“A darkly funny but nightmarish scenario, a man wakes up in hospital with a group of sound artists soundtracking his life. Mr Foley is an award-winning short film directed by Dublin directing duo Mike Ahern & Enda Loughman aka D.A.D.D.Y. The film has been on the festival circuit for a while but has just premiered online for all to see, YAY!”

Ref. mrfoley.com 2012, Mr. Foley [online], Designing Sound, 1,
Available from: http://designingsound.tv/mr-foley/
[Accessed: 4.5.2012].

Dolby Laboratories, Inc. announced on Monday, April 23rd at CinemaCon 2012, Dolby® Atmos, a new audio platform that will change the experience of sound in entertainment. Launching in the cinema, Dolby Atmos delivers a more natural and realistic sound-field, which transports people into the story with a lifelike, sensory experience.

Sound Works Collection 2012, Dolby Atmos [online], Designing Sound, 1,
Available from: http://designingsound.tv/
[Accessed: 4.5.2012].

Pros

1. Great audio quality recording [Better than CD: up to 24bit/96kHz].
2. Affordable price [around £230 / $300].
3. Stereo pair Condenser mics.
4. Phantom Power [+48v/+24V] for external mics supported.
5. Works fine with batteries [around 5 continuous hours].

Cons:

1. Doesn’t allow you to check input levels or setting if the SD Card is not inserted into the slot [that is annoying].
2. You can not mix the four channels independently [just in groups of two: front mics or input lines].
3. Noisy if you handle it while recording because of the high level of sensitivity of the mics.
4. You can not adjust input levels while recording.
5. The velocity of the meters is quite slow.

There is a whole description here if you plan to buy a Zoom for your project.

Image Ref

Woodbrass 2012, Zoom H4N [online], Woodbrass Music Instruments, 1,
Available from: http://www.woodbrass.com/zoom-h4n-p63004.html
[Accessed: 22.4.2012].

microphone_techniques_for_recording_english

The selection and placement of microphones can have a major influence on the sound of an acoustic recording. It is a common view in the recording industry that the music played by a skilled musician with a quality instrument properly mic’d can be sent directly to the recorder with little or no modification. This simple approach can often sound better than an instrument that has been reshaped by a multitude of signal processing gear.

In this guide, Shure Application Engineers describe particular microphone techniques and placement: techniques to pick up a natural tonal balance, techniques to help reject unwanted sounds, and even techniques to create special effects. Following this, some fundamentals of microphones, instruments, and acoustics are presented.

Boudreau, J. Rick F. Sigismondi, J. Vear T. Waller, R. 2009, MICROPHONE TECHNIQUES [online], shure.com,
Available from: http://www.shure.com[…]/microphone_techniques_for_recording_english.pdf
[Accessed: 22.4.2012].

“Some science-fiction films provided inspiration,” Halbmeir says. “But there was nothing in the real world which offered quite the right sound.”

So with a keyboard, a computer and an electronic throttle pedal, Halbmeir sought to craft a sound that’s both mechanical and musical, combining low-range frequencies that convey power with mid-range tones that are more sporting and fitting of the R8 Etron.

Lavrinc, D. 2011, Autopia [online], WIRED, 1, Available from: http://www.wired.com/autopia/2012/04/audi-esound/?pid=1853 [Accessed: 19.4.2012].