Sound Advice: Make Your Own Sound Effects

You hear sound effects all the time in movies and on TV. And this time of year, as Halloween approaches, there are lots of creepy sound effects to go around. While certain effects are easy to pick out, others are subtler. In any case, sound effects are a fundamental part of the media we watch. Why not make them a part of the media we create? Sure, you can buy sound-effects libraries and even download effects from the Internet, but what fun is that? Using production tools you already own, you can record your own sound effects, edit them and drop them into your next video masterpiece.

Sound effects come in three basic flavors. Each has its own place in your video production, and some projects require a combination of all three.

The first type is called "a hit" or "one-shot." This is the type of effect you expect to hear when something happens - a gunshot, a car door slamming, a telephone ring - simple, obvious sound effects. The second category is called "ambient" or "natural" sound. These are audio environments rather than single effects. Ocean waves, restaurant sounds and casino noises are common examples. The third type is the Foley, named after Jack Foley, a sound-effects wizard for Universal Studios in the early days of movie sound. Foley covers the entire range of sound effects, but typically refers to human sounds - footsteps, clothing rustles and other noises people make.

Why bother recording sound effects at all? Can't we just pick them up during the shoot and include them in the finished product? It's possible, but most dramatic shoots concentrate the microphones on the actors' dialog, not the sound effects. By recording and editing the sound effects independently of the shoot, you'll gain full control of when the effect occurs, as well as the ability to increase the subjective impact of the sound. Another benefit is the power to substitute recorded sounds for those in the video. With some imagination and the right effects, a simple scene will transform into a crowded beach or frantic game show.

There are many excellent ways to record sound effects. Under controlled circumstances, you can even record them directly into your computer. Of course, most of the really interesting sounds occur in places where it's difficult to carry a computer. This means you need a portable recorder. Many videographers love the MiniDisc (MD) format for its small size, excellent (but compressed) sound quality and low cost. Professionals often use digital audio tape (DAT) recorders for the highest quality. If you don't have access to one of these recorders (or the budget to purchase one), you can easily substitute your digital camcorder.

Whether Digital8 or Mini DV, your camcorder has a better-than-CD-quality audio recorder. Many offer the ability to record up to four audio tracks in the field, so what are you waiting for? As with your video recording, you'll need an external microphone and a pair of headphones for monitoring. If you have microphone options, use a directional microphone for one-shots and use non-directional mikes for any ambient sounds.

Gathering sound effects is fun and challenging. You may already have a shopping list of the effects required for your upcoming production. You can record realistic one-shots by simply placing the microphone where you normally listen to the sound. There is a huge difference in the sound of a telephone recorded at six inches away versus six feet away. The same rule applies for most sounds, but record both if you like - audio tape is cheap.

Ambient soundscapes present more of a challenge. It is difficult to record a pure sound anymore. Even out in the country, there are distant traffic noises, farm machinery and even jet engines overhead. Maybe these are the sounds you want to record, but more often, you want to avoid them. Let the scene dictate the ambient sound. If you're showing a sidewalk café, some traffic noise is in order. A race scene calls for revving engines and the roar of a crowd. If the required sounds are available at the shoot location, record them. Make sure you have several uninterrupted minutes of each soundscape, the longer the better. Don't forget real sound effects like lightning and thunder. It can be difficult, due to radical dynamic changes, but not impossible to get a really good storm on tape.

Foley sounds are even more fun because they allow you to show your creativity. Don't have a foghorn? Try blowing across the top of an empty two-liter bottle. While your lungs are still full, an earthquake sound is available by blowing on a microphone. Leave the windscreen off your lapel mike and try a few gusts from several inches away. The sound possibilities are endless.