Silver sound studio portable#
Silver sound studio series#
Silver sound studio tv#

So if the car is a souped-up Ford Mustang, Thom said, you could certainly start with a recording of an actual souped-up Mustang. It’s who the gangster is, what kind of person he is and how he wants to be perceived. For example, he said, when you’re being asked by the director to come up with the sound for a gangster’s car, the most important information is not what kind of car it is. “One of the first things you have to teach yourself as a sound designer is to forget about the literal,” Thom said. It’s also finding a way to elicit the emotional response that a scene demands. But good sound design requires more than just the ability to re-create the creak of a door hinge or the bustle and clatter of a lunch counter.

That’s something you can develop with practice and experience, the pros say. It almost goes without saying that the job requires an ear for detail, an ability to peel apart the layers of a complex sound. “Everything in sound is ear training in the end.” You’re listening to all the different instruments, you’re listening to the notes played so you can play along,” he added. “When you’re playing music, you are honing your ears. It’s just to note that the world of sound effects and sound design is evolving. Which is not to say that you should abandon your dream of crafting medieval battle sounds for the big screen and aim instead to design the warning tone your car makes when you leave the lights on after parking. Increasingly, the demand for sound designers is coming from technology and video game companies, not just filmmakers. The person in charge of assembling that sonic palette is called the sound designer. They record sounds in the field, pull them from effects libraries and create them from scratch, then edit them to fit the narrative (and satisfy the director). The sound effects team includes the people who clean up, enhance or replace the sounds recorded while the cameras rolled. The production’s composer oversees the music, and the rest is overseen by the supervising sound editor. The music, dialogue and sound effects are typically handled by different teams, although on low-budget productions a few people may do it all. Instead, it was done by audio specialists after the filming wrapped up.

Silver sound studio tv#

To be truly immersive and transporting, a film or television show needs to have sound that matches its imagery and advances its story.Ĭhances are, most of the sound you hear in the theater or through your TV speakers wasn’t recorded when the scenes were shot on set.

Silver sound studio portable#

Sanken CS3-e, Sanken CSS-5, Schoeps CMC641, Schoeps CMC640, Sennheiser MKH 70, Sennheiser MKH 60, Sennheiser MKH 50, Oktava 012, Sennheiser MKH 816, Sanken CUB-1, Shure SM58, Electrovoice RE-20, Sennheiser Evolution e835, Groove Tubes GT-33, Rode NTG-3, Countryman B6 Lavaliers, Sanken COS-11 Lavaliers, Tram TR-40 Lavaliers And…ĭenecke Sync Boxes, Denecke Smart Slates, Dummy Slates, Sound Carts, Assorted Pelican Cases, Studio Microphones, Boom Poles, Microphone Stands, Sound Devices HX-3 Headphone Amp, JBL EON PA System, Portable Playback Speakers, Remote Audio BDS Systems, Petrol, Kortwich, and Portabrace Audio Bags… and more.We call filmmakers “visionary” when they bring wondrous, strange or frightening worlds to life.

Silver sound studio series#

Zaxcom QRX200 Receivers, Zaxcom LA2.5 Transmitters, Zaxcom 742 Plug-On Transmitter, Lectrosonics UCR411A Receivers, Lectrosonics SM Series Transmitters, Lectrosonics UM Series Transmitters, Lectrosonics UH400 Plug-On Transmitters, Sennheiser 2000 Series, G3, and G2 Series, Comtek 216 Series IFB, Lectrosonics IFB receivers, Zaxcom ERX2TCD IFB Microphones Sound Devices 442, Sound Devices 302, PSC AlphaMix, Wendt X3, Mackie CR1604-VLZ Wireless/IFB Zaxcom Nomad 10, Zaxcom Maxx, Sound Devices 664, Sound Devices 633, Sound Devices 788T, Sound Devices 552, Edirol R-44 w/ Custom Pre-Amps, Tascam HD-P2, Tascam DR-40, Sony PCM-M10 and more… Mixers