Wind Up Music Box Sound Effect
Nilsa Housman
This almost feels like a sin for movies as beautiful as these, but it did help me notice something. Nausicaa: Valley of the Wind looks different from Princess Mononoke or The Wind Rises, sure; however, it sounds way different. The music, the foley effects, the subtler cues, the sheer sound density are completely different from one end of the career to another.
It is now that we are in the presence of the horror lived in this earthquake and sound plays such a big role with all its brutality. Different to the traditional approach of western film, the main elements heard are a composition of :
Start by creating wind sounds with your mouth into your microphone. Take those recordings and add effects to them. Import all your RAW and processed recordings into your sampler or synth of choice and tweak the parameters to your liking until you have the sound you are looking for.
Consider using multi-effect plugins like Guitar Rig Player. Guitar Rig Player is a free plugin from Native Instruments that has different effects included and a whole list of presets you can scroll through.
Low Rolloff for Speech was designed to get rid of most rumble and low pitched sounds (wind, trucks driving by, thunder, bad USB microphones) without affecting human speech very much. The two sounds do overlap a bit. Somebody with a ballsy announcing voice will find some of his syrupy tones reduced. Some other methods must be found to deal with that.
This can still get messed up. If the wind created sound that drove the blue waves on the timeline all the way up, that will create overload distortion. That is very different and difficult to remove. Turn on View > Show Clipping. Look for red marks in the timeline.
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Wind sound effects play a pivotal role in both musical compositions and theatrical productions, creating atmospheres, evoking emotions, and enhancing narratives. Instruments like the kazoo, slide whistle, Acme whistle, train whistle, and ocarina offer a vast palette of sounds, from the whimsical to the hauntingly realistic, providing creators with the tools to bring their auditory visions to life.
The kazoo is a simple yet surprisingly versatile instrument capable of producing various sounds, from comedic interludes to eerie backgrounds. Its unique buzzing tone, created by vocalized humming, adds texture and depth to soundscapes, making it a favorite for live performances and studio recordings.
The slide whistle is known for its characteristic glissando effect, effortlessly moving from one pitch to another. This ability to mimic the rise and fall of natural sounds makes the slide whistle perfect for creating sound effects that require a sense of movement, such as the swoosh of wind or the call of birds.
The Acme whistle, particularly the Acme siren and birdcall models, is renowned for its precision in replicating natural sounds. From the soft cooing of a pigeon to the alarming sound of a siren, Acme whistles are invaluable tools for sound designers looking to add authentic auditory cues to their projects.
The train whistle conjures images of distant landscapes and times gone by. Its deep, resonant tones can evoke nostalgia and wanderlust or serve as a powerful symbol of departure and adventure. The train whistle is a potent sound effect for storytelling, transporting listeners to another place and time.
For a more versatile instrument, the ocarina, with its ancient roots and ethereal sound, is perfect for creating atmospheric effects that resonate with the elements of earth and air. Whether used to emulate the call of the wind or to perform melodies that stir the soul, the ocarina's pure, haunting tones add a layer of mystique to any sound palette.
We have been meeting with a lot of candidates lately, both for our internship program as well as to bulk up our freelance roster. In addition to sitting down for a chat or looking over resumes, Kate and I are reviewing a lot of work. Whether editors are aware of it or not, the work in these sessions speaks a lot to their experience level. I've written previously about how to properly present your work with the mixing endgame in mind. However, I haven't yet touched on a topic that time and again seems to need further discussion; how to properly cut backgrounds. Not so much on a technical level (when it comes to how we like to see backgrounds cut, Jessey Drake has already created a great practical guide right here on this blog). It's more an issue of what constitutes a background, an ambience or simply another sound effect. It seems like such a simple thing, but being able to distinguish these from one another and thus properly laying out these sounds seems to be the dividing line between experience and novice. Here are some tips on how to be sure your backgrounds are an asset rather than a liability.
On the left, you can see proper choices and execution on backgrounds. Relatively steady material, cut end to end for an entire scene. On the right, many elements which start and stop are mixed in with steady backgrounds. These are ambiences and need to be moved up to the sound effects tracks.
Thus, the way to reflect the type of sound you are cutting is by location in your project. I like to dedicate chunks of tracks for Backgrounds. Depending on the show, I will do the same for ambiences with an AMB food group. Alternatively, you can often get away with simply communicating which sounds are ambiences by grouping the corresponding elements together, placing them down low in the higher numbered SFX tracks and coloring them similarly to one another. The important thing here is to keep your ambiences distinct. Sound effects that tend to be more of the overall ambient collage I then place just above any ambiences.
One last note in terms of Walla. Ambient talking, even that which is steady and cut throughout a scene, should be treated as an ambience not a background. Crowd sweeteners (bursts of laughter, clapping, etc) and call outs (shouts, screams) should be treated as sound effects.
It takes a little extra thinking and some practice, but knowing the difference between these three types of sounds that help create the overall feel of a scene and then placing them in the right location within your project will not only make mixing your work a breeze, but it will show you have a solid grasp of the relative importance of the sounds you are cutting.
In a lot of modern orchestral music, bell trees (an unpitched percussion aka wind chimes) are heavily used. However, Musescore doesn't have this available. One factor that might make this a difficult instrument to program is the fact that they are always played as glissandi, which Musescore doesn't support either. If there is any way to make this instrument available and sound good, that would be excellent.
Have you read the Handbook on Soundfont? There are many options available, and I'm sure some of them support these instruments. MuseScore itself is instrument-neutral - it's happy to play any instrument supported by whatever soundfont you load. And I suspect that any soundfont that provided these chimes would do so as a glissando; you wouldn't need MuseScore to explicitly force this.
Yes, I've read it before. However, chimes and bell trees are not supported by any soundfont bank I've seen. The closest thing I can think of is a repeated triangle sound or a glockenspiel glissando, but those both still don't replicate it well. If the musescore program could utilize one of these sounds in a way that would more closely resemble a bell tree, that would be appreciated by a lot of people, myself included. At the very least, the program should have an easy way to visually display a chime glissando on the notation, even if a sound is not plausible or possible.
Also, you can display glissando - they are found in the glissando palette. If you add it to a single note(as opposed to a chord) it will be fery short by default, but you can then double click and resize it. Amd GWIW, glissandi *do* normally playback in 1.X. But with only note, there is nothing to do, so you won't hear a difference. It's really intended for chords.
I'll try that now. One thing I do sometimes to get a one-note glissando is just use the "line" and resize it so it looks like a glissando (which many forms of sheet music do use). I never thought to use an arpeggio, so I'll try that too.
A bell tree looks like a bunch of brass bells of decreasing size stacked on top of each other with a handle at the bottom and is played by running a stick over them; a Mark Tree is a bunch of metal rods of decreasing size hung side by side and play by striking each other when brushed with a hand. The latter is what is normally called "wind chimes" (I don't know why).
As Michael observed above - and I think this may have been missed - the default soundfont, and probably most other GM soundfonts, *does* provide one of these two sounds as pitch 84. I wasn't aware of that as the original GM standard stops at 81, but I see now that the Roland GS standard defines several more percussion instruments, and I suspect most GM soundfonts do implement these Roland GS extensions.
However, I note that the Roland GS spec defines this instrument to be called the "bell tree", and that's how TimGM6mb plays it. But FLuidR3 uses wind chimes. And actually, my recollection is that it was wind chimes and not the bell tree that was used by the original Roland Canvas (which I still have, but am too lazy to dig out and check).
You and Wikipedia are of course correct, and now that I am reminded of this, "bar chimes" is indeed what I have heard as the official name. Still, they *are* colloquially referred to as wind chimes - indeed, the picture I posted (and others just like it) was found by doing a Google search on ":wind chimes percussion". And I would be willing to bet that when a soundfont says it implements specifies "wind chimes", that they really mean "bar chimes" at least half the time.
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