General Maho Sound Effects Wiki
PERFORMERDEBUT1970PATTERNThe original brown-haired Simon Soundman.Simon Soundman is a character who has the ability to mimic any sound he hears. He often drops pre-recorded sound effects into conversation, using them to represent common words. For example, if he visits a tool store to buy a hammer, he doesn't say to the store clerk 'I want to buy a hammer,' instead he says 'I want to buy a (POUND POUND!)' Other characters, and the viewers, must then figure out what he means by identifying the sounds (though some sketches end with the other characters replacing words with sounds in the same manner).This guesswork is frequently used as the basis for his skits, as the on-screen characters attempt to interact with him. Though he often makes sounds of objects instead of naming them, he is capable of saying the actual words as well, such as in a sketch where he meets, and in a sketch where he sounds out the word 'Call'. In one of Simon's most notable appearances, he sang ',' a song about his (RUFF RUFF!) chasing a (MEOW!) up a tree. As he made each sound effect, pictures accompanied them so the viewers could easily tell what the sounds were.Simon debuted on in and was mostly active until. He made cameo appearances in,.
In 2018, Simon made a background cameo in as a customer in.Simon once appeared at, where he was waited on. During this sketch, Simon remarks that he can't believe his brother recommended the place, which implies that he and frequent Charlie's customer (another Fat Blue puppet performed by Jerry Nelson) are brothers.AppearanceThe first Simon Soundman had brown hair, a bushy mustache, orange nose, and no eyebrows. He was later given a smaller mustache, pink nose, eyebrows, and black hair (though the refers to his hair color as brown).Some illustrations (such as the inside covers for series and the program book) depict him without a mustache.Sketches PictureTitle /Description.
A blackbird singing, followed by the same recording with the blackbird singing with 5 voicesA sound effect (or audio effect) is an artificially created or enhanced, or sound process used to emphasize artistic or other content of films, television shows, live performance, animation, music, or other media. These are normally created with. In and production, a sound effect is a sound recorded and presented to make a specific storytelling or creative point without the use of dialogue or music. The term often refers to a process applied to a recording, without necessarily referring to the recording itself.
In professional motion picture and television production, and sound effects recordings are treated as separate elements. Dialogue and music recordings are never referred to as sound effects, even though the processes applied to such as or effects, often are called 'sound effects'.
A live rooster in the recording studio in 1930s FinlandThe term sound effect ranges back to the early days of radio. In its Year Book 1931 the published a major article about 'The Use of Sound Effects'. It considers sounds effect deeply linked with broadcasting and states: 'It would be a great mistake to think of them as anologous to punctuation marks and accents in print. They should never be inserted into a programme already existing. The author of a broadcast play or broadcast construction ought to have used Sound Effects as bricks with which to build, treating them as of equal value with speech and music.' It lists six 'totally different primary genres of Sound Effect':.
Realistic, confirmatory effect. Realistic, evocative effect. Symbolic, evocative effect. Conventionalised effect.
Impressionistic effect. Music as an effectAccording to the author, 'It is axiomatic that every Sound Effect, to whatever category it belongs, must register in the listener's mind instantaneously. If it fails to do so its presence could not be justified.' Film In the context of motion pictures and television, sound effects refers to an entire hierarchy of sound elements, whose production encompasses many different disciplines, including:.
Hard sound effects are common sounds that appear on screen, such as door alarms, weapons firing, and cars driving by. Background (or BG) sound effects are sounds that do not explicitly synchronize with the picture, but indicate setting to the audience, such as forest sounds, the buzzing of fluorescent lights, and car interiors. The sound of people talking in the background is also considered a 'BG,' but only if the speaker is unintelligible and the language is unrecognizable (this is known as ).
These background noises are also called ambience or atmos ('atmosphere'). Foley sound effects are sounds that synchronize on screen, and require the expertise of a to record properly. Footsteps, the movement of hand props (e.g., a tea cup and saucer), and the rustling of cloth are common foley units. Design sound effects are sounds that do not normally occur in nature, or are impossible to record in nature. These sounds are used to suggest futuristic technology in a, or are used in a musical fashion to create an emotional mood.Each of these sound effect categories is specialized, with known as specialists in an area of sound effects (e.g.
A 'Car cutter' or 'Guns cutter').is another method of adding sound effects. Is more of a technique for creating sound effects than a type of sound effect, but it is often used for creating the incidental real world sounds that are very specific to what is going on onscreen, such as footsteps.
With this technique the action onscreen is essentially recreated to try to match it as closely as possible. If done correctly it is very hard for audiences to tell what sounds were added and what sounds were originally recorded (location sound).In the early days of film and radio, foley artists would add sounds in realtime or pre-recorded sound effects would be played back from analogue discs in realtime (while watching the picture). Today, with effects held in digital format, it is easy to create any required sequence to be played in any desired timeline.In the days of silent film, sound effects were added by the operator of a or, both of which also supplied the soundtrack of the film.
Theater organ sound effects are usually electric or electro-pneumatic, and activated by a button pressed with the hand or foot.Photoplayer operators activate sound effects either by flipping switches on the machine or pulling 'cow-tail' pull-strings, which hang above. Sounds like bells and drums are made mechanically, sirens and horns electronically.
Due to its smaller size, a photoplayer usually has less special effects than a theater organ, or less complex ones.Video games The principles involved with modern sound effects (since the introduction of sample playback) are essentially the same as those of motion pictures. Typically a game project requires two jobs to be completed: sounds must be recorded or selected from a library and a sound engine must be programmed so that those sounds can be incorporated into the game's interactive environment.In earlier computers and video game systems, sound effects were typically produced using.
In modern systems, the increases in storage capacity and playback quality has allowed sampled sound to be used. The modern systems also frequently utilize, often with hardware acceleration, and real-time audio post-processing, which can also be tied to the 3D graphics development. Based on the internal state of the game, multiple different calculations can be made. This will allow for, for example, realistic sound dampening, echoes and doppler effect.Historically the simplicity of game environments reduced the required number of sounds needed, and thus only one or two people were directly responsible for the sound recording and design. As the video game business has grown and computer sound reproduction quality has increased, however, the team of sound designers dedicated to game projects has likewise grown and the demands placed on them may now approach those of mid-budget motion pictures.Music Some pieces of music use sound effects that are made by a musical instrument or by other means. An early example is the 18th century.
In the opera (1869) lets a choir of anvils introduce the scene of the dwarfs who have to work in the mines, similar to the introduction of the dwarfs in the 1937 Disney movie. Soundtrack for the 1981 movie includes a title score with a sonar sound to reflect the U-boat setting. Integrated into the title song of (1979) a sound representing the beep of a like satellite.Recording. A man recording the sound of a in the 1930sThe most realistic sound effects may originate from original sources; the closest sound to machine-gun fire could be an original recording of actual machine guns.Despite this, real life and actual practice do not always coincide with theory.
When recordings of real life do not sound realistic on playback, Foley and f/x are used to create more convincing sounds. For example, the realistic sound of bacon frying can be the crumpling of cellophane, while rain may be recorded as salt falling on a piece of tinfoil.Less realistic sound effects are or and sequenced (the same recording played repeatedly using a sequencer).
When the producer or content creator demands high-fidelity sound effects, the usually must augment his available library with new sound effects recorded in the field.When the required sound effect is of a small subject, such as scissors cutting, cloth ripping, or footsteps, the sound effect is best recorded in a studio, under controlled conditions. Such small sounds are often delegated to a. Many sound effects cannot be recorded in a studio, such as explosions, gunfire, and automobile or aircraft maneuvers. These effects must be recorded by a or a professional.When such 'big' sounds are required, the recordist will begin contacting professionals or technicians in the same way a producer may arrange a crew; if the recordist needs an explosion, he may contact a demolition company to see if any buildings are scheduled to be destroyed with explosives in the near future. If the recordist requires a volley of fire, he may contact or gun enthusiasts.Depending on the effect, recordists may use several, or recorders and a large number of microphones. During a - and -fire recording session for the 2003 film, conducted by and, two to three DAT machines were used. One machine was stationed near the cannon itself, so it could record the actual firing.
Another was stationed several hundred yards away, below the trajectory of the ball, to record the sound of the cannonball passing. When the crew recorded musket-fire, a set of microphones were arrayed close to the target (in this case a carcass) to record the musket-ball impacts.A counter-example is the common technique for recording an automobile.
For recording 'Onboard' car sounds (which include the car interiors), a three- technique is common. Two microphones record the engine directly: one is taped to the underside of the hood, near the engine block. The second microphone is covered in a and tightly attached to the rear bumper, within an inch or so of the tail pipe. The third microphone, which is often a microphone, is stationed inside the car to get the car interior.Having all of these tracks at once gives a or a great deal of control over how he wants the car to sound. In order to make the car more ominous or low, he can mix in more of the tailpipe recording; if he wants the car to sound like it is running full throttle, he can mix in more of the engine recording and reduce the interior perspective.
In cartoons, a pencil being dragged down a washboard may be used to simulate the sound of a sputtering engine.What is considered today to be the first recorded sound effect was of striking 10:30, 10:45, and 11:00. It was recorded on a brown by technicians at Edison House in London on July 16, 1890. This recording is currently in the public domain.Processing effects As the car example demonstrates, the ability to make multiple simultaneous recordings of the same subject—through the use of several DAT or recorders—has made sound recording into a sophisticated craft. The sound effect can be shaped by the or, not just for realism, but for emotional effect.Once the sound effects are recorded or captured, they are usually loaded into a integrated with an audio. This allows a or to heavily manipulate a sound to meet his or her needs.The most common sound design tool is the use of layering to create a new, interesting sound out of two or three old, average sounds. For example, the sound of a bullet impact into a pig carcass may be mixed with the sound of a melon being gouged to add to the 'stickiness' or 'gore' of the effect. If the effect is featured in a close-up, the designer may also add an 'impact sweetener' from his or her library.
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The sweetener may simply be the sound of a hammer pounding hardwood, so that only the low-end can be heard. The low end gives the three sounds together added weight, so that the audience actually 'feels' the weight of the bullet hit the victim.If the victim is the villain, and his death is climactic, the sound designer may add to the impact, in order to enhance the dramatic beat. And then, as the victim falls over in slow motion, the sound editor may add the sound of a broom whooshing by a microphone, pitch-shifted down and time-expanded to further emphasize the death. If the film is science-fiction, the designer may the 'whoosh' to give it a more sci-fi feel. (For a list of many sound effects processes available to a sound designer, see the bottom of this article.)Aesthetics When creating sound effects for films, sound recordists and editors do not generally concern themselves with the verisimilitude or accuracy of the sounds they present. The sound of a bullet entering a person from a close distance may sound nothing like the sound designed in the above example, but since very few people are aware of how such a thing actually sounds, the job of designing the effect is mainly an issue of creating a conjectural sound which feeds the audience's expectations while still suspending disbelief.In the previous example, the phased 'whoosh' of the victim's fall has no analogue in real life experience, but it is emotionally immediate. If a uses such sounds in the context of emotional climax or a character's subjective experience, they can add to the drama of a situation in a way visuals simply cannot.
If a artist were to do something similar to the 'whooshing fall' example, it would probably look ridiculous or at least excessively melodramatic.The 'Conjectural Sound' principle applies even to happenstance sounds, such as tires squealing, doorknobs turning or people walking. If the sound editor wants to communicate that a driver is in a hurry to leave, he will cut the sound of tires squealing when the car accelerates from a stop; even if the car is on a dirt road, the effect will work if the audience is dramatically engaged. If a character is afraid of someone on the other side of a door, the turning of the doorknob can take a second or more, and the mechanism of the knob can possess dozens of clicking parts. A skillful can make someone walking calmly across the screen seem terrified simply by giving the actor a different gait.Techniques In music and film/television production, typical effects used in recording and amplified performances are:. to simulate the effect of reverberation in a large hall or cavern, one or several delayed signals are added to the original signal.
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To be perceived as echo, the delay has to be of order 35 milliseconds or above. Short of actually playing a sound in the desired environment, the effect of echo can be implemented using either or methods. Analog echo effects are implemented using and/or. When large numbers of delayed signals are mixed over several seconds, the resulting sound has the effect of being presented in a large room, and it is more commonly called or for short. to create an unusual sound, a delayed signal is added to the original signal with a continuously variable delay (usually smaller than 10 ms). This effect is now done electronically using, but originally the effect was created by playing the same recording on two synchronized tape players, and then mixing the signals together.
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As long as the machines were synchronized, the mix would sound more-or-less normal, but if the operator placed his finger on the flange of one of the players (hence 'flanger'), that machine would slow down and its signal would fall out-of-phase with its partner, producing a phasing effect. Once the operator took his finger off, the player would speed up until its was back in phase with the master, and as this happened, the phasing effect would appear to slide up the frequency spectrum.
This phasing up-and-down the register can be performed rhythmically. another way of creating an unusual sound; the signal is split, a portion is with an to produce a phase-shift, and then the unfiltered and filtered signals are mixed. The phaser effect was originally a simpler implementation of the flanger effect since delays were difficult to implement with analog equipment. Phasers are often used to give a 'synthesized' or electronic effect to natural sounds, such as human speech.
The voice of from was created by taking the actor's voice and treating it with a phaser. a delayed signal is added to the original signal with a constant delay. The delay has to be short in order not to be perceived as echo, but above 5 ms to be audible.
If the delay is too short, it will destructively interfere with the un-delayed signal and create a effect. Often, the delayed signals will be slightly pitch shifted to more realistically convey the effect of multiple voices. different frequency bands are or boosted to produce desired spectral characteristics.
Moderate use of equalization (often abbreviated as 'EQ') can be used to 'fine-tune' the tone quality of a recording; extreme use of equalization, such as heavily cutting a certain frequency can create more unusual effects. Equalization is a form of filtering. In the general sense, frequency ranges can be emphasized or attenuated using, or filters. Band-pass filtering of voice can simulate the effect of a telephone because telephones use band-pass filters. effects such as the use of a can be used to produce distorted sounds, such as for imitating robotic voices or to simulate distorted radiotelephone traffic (e.g., the radio chatter between starfighter pilots in the science fiction film ). The most basic overdrive effect involves clipping the signal when its exceeds a certain threshold. similar to pitch correction, this effect shifts a signal up or down in pitch.
For example, a signal may be shifted an octave up or down. This is usually applied to the entire signal, and not to each note separately.
One application of pitch shifting is. Here a musical signal is tuned to the correct pitch using digital signal processing techniques. This effect is ubiquitous in karaoke machines and is often used to assist pop singers who sing out of tune.