![]() I wound up purchasing a stereo pair of the pickup mics, with a certain amount of confidence that they would yield at least some degree of successful results. I recalled seeing some interesting induction coil pickup microphones on Jez Riley French’s blog where I had previously purchased some of his hydrophones. I found the info to be highly intriguing, which motivated me to continue my research in this direction. My research eventually lead me to a great article on Jean-Edouard Miclot’s blog, where he discusses Electromagnetism and the associated recording techniques. Keeping in mind that I had to accumulate enough material to comprise a library, it became clear that I needed to find sources that were more diverse and broader in scope than some of the one-off items I had on my checklist. In the early stages of research, I entertained all sort of options ranging from things like tesla coils to television static. In the case of Microsphere, I knew I wanted to pursue new techniques that were dealing less with synth noise, and more with authentic electrical noise. Having recorded a lot of circuit bent hardware in the past, I have a lot of experience in recording noisy and unwieldy material. The first challenge I faced in this project was finding interesting ways of capturing new types of noise I had not previously worked with. Many concepts may not necessarily fit the project I happen to be working on at that time, so I’ve learned to compartmentalize them in ways that allow me to adapt them to projects retroactively. It’s never effective to simply try to remember them later on – almost always, my ideas are to obscure of elaborate to recall by memory. This is a highly effective method for me, as I usually find myself away from the studio when ideas strike. I typically wind up emailing myself a list of thoughts on my mobile phone, so that I can later copy them to my database. ![]() Brainstorms usually occur spontaneously, so I’ve trained myself to always be prepared. These ideas stem from ongoing brainstorming sessions that I document meticulously. The first step of the research stage of the production process always starts with a hard list of ideas. I find that the most effective approach is to strike a balance between having a detailed plan and leaving myself plenty of room for improvisation and experimentation. Because a lot of my sound design work is stylized and conceptual, I have to stay mindful of not only the technical needs and restrictions of each project, but also retain a constant awareness of how the material will later fit into an aesthetic context. In this article, I will take you on a journey through the various stages of my technical and creative process of analyzing, capturing and processing this hidden sonic universe.īefore approaching this type of project, I always do a considerable amount of research. How can we explore such a vast and largely uncharted realm? More importantly, how do we approach recording this unusual sonic landscape and compile the results into a sound library specifically intended for the science fiction genre? How do we find the emotional undercurrent in what is arguably the least emotive type of sound? These are some of the questions that ultimately spawned the production of Microsphere, my new sample library released with Glitchmachines, in which the focus was on exploring a vast landscape of electromagnetic noise. Also check the sport car sound effects for antique sport cars.Guest Contribution by Ivo Ivanov – Lead Sound Designer & Project Manager Royalty free sounds of the Citroen 2CV and Traction, Hispano-Suiza, pre-war cars. ![]() A collection of antique cars sound effects classified by model or by historical period. ![]()
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