Glittering Sound Effect Free 2021 Download
Violetta Hooke
I'm working on the sound design for an animation and I need to create the sound of fairy dust. Visually think magic wand, or the sparkles that surround Tinkerbell. Light and magical and darting around.
I'm thinking the sounds needs to be light, high frequency and glistening, maybe chime like but not too musical. I have been recording bells and Glockenspiel with various processing but its not quite getting there.
Sometimes it helps to start with lots of very small sounds and find ways of triggering them at different rates, with a bit of randomness. This can be a bit difficult with traditional sequencers, but is much easier in something like Max/msp or PD. Because they're not linear you don't have to paste loads of individual sounds onto a timeline, just set up the patch and adjust the settings. I've probably got a few patches around if you're interested.
I did something similar for Science Channel's cube logo animation when the cube breaks into a bunch of little cubes and then sucks back into the big orange cube. I used ice cubes and wood blocks through the same process. I also put in some blocks that were graphic specific and threw them through the doppler anomaly setting and reversed them when needed. It was kind of a washy high end sound. I bet using glass debris or a bell tree as the source material would result in fairy dust.
Theres an absynth effect called Atherizer that makes sparkly sounds. I highly suggest. Also GRM tools has a combfilter plug that works towards the sparklies. Working with granulator plugins might prove sparkley
What I am looking for is a word that describes words that are read with a sound representative of their connotation. To my understanding this would differ from an onomatopoeia in that onomatopoeia's deal with the denotation of a word. This is hard for me to explain (also hard to google) so I am going to give some examples:
I believe you could say that these words are phon(a)esthemic.1 Several2 of the words you are describing feature a phon(a)estheme3 which contributes to your sense that their meaning is somehow reflected in their sound. From Merriam-Webster:
"The word Twinkle is phon(a)esthemic because [it contains sounds that are associated with sudden or repetitive motion and smallness, so it] sounds sparkly and light when spoken which is appropriate to its meaning, but not directly connected"
Tiffany thought a lot about words, in the long hours of churning butter. 'Onomatopoeic', she'd discovered in the dictionary, meant words that sounded like the noise of the thing they were describing, like 'cuckoo'. But she thought there should be a word meaning 'a word that sounds like the noise a thing would make if that thing made a noise even though, actually, it doesn't, but would if it did.'
Glint, for example. If light made a noise as it reflected off a distant window, it'd go 'glint!' And the light of tinsel, all those little glints chiming together, would make a noise like 'glitterglitter'. 'Gleam' was a clean, smooth noise from a surface that intended to shine all day. And 'glisten' was the soft, almost greasy sound of something rich and oily.
3 These sounds are also sometimes called sub-morphemes (because they seem to carry some meaning even though they don't reach the level of a morpheme) or word-affinities. They are related to ideophones and fall under the more general heading of sound symbolism/phon(a)esthesia/phonosemantics, an area of expertise for EL&U's own John Lawler. There seems to be a continuing debate about whether the "meaning" that attaches to the various sounds is always language-specific (some dictionaries specifically define the phenomenon as a result of having a large number of related words in a language that share the sound) or if there is some inherent, universal connection between some of the sounds and human perception of their connotations, but either way I believe this describes the experience described in the question.
de Saussure was the first to really explicitly remark on the arbitrariness of the connection between sound and meaning. And this arbitrariness is a hallmark of language. But language is so large that there is room enough for some very small piece of non-arbitrariness (?). In many languages there are sound clusters that are not full words or even affixes, but they still appear in a number of words giving those words some vague common meaning.
where across many very unrelated languages, there seems to be an association with particular sounds common to those languages and non-linguistic shapes. For example, experimentally it has been shown that the nonsense word 'bouba' is more often associated with a smooth round object and 'kiki' with a spiky object.
I'm not 100% certain it's the word I was thinking of but it could be. It seems to apply to clusters of sounds, not just words, and a lot of their examples are basically onomatopoeia, but they literally include the English verb "twinkle" as an example.
SparkLE is an innovative hybrid instrument from Arturia that will take your beat creation to new levels. By combining the amazing sounds, workflow and creative tools of the Spark 2 software with the high-quality SparkLE controller, Arturia has created the ultimate beat-creating powerhouse.
Transform your beats with the touch-sensitive FX pad that features 8 filter modes (including our Oberheim SEM filter) and 7 different Slicer modes. Write automation and control your sounds in real-time with the 3 assignable encoders and the 3 Instrument modes on the XY pad. Tune mode lets you play your sounds chromatically across the 16 buttons or the 8 pads. This allows you to have your kick drum follow the bass root note for deep lows, play a synth bass/lead sound or transform percussion sounds into pitched instruments.
A well-tuned, good-sounding kit is an essential starting point for a good drum sound. Even if you're not the one playing the drums, it may be worth paying for a tuning lesson, as it will help you to capture a better sound.
It is probably true to say that the majority of studio drum recordings made today use close mics on every drum, plus a stereo pair of overhead mics to pick up the overall kit sound, and to bring out the cymbals. There may also be a separate hi-hat mic, and in studios that have a lot of space, there may be a further stereo pair out in the room to pick up the room ambience. There are variations on this approach, but in the main that's the way it is done. The close mics pick up the drum closest to them, plus some spill from the other drums and cymbals, but the level of room reverb they pick up is relatively low, simply because they are so close to the drum head. A typical setup places the mic no more than a couple of inches from the drum head and around the same distance from the edge of the drum, but you should experiment with the position as much as is practical, as varying the mic placement will change the sound just as it would for any other instrument. It is also common practice to use cardioid-pattern mics for close-up work, and to arrange their angles in such a way as to minimise spill from the other drums, though spill is impossible to get rid of completely. Other than the hi-hat mic, which should ideally be a capacitor model, so as to more faithfully capture the high-end, the close drum mics are often dynamic cardioids, though some engineers prefer the better-defined sound of capacitor models for all the drums, and some choose omni-pattern mics rather than cardioids. Omnis may seem like an odd choice, but their off-axis response is more accurate than that of cardioids, so although they tend to pick up more spill, what they pick up will sound more accurate. Consequently, you may be able to accept a higher level of spill.
Recently we've seen the introduction of affordable drum-mic kits using dynamic or back-electret capsules, and in some cases the mics have an integral clamp system that eliminates the need for stands, other than for the kick-drum mic and the overheads. Even the less costly of these can produce surprisingly good results, but if you're serious about getting a good sound, it's best to avoid the entry-level models and pay a little more for something with a better specification.
For overheads, you can use any stereo mic configuration you like. Spaced cardioids or coincident cardioids are popular choices, though omnis probably give the best results in a sympathetic-sounding room. Because cymbals can generate very high audio frequencies, capacitor microphones are the most common choice, though some engineers like the softer sound of certain ribbon models in this role. As a rule, the overheads would be positioned at least an arm's length above the highest cymbal, but I'll be looking at some alternative strategies for use in smaller rooms or rooms with low ceilings. A useful tip when using spaced overheads is to ensure that they are both the same distance from the snare drum, so as to prevent the snare sound being affected by tonal changes due to phase cancellation if the recording is replayed in mono.
For overheads, you can use any stereo mic configuration you like. However, unless the room sounds great, it is a good idea to cut out the room sound as far as possible, as this leaves you freer to add the desired ambience during the mix phase.
Unlike the other close drum mics, the kick mic seldom gives good results if positioned too close to the batter head (the one being hit by the beater) and a common starting point is to put the mic mid-way between the centre and the edge of the drum shell, protruding into the shell by just a few inches. You can then make a test recording and move the mic if necessary. Damping is usually provided by a folded blanket in the bottom of the drum shell, and as with the other drums, tuning and choice of head have a big influence on the sound, as does the choice of beater material (wood, plastic, felt, cork and so on). Where you need to coax a better-defined beater click out of the drum, taping a plastic card to the outside of the head, just where the beater hits, can help give you more of a slap.
df19127ead