I hooked it up to my ART USB dual preamp, but found better results with the Arctic MC6002 mixer. I filmed some short clips using both setups so you can hear the difference:
Showing posts with label contact microphone. Show all posts
Showing posts with label contact microphone. Show all posts
Tuesday, March 12, 2013
Studio Project: Slinky & Contact Mic
One of my current projects called for some experimentation with a miniature Slinky spring. For years it's been part of a lo-fi spring reverb that I built, which never worked very well (it needed a preamp). A friend of mine once told me he'd hooked a spring up to a contact microphone, and that's what gave me the idea to try it with the Slinky. So, a few minutes with some rubber bands, two microphone stands, some painter's tape, and a buffered contact microphone et voila:
I hooked it up to my ART USB dual preamp, but found better results with the Arctic MC6002 mixer. I filmed some short clips using both setups so you can hear the difference:
I hooked it up to my ART USB dual preamp, but found better results with the Arctic MC6002 mixer. I filmed some short clips using both setups so you can hear the difference:
Sunday, October 9, 2011
The Saga of the Typewriter
Introduced in the first episode of Tales of Elves and Trolls is a contraption called a 'type-writter.' In essence, it's a typewriter to the Nth degree: a steam-powered lump of metal, pistons, cogs, and keys. In order to create the sound of this beast, I set out to find a typewriter to record in-studio. This was easier said than done!
I've frequented thrift shops, flea markets, and garage sales for years. A lot of the electronic toys that I turned into circuit-bent instruments have been sourced from them. And, yes, I've seen my share of typewriters in them too. But when it came to actually needing one, none were to be found. I came close: I found a monstrosity of a thing at the Re-Use Centre, which looked like it came from a WW2 army hospital. Unfortunately, it didn't sound as big as it looked, so it remained hidden away on its dusty shelf.
Months passed. I located no less than two electric typewriters, and had a local antiques dealer keeping an eye out for a mechanical one. It was time for plan B. I sent my aunt an e-mail. She teaches at the local college, so I figured if anyone could find me a typewriter it would be her. Lo and behold, a few weeks later I was loaned this 1925 Remington 12:
It weighs as much as a small planet, but fulfills all the requirements and is blessed with a wealth of character. Just gazing upon it is a treat. I gave it a rudimentary clean and set about working out what sort of microphone configuration would best capture its sound.
After a little experimentation, I settled on placing my contact mic beneath it (it's open at the bottom) and suspending the CAD GXL1200 above it on a gooseneck stand. The typewriter produces an incredible amount of vibration despite its weight, so the stand had to be placed on a separate surface to the one supporting the typewriter to avoid unwanted 'mic stand wobble' noise. There wasn't much choice with the contact mic (which in this case is acting as a pickup rather than being attached to the surface of the sound source), so a towel was placed underneath.
As with my breeze block experiment some weeks ago, I recorded using both mics at once, on separate channels. My plan is to mix both recordings together after I've edited and pitch-shifted them. There's a surprising amount of variation in the sound of each keypress, so I recorded the entire sequence I need for my production (two takes) as well as additional sounds such as carriage return, bell, paper-winding, etc...
My only worry at this point is the length of the recordings. Not counting the extras, they add up to several minutes. The scene in the story should realistically be under a minute. I have a feeling I'll need to speed the typing up or edit keypresses closer together or ... something. Oh, the joys of real life vs. fiction! At any rate, there's a lot of other work to be done on these recordings before I reach that stage. The GXL1200 source will need compression, to bring out the nuances lost to the low headroom of digital recording, and the contact mic source will need noise reduction and possibly EQ. I'll explain that process in more detail in 'Field Recordings Part 2,' whenever I get around to posting it.
You may be wondering why I've gone to so much trouble when I could just as easily have used a couple of generic typewriter sounds from a sound effects collection. Well, for one it's a lot of fun, and as I mentioned before: each keypress has a unique sound depending on which bit of the antique mechanics it activates, and how hard you press it. There are also subtleties such as parts of the typewriter vibrating from the sheer momentum behind the tension of the carriage. All these things, I hope, add up to a unique and expressive 'performance' rather than a stale computer-generated facsimile (not that there's anything wrong with the latter).
I've frequented thrift shops, flea markets, and garage sales for years. A lot of the electronic toys that I turned into circuit-bent instruments have been sourced from them. And, yes, I've seen my share of typewriters in them too. But when it came to actually needing one, none were to be found. I came close: I found a monstrosity of a thing at the Re-Use Centre, which looked like it came from a WW2 army hospital. Unfortunately, it didn't sound as big as it looked, so it remained hidden away on its dusty shelf.
Months passed. I located no less than two electric typewriters, and had a local antiques dealer keeping an eye out for a mechanical one. It was time for plan B. I sent my aunt an e-mail. She teaches at the local college, so I figured if anyone could find me a typewriter it would be her. Lo and behold, a few weeks later I was loaned this 1925 Remington 12:
It weighs as much as a small planet, but fulfills all the requirements and is blessed with a wealth of character. Just gazing upon it is a treat. I gave it a rudimentary clean and set about working out what sort of microphone configuration would best capture its sound.
After a little experimentation, I settled on placing my contact mic beneath it (it's open at the bottom) and suspending the CAD GXL1200 above it on a gooseneck stand. The typewriter produces an incredible amount of vibration despite its weight, so the stand had to be placed on a separate surface to the one supporting the typewriter to avoid unwanted 'mic stand wobble' noise. There wasn't much choice with the contact mic (which in this case is acting as a pickup rather than being attached to the surface of the sound source), so a towel was placed underneath.
As with my breeze block experiment some weeks ago, I recorded using both mics at once, on separate channels. My plan is to mix both recordings together after I've edited and pitch-shifted them. There's a surprising amount of variation in the sound of each keypress, so I recorded the entire sequence I need for my production (two takes) as well as additional sounds such as carriage return, bell, paper-winding, etc...
My only worry at this point is the length of the recordings. Not counting the extras, they add up to several minutes. The scene in the story should realistically be under a minute. I have a feeling I'll need to speed the typing up or edit keypresses closer together or ... something. Oh, the joys of real life vs. fiction! At any rate, there's a lot of other work to be done on these recordings before I reach that stage. The GXL1200 source will need compression, to bring out the nuances lost to the low headroom of digital recording, and the contact mic source will need noise reduction and possibly EQ. I'll explain that process in more detail in 'Field Recordings Part 2,' whenever I get around to posting it.
You may be wondering why I've gone to so much trouble when I could just as easily have used a couple of generic typewriter sounds from a sound effects collection. Well, for one it's a lot of fun, and as I mentioned before: each keypress has a unique sound depending on which bit of the antique mechanics it activates, and how hard you press it. There are also subtleties such as parts of the typewriter vibrating from the sheer momentum behind the tension of the carriage. All these things, I hope, add up to a unique and expressive 'performance' rather than a stale computer-generated facsimile (not that there's anything wrong with the latter).
Wednesday, August 17, 2011
Tales Music: 'Evening Descends'
Yesterday I took a break from editing field recordings long enough to finish the first piece of music for Tales of Elves and Trolls. I had a few pieces started before I decided how to approach the soundtrack as a whole, but I had the theme song to guide me (it can be heard in the promo video at the start of this blog).
One thing I'm keen to do with this soundtrack is combine electronic sounds (chiefly created with analog and pseudo-analog synthesizers) with acoustic sounds. I don't necessarily mean acoustic instruments, but any sound produced acoustically. This could be anything from a dripping tap to a metal object being struck. The kind of sounds chosen will vary depending on what I'm trying to convey.
Some pieces will also use orchestral elements, albeit from a virtual orchestra: a VST called EastWest Orchestra Silver (I was going to include a link, but the software appears to be discontinued). I've used this for several years now, chiefly for its grand piano sound and a few violins. It accounts for about 75% of the instruments on the Tales Theme music.
For now I'm only concerned with music that bridges the gap from one scene to another: the transitions. Incidental music that plays during scenes will come later. When a transition appears in the script, I give it a simple title so I have something to work with.
The first transition of Episode 1 I've named 'Evening Descends + The Alarm Rock.' It signifies the passing of time as Agnor and Runkthussle, the Troll Tree Removers, await the setting of the sun. Once it sets they can emerge from their sun shelter and go about their business. In the novel, there's also a line that reads: '... the alarm rock thudded into place ...' Rather than script it as a sound effect, I chose to incorporate it into the transition. So, as the music unfolds, clock-like sounds come in, culminating in the thud of the alarm-rock itself. My trolls are simple creatures, so I imagined that rather than a traditional time-piece they might have something rudimentary built of clockwork and stone.
For some reason, the melody of Evening Descends turned out to be a rising scale. Don't ask me which scale though, as I couldn't tell you. It's accompanied by a sweeping synthesized bass drone which also gives the illusion of rising/falling. These sounds, as well as some rudimentary bass and bass drum sounds were created on my trusty Novation K-Station.
For the 'Alarm Rock' I spent an afternoon in the studio with a breeze block and a stone. I struck both together, scraped one across the other, and also dropped the stone onto the block to capture the resulting percussive sounds. I recorded with two different microphones at once: my Shure SM58 (traditionally used for vocals), and my Buffered XLR Contact Mic. The SM58 was placed in close proximity to the block, and the Contact was sellotaped directly to the surface. I found that the SM58 resulted in sounds that were bright and trebly (is that even a word?) and the Contact gave me duller, bassier sounds. In the track I used a mixture of the two, but favoured those recorded with the Contact mic.
These recordings, or I should say a tiny percentage of these recordings, were loaded into the Shortcircuit VST sampler, and used an octave below their natural pitch to make the clockwork sounds. Shortcircuit v.1 is my sampler of choice since my Akai S1000 developed a fault. It's also free, I might add :)
Interesting though the breeze block was, I realised it sounded a little weak with just a tiny pebble rattling around on it. So for the Alarm Rock thud, I selected the sound of a more sizeable rock from my recent quarry recordings. This was also loaded into Shortcircuit, pitched down somewhat and given a touch of EQ.
This may sound like an awful lot of work for a piece of music only 30 seconds long. But to me, all this fiddly stuff is one of the reasons I create electronic music in the first place: the process. Creating sounds from what amounts to a pile of circuitry, and making the everyday sound otherworldly.
One thing I'm keen to do with this soundtrack is combine electronic sounds (chiefly created with analog and pseudo-analog synthesizers) with acoustic sounds. I don't necessarily mean acoustic instruments, but any sound produced acoustically. This could be anything from a dripping tap to a metal object being struck. The kind of sounds chosen will vary depending on what I'm trying to convey.
Some pieces will also use orchestral elements, albeit from a virtual orchestra: a VST called EastWest Orchestra Silver (I was going to include a link, but the software appears to be discontinued). I've used this for several years now, chiefly for its grand piano sound and a few violins. It accounts for about 75% of the instruments on the Tales Theme music.
For now I'm only concerned with music that bridges the gap from one scene to another: the transitions. Incidental music that plays during scenes will come later. When a transition appears in the script, I give it a simple title so I have something to work with.
The first transition of Episode 1 I've named 'Evening Descends + The Alarm Rock.' It signifies the passing of time as Agnor and Runkthussle, the Troll Tree Removers, await the setting of the sun. Once it sets they can emerge from their sun shelter and go about their business. In the novel, there's also a line that reads: '... the alarm rock thudded into place ...' Rather than script it as a sound effect, I chose to incorporate it into the transition. So, as the music unfolds, clock-like sounds come in, culminating in the thud of the alarm-rock itself. My trolls are simple creatures, so I imagined that rather than a traditional time-piece they might have something rudimentary built of clockwork and stone.
For some reason, the melody of Evening Descends turned out to be a rising scale. Don't ask me which scale though, as I couldn't tell you. It's accompanied by a sweeping synthesized bass drone which also gives the illusion of rising/falling. These sounds, as well as some rudimentary bass and bass drum sounds were created on my trusty Novation K-Station.
For the 'Alarm Rock' I spent an afternoon in the studio with a breeze block and a stone. I struck both together, scraped one across the other, and also dropped the stone onto the block to capture the resulting percussive sounds. I recorded with two different microphones at once: my Shure SM58 (traditionally used for vocals), and my Buffered XLR Contact Mic. The SM58 was placed in close proximity to the block, and the Contact was sellotaped directly to the surface. I found that the SM58 resulted in sounds that were bright and trebly (is that even a word?) and the Contact gave me duller, bassier sounds. In the track I used a mixture of the two, but favoured those recorded with the Contact mic.
These recordings, or I should say a tiny percentage of these recordings, were loaded into the Shortcircuit VST sampler, and used an octave below their natural pitch to make the clockwork sounds. Shortcircuit v.1 is my sampler of choice since my Akai S1000 developed a fault. It's also free, I might add :)
Interesting though the breeze block was, I realised it sounded a little weak with just a tiny pebble rattling around on it. So for the Alarm Rock thud, I selected the sound of a more sizeable rock from my recent quarry recordings. This was also loaded into Shortcircuit, pitched down somewhat and given a touch of EQ.
This may sound like an awful lot of work for a piece of music only 30 seconds long. But to me, all this fiddly stuff is one of the reasons I create electronic music in the first place: the process. Creating sounds from what amounts to a pile of circuitry, and making the everyday sound otherworldly.
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