Prepare To Be Blown Away
Beautifully Recorded Wind Sound Effects
Using the following technique we have removed that pesky comb filtering from our wind recordings, which as many of you know is a major irritant when recording wind.
First of course when recording wind one needs a wind screen (we used our Rode Blimp). We put 2 Uzi Pro mics (highly recommend, these!) in a spaced pair or A/B configuration. However we found that the stereo separation was not enough and we were still getting a comb effect. We realized that this is because the size and shape of the Blimp is not quite long enough. So we built a custom Jenklin Disc, which creates a full separation of stereo mic recording much like our own head separating our two ears. We put this custom-built Jenklin Disc inside our now slightly hacked Rode Blimp, and the resulting recording was an incredibly natural sounding wind.
Over half a year of recording locations using this technique, we bring you what we confidently call one of the best Wind SFX libraries out there.
WHAT YOU GET
|Documentation||Metadata spreadsheet, embedded metadata, UCS compliant|
|Format||96khz, 24 bit|
Wind Sound Effects Uses & Tips - Audio Volume or Gain
Wind sound effects are incredibly versatile in that simply lowering the volume of wind blowing can create the feel of a less intense wind. Boosting up the volume of the audio file will naturally give a higher intensity wind, useful for storms, hurricanes etc. With a bit of audio compression the airflow intensity can be further perceived as even stronger wind, especially in the bass end of the spectrum. If in a video game production, use multiple audio files to form a sliding value system (the Audiokinetic Wwise example is an RTPC) to attach wind intensity to ingame parameters. Film audio will benefit from multitracking layers of the wind samples at varying volumes and intensities to create a perfect storm.
Wind Sound Effects Uses & Tips - Pitch Changes and Filters
Changing the pitch of wind samples can give a huge variety of material from one wind SFX sample, if of course the source is recorded at 24 bit 96khz. Higher sampling rates are great for keeping the audio quality and detail as the wind sounds are changed in pitch. The 24 bit recordings ensure low noise floor, but also provide more accuracy when adding effects to the audio source material. Changing the pitch on a howling wind sample will make the sound more piercing when pitched up, and more hollow and darker when pitched down. Additionally, the wind sound effects can sound more muffled and subdued when applying LPF (Low Pass Filters), or conversely can feel lighter and more airy when cutting out the low end frequencies (High Pass Filters or HPF). These are just a few of the techniques you can use to get even more out of this detailed and rich wind sfx library!
This library uses the Universal Category System (UCS) naming convention for sound file names and metadata, a public domain initiative supported by sound librarians, vendors, and users from around the globe.
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