The most realistic sounds are always obtained from original sources. However, one can obtain less realistic sounds with the help of techniques like digital synthesis and sequencing. When the content creator makes a demand for sound effects with high fidelity, the sound editor, generally, must expand his/her existing library of sounds. He/she must update it with new, natural sound effects. The use of sound effects is vastly popular in the world of sound recording.
Usage of sound effects in sound recording:
When the needed sound effect is that of comparatively small object, then, that sound effect is best when recorded under artificially controlled atmosphere. The sounds of cloth being ripped, paper tearing or footsteps are some suitable examples. Small sounds such as these are generally delegated to the foley editor and foley artist. But there are some sounds that cannot be recorded in the studio. They may be explosions, gunfire, aircraft stunts, etc. For recording these sounds, the expertise of a sound effects recordist is required.
Based on the effect, the recordists can use several hard disks, DAT, or Nagra recorders and a number of microphones. During the cannon and musket fire recording session for the film “The Alamo”, monitored by Charles Maynes and Jon Johnson, 2-3 DAT machines were put to use. One of the machines was positioned near the cannon, so that it could record the firing. The second one was positioned close to eighty yards away, under the trajectory of the ball, so that it could record the sound of the cannonball which was supposed to pass by. When the crew was recording the musket fire, a group of microphones was positioned nearby the target so that the musket ball impacts could be recorded.
This helps the sound designer in gaining a lot of control over how he wants the scene to sound. This is because he has the sound effects produced by all the aspects of the scene.
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