Foley Impact was released on May.2022, produced by Digimonk.<\/p>\n
When the last SFX pack \u201cMEC Swish\u201d was ready to release in 2021, I realized it\u2019s necessary to have a pack of impact sounds. But it\u2019s not started until I tested and figured out a different idea to record the foley of those impact. The idea is simply from the drum kit recording skills. When recording acoustic drum kit, every microphone is set for specific purpose by various distance and positions. Eventually a good set of microphones can bring a specific drum kit tones on mixer and the final recordings. Another reference is gunshot recording. Sort of microphones are set for specific target and with various distance. And in the post-production, sound designer can collect some of all the synchronized take and mix them together. And then a strongly powerful gunshot sound occurs. Most of punch or cold weapon impact sound is a small and single spot of sound source. It\u2019s quite similar with gunshot but much lighter volume.<\/p>\n
But the method can be helpful on recording a powerful and tunable impact sound, if I use multi microphone tech on it. I hope the powerful and tough impact sound can be directly happened from recording and less rely on post-production. After couple hours of testing in the recording room, it surprised me extremely.<\/p>\n
\u2022<\/span><\/span> Punch and Cold Weapons Impact, including necessary breaks and debri<\/span>s<\/span><\/span><\/span><\/span> Recordin<\/span>g<\/span><\/span><\/span>
\u2022<\/span><\/span> 192kHz 32Bit recording and editing,<\/span><\/span><\/span>
\u2022<\/span><\/span> Multi-microphone recordin<\/span>g<\/span><\/span><\/span><\/span>
\u2022<\/span><\/span> 9GB, 337 mixed tracks, 207 punch kit tracks (69 sessions)<\/span><\/span><\/span>
\u2022<\/span><\/span> Except traditional hard blades, it contains Soft Knife and Swor<\/span>d<\/span><\/span><\/span><\/span>
\u2022<\/span><\/span> Samurai Blade and Shina<\/span>i<\/span><\/span><\/span><\/span>
\u2022<\/span><\/span> Different sides of swords and blades, Wooden Swor<\/span>d<\/span><\/span><\/span><\/span>
\u2022<\/span><\/span> Fist, Glove Fist, Chest, Elbow, Knee, Kick and even Fingers (Chinese martial art<\/span>)<\/span><\/span><\/span><\/span>
\u2022<\/span><\/span> Bone cracks, Juicy Flesh,<\/span><\/span><\/span>
\u2022<\/span><\/span> Usual dirt and concrete debri<\/span>s<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\nGear use<\/span>d<\/span><\/span><\/span><\/span><\/h3>\n
\u2022<\/span><\/span> Mic: Schoeps MK640 Stereo Pair, Sanken CO-100, AKG D11<\/span>2<\/span><\/span><\/span><\/span>
\u2022<\/span><\/span> Mic Pre-amp: API Channel Strip, SSL VHD-Pr<\/span>e<\/span><\/span><\/span><\/span>
\u2022<\/span><\/span> ADDA: Apogee Symphony MKI<\/span>I<\/span><\/span><\/span><\/span>
\u2022<\/span><\/span> Recording : Sound Machine Studi<\/span>o<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n
Mixing in the post<\/span>:<\/span><\/span><\/span>
\u2022<\/span><\/span> API 5500 EQ, (for low-cut<\/span>)<\/span><\/span><\/span><\/span>
\u2022<\/span><\/span> API 560 EQ (for tuning<\/span>)<\/span><\/span><\/span><\/span>
\u2022<\/span><\/span> SSL Fusion (for saturation control)<\/span><\/span><\/span>
\u2022<\/span><\/span> Empirical Labs EL7 (for warm control<\/span>)<\/span><\/span><\/span><\/span>
\u2022<\/span><\/span> API 529 Compresser<\/span><\/span><\/span>
\u2022<\/span><\/span> ADDA: Apogee Symphony MK<\/span>I<\/span><\/span><\/span><\/span><\/span><\/p>","protected":false},"excerpt":{"rendered":"