball at a high rate of speed will cause the ball to continue to bounce off the walls multiple times. The walls of the court are made from drywall and are intended to be highly reflective. Not to mention, the game would not be nearly as fun. Now, lets replace the racquetball with sound waves. By standing in the center of the racquetball court and clapping our hands together, we will send a sound wave toward the wall. The sound wave will strike the wall with a great amount of energy and bounce back in the opposite direction.

The sound wave will strike the opposite wall with less energy than the first wall, but still with a great amount of energy.

This will continue until the sound wave finally loses energy. Unlike a racquetball that moves in a single direction, sound waves move in a degree radius from the sound source. Upon clapping our hands, we send the sound wave is sent in every direction, including up and down.

To properly trap this animal, you need to use an anechoic chamber. These rooms are designed to eliminate any possible echoes, thus suffocating reverberation and successfully capturing the beast. Sound mixers, however, must capture sound without the use of this trap.

Location sound-work tasks the sound mixer with capturing sound in any given environment. Herein lies the greatest challenge for the sound mixer: sound does not want to be tamed or captured. Sound Levels There is no perfect answer for what dialog levels should read on a meter. There are, however, some good guidelines to follow. Real-world conversations have dynamics.

People speak softly and loudly during a conversation. Allocate headroom when setting your levels to allow for spikes in dialog. A normal conversation, with proper mic placement, should read an average of dBFS.

Try to avoid going above -6dBFS with your peaks. This will give you a little bit of grace if an actor adlibs with loud dialog. Technically you can have peaks read up to 0dBFS, but then you run the risk of clipping and that is the unforgivable sin of digital recording.

Find a good level and stick with it unless something extreme happens. False Metering Low frequencies are much larger and stronger than higher frequencies. As a result, low frequencies can hog up your signal with audio that is either inaudible or inconsequential to the dialog. This will free up headroom and eliminate unnecessary low frequencies.

General Meter Guidelines Here are some general meter guidelines to consider. These examples are approximations.

Different voices will have voice dynamics and active frequencies that will affect the average signal levels. Y our main goal is to record the signal as hot as possible with no noise hiss from levels set too low or distortion crunchy audio from levels set too high.

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Average dialog will read between -9dB and -3dB. Loud dialog will read between -3dB and 0dB.

Try to avoid levels that stay above 0dB for long periods of time. Note: VU meters do not dance as much as peak meters, but that little movement can equal big sound. Digital peak meters should never reach 0dBFS.

After some practice, youll find that your ears will act as an extension of your meters. This is especially true if you monitor at consistent headphone volumes. Y ears will tell you if our something is too loud or soft not to mention overloaded signals. Conversely, if you monitor at low levels, you will mix a track that is too high. Find the sweet spot and spend your career at that level. Y tracks our will sound better and be more consistent, and your ears will thank you for it. Chapter Exercise Experiment with room acoustics to help familiarize yourself with how a room will sound in the recordings.

Find a room and clap your hands together once. Next, say a few sentences at different volumes. Now, repeat these steps and record them. Play back the recording to see if the acoustical responses of the room match what you remember hearing. What are the differences between what your ears heard and what the microphone captured?Ric Viers.

With simple to use video editing programs like Windows Movie Maker and iMovie, just about everyone knows how to create short movie from video clips. A literal is a propositional variable or the negation of a propositional variable.

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