Systematic Sound Professional Sound Effects Fri, 09 Apr 2021 09:04:26 +0000 en-US hourly 1 Systematic Sound 32 32 169445226 DMS3DS by Daniel Meuser Sat, 27 Mar 2021 14:44:10 +0000 DMS3DS stands for Double-Mid-Side-3D-Surround, a new way to record 3D-Audio.   What happens if you lock down a graduated Sound Designer for 6 months? Correct, he starts building his own 3D Audio Recording Array! I´m thrilled to introduce to you the DMS3DS by Daniel Meuser. This medium sized array was build  with versatility in mind […]

Der Beitrag DMS3DS by Daniel Meuser erschien zuerst auf Systematic Sound.

DMS3DS stands for Double-Mid-Side-3D-Surround, a new way to record 3D-Audio.


What happens if you lock down a graduated Sound Designer for 6 months? Correct, he starts building his own 3D Audio Recording Array! I´m thrilled to introduce to you the DMS3DS by Daniel Meuser. This medium sized array was build  with versatility in mind without sacrificing on sound quality. It can be carried and operated by a single person setup quickly to be able to record the most cinematic sounding 3d-Audio fort he most demanding Atmos, Auro-3D or VR projects.

Right now I can’t give any infos or provide test recordings jet, but stay tuned for that (and sry for blurring out some components)! Hit me up under if you think that your project could benefit from this amazing new 3D-Audio array.

But I can share a little bit of the backstory on how this all came together: I calculated the design in 2018 after finishing my BA. Until 2020 I had never the time nor the resources to realise this project. But last year I decided to do it. I put in 18k of my own money and spend 7 month of working without earning nothing on it. I had to learn how to do technical drawing, about industrial parts, 3D-Printing how to choose the right fabrics… (okay my Mom helped me with sewing) 🙂 in short, This project brought me to the brink of a nervous breakdown lol.

Der Beitrag DMS3DS by Daniel Meuser erschien zuerst auf Systematic Sound.

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Plugin Primer – Krotos Weaponizer Mon, 07 Dec 2020 16:48:50 +0000 Der Beitrag Plugin Primer – Krotos Weaponizer erschien zuerst auf Systematic Sound.


This is just me opening a audio or sound design plugin for the first time and sharing with you guys my initial impressions. Tell me if you find this useful. 



Urban City Bundle

General Ambience Series - Urban City 01



Der Beitrag Plugin Primer – Krotos Weaponizer erschien zuerst auf Systematic Sound.

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3D-Audio For Sound Designers Part I – Spatial Hearing Mon, 07 Dec 2020 05:50:28 +0000 Der Beitrag 3D-Audio For Sound Designers Part I – Spatial Hearing erschien zuerst auf Systematic Sound.


3D-Audio For Sound Designers Part I – Spatial Hearing


If we take a look at the fundamental characteristics that make up the human hearing sense, we can see that we are not only perceiving loudness, pitch, time, timbre and the spectral qualities of a sound, but also a subjective perception of the spatial attributes of the sound. And since virtual worlds in games are 3D, we need to respect that and integrate audio with a certain amount of realism, in a way that it makes sense to the player. I’m not talking about absolute realism in the terms of a simulation, but we will need to go this path a long way, to get audio right in a virtual 3D world.

And since spatialization is basically the intent to reverse engineer the human spatial hearing, we need to tackle this issue first. What makes up the so called „Spatial Hearing“, is the ability of our auditory system to track the position of a sound source in space in terms of direction- and distance-changes over time (including the information that the source is moving). The human ability to locate the position and distance of a source, depends on various factors like the position and direction of the source, the acoustic environment and geometry of the space as well as the acoustical properties of the source itself. This ability varies across each individual and can´t be generalized.


Sound Sources in Space

On a very fundamental level, we can tell that the spatial characteristics that make up a natural sound, are the distinction between an open and enclosed sound field and whether its perceived as a single source entity, or more like a genuine environment.

In an open sound field, it is more likely, that sound sources in the distance are grouped together without a strong notion of directivity. Everything is more likely to blend together and to be perceived as from outside of the listener’s head. The sounds are often damped, because they have traveled a significant distance in the air and lack therefore the presence of a sound, that is only a few meters away, affected by the reflections of a room or hall. Indoors, the sound tends to be strongly altered by the effects of reflections, absorptions and diffractions as well as pressure patterns and standing waves. Sources are often in a distance of a few meters and their perception is strongly dominated by the reflections that make a large part of the spatial characteristics.

Besides that, we can categorize the spatial characteristics of sounds in space as a source being a discrete emitter, in terms that it can be perceived as a single, localizable entity. Environments often consist of a hard to distinguish mash of rather unspecific, general background sounds that are perceived as an embedding ambient sound that is hard to localize, due to the diffused character.[1]


Spatial Hearing in the Open Field

The free field is an acoustic term to describe an environment, in which there are more likely none, or only very few reflections. In real life you can probably come close, if you go outdoors on a mountain top without surroundings (but then again you would have the reflections of the ground). These environments are rarely experienced in real life. However, this ideal construction is suited to explain how sound travels in space on a very basic level.

The first conclusion is, that sound radiates as an omnidirectional point source.[2] As a consequence, this takes a significant amount of energy, because it is distributed over a sphere of increasing surface area, as it expands away from the source. The surface of the sphere is described by its radius r, so that the sound intensity S = 4π r2. Given the case that the source has a power P0 we can then derivate the sound intensity J1 at a distance r1:


If we now double the distance 2r1, we can see that the sound intensity has been reduced to around a quarter of its initial value:


Sound intensity is proportional to the square of the sound pressure. Knowing the sound pressure, we can derivate the sound pressure level from it:


This tells us, that a drop of the sound intensity to one quarter of the initial values, results in a reduction of the sound pressure to one half. This corresponds to a reduction of the sound level to about -6 dB SPL for every doubling in distance from the source.

The second conclusion we can draw here is, that sources radiate more likely in an omnidirectional manner for low frequencies and more directionally as the frequency rises.[6] Close to the source (near field), the radiation patterns are more likely to be obvious and the level drop can be quite significant, getting less and less obvious as one moves further away from it (far field).[7] With increased distance to the source, the wave front curvature get less, to a point where it becomes so shallow that it can´t be perceived as a directional source. Then it can be considered as a plane wave. The question of how much distance is sufficient for this effect to be noticeable depends on the distance to the source, as well as the dimensions of the source itself, if there is only one or various sources in a row (wavefront superposition) and lastly the wave length of the sounds.[8]


Spatial Hearing in Enclosed Spaces

In closed spaces with a geometric form and reflective surfaces, we perceive not only the direct part of the auditory event, but also the reflections of the room. With this reflections, the human brain can decode the spatial dimensions from both, the environment and the source (plus the source position and distance), as well as informations of the source´s position relative to the rooms geometry (indirect localization). A schematic view of these reflections can be illustrated with a room impulse response[9] in the time domain:



The first component that arrives the receiver is the direct signal. It is then followed by the early reflections, that result from bouncing of reflecting surfaces. They represent the shortest delay times with the shortest delay paths.

The pre-delay (or Initial Time Delay) is the time between the direct signal and the first early reflections. The bigger the room dimensions, the longer the pre-delay, because the early reflections will need more time when they travel through air. The pre-delay also gives us information about the relative position of the source in the room, as well as its relation to the room geometry. A longer pre-delay means that the source is more likely to be away from a wall or reflective surface and vice versa, a shorter pre-delay means that its most likely to be near a reflective geometric obstacle. The early reflections as well will be sparser in bigger room and denser in smaller ones[11]. After that, a lot of reflections come in and blend together into a reverb tail, with a significant lower amount of energy, because of the surface absorption and air damping compared to the direct signal and the early reflections.

This can be described with a high frequency decay function, that basically represents a quicker decay for high frequencies over distance. With these properties in mind, we can later on effectively simulate convincing and distinctive reverbs in the game.

Roughly speaking we can distinguish two kinds of sound fields in enclosed spaces. In the direct sound field, that is at close distance to the source, where the direct signal component dominates in level. In the diffuse sound field, the early and late reflections do dominate in level.

They are separated by the critical distance, that’s the distance from the source where the direct and reverberant sound components have the same energy[12]. The variables that have to be considered are: The directivity factor of the source (D = 1 for an omnidirectional source), the room volume in m³(V), the absorption surface of the room (A) and the reverberation time measured after the Sabine Equation E60 in seconds (T60).



The critical distance is a fairly important line of orientation in a room. We can develop a feeling for that ratio of direct and indirect sound in our hearing and subconscious figure out where the mid-poison of a room roughly is. With moving in and out of the direct and diffuse sound field, we get very quickly an impression of the reverberation pattern of that room and therefore about the reflective materials (walls), size and geometry of the room. We know from our hearing experience for example, that the room must have reflective materials and a rather big size, when the critical distance gets smaller, and the room has a higher RT60 reverberation time.[15]


Sound Source Localization

When it comes to the basic mechanisms, two terms need to be differentiated: Localization on the one hand, refers to the determination of the exact position of the source in the three-dimensional space. On the other hand, lateralization tries to determine the lateral displacement of an audio event in a strict horizontal (one-dimensional) manner along the ear axis.[16]

And finally, we have to take into consideration the spatial attributes of the source, meaning if it is a single event or if it consists of multiple auditory events.


Localization Cues for a Single Source

The first academic notes on this subject’s ca be found in Lord Rayleigh´s (1842-1910) Duplex Theory.[17] It describes the basic mechanisms of our horizontal hearing (lateralization). He observed, that sound arriving at the listener located at one side from the median plane could be easily located and the signal at the ear that was facing to the source would be received louder than at the other ear, due to the shadowing effect. He noticed however, that this was not noticeable at frequencies lower that 1000 Hz. He also noticed that our hearing is sensible to differences in phase of low frequency tones at the two ears. And lastly he figured out that the localization system isn’t always accurate when it arrives at the same angle from opposite directions. The mechanisms he discovered are the inter-aural time delay and the inter-aural level difference. These mechanisms are based on the Precedence Effect (Law of the first wavefront), that basically describes the fact that the first wavefront falling on the ear determines the perceived direction of the sound, even if the early reflections in a room are louder than the direct signal.[18]

Furthermore, the distance and size of the source is important too. Small objects seem to appear as point sources that can easily pinned down and large objects are more likely to emit from a volumetric extend.[19] Another thing to be acknowledged is that due to our hearing physiology, we are more likely to localize sounds with higher frequencies and sharp attacks, than sustained sounds with lower frequencies.[20]


Binaural Cues

In the same way we perceive perspective in our vision, our two ears allow us to get a spatial impression of our surroundings. The differences in time, level and spectrum from the source and the respective ear, build the main mechanisms that drive our hearing.[21]

The first difference is described in the time domain. The Inter-aural Time Delay[22] is the time difference between the arrival of the same sound at each ear. In the horizontal plane.[23] In publications, the average ear distance varies from 17 cm to 18 cm[24]. Therefore, the maximum possible distance the sound has to travel to get around the head is 21 cm at an angle of 90°, resulting in a max. delay time between the two ears of: 0,21/c = based on diff. ear distances and speed of sound, results vary from 0,61 MS to around 0.7 MS[25] (binaural delay). These time differences are particularly registered at the start- and endpoints of a sound event. There is no way to distinguish front and back sources when their angle and distance result in same delay times (e.g., right/front – left/back source position confusion). The ITD starts at frequencies of around 1 kHz and is most prominent at around 700-800 Hz, but completely ineffective in terms of modulation, at frequencies beyond 1,5 kHz. The reason why this method only works in that frequency domain, has to do with proportion of the head and the wavelength of the perceived signal. When the path length from one ear to the other equals half of the wavelength of the signal measured (approx. 700 Hz), the inter-aural phase difference begins to provide ambiguous cues. For frequencies above 1500 Hz the dimension of the head is larger than the wavelength. That’s leads to absolute ambiguous time cues, due to cross correlation.

When a sound source deviates from the median plane, the sound pressure at the farther ear is attenuated due to the shadowing effect of the head, resulting in a difference in level or intensity of the sound reaching the two ears. This effect becomes effective for frequencies above 700 Hz till about 1500 Hz. This means that the inter-aural level difference has an impact on lateralization throughout the frequency spectrum. Experimental result show that inter-aural level differences above 15-20 dB will completely move an image to one side.[26] When ILD cues contradict ITD cues, the ITD wins for frequencies that are manly above 1500 Hz.[27]


Resume Directional Localization Cues

To Wrap it up briefly, these are the main mechanisms when it comes to localization cues:

  • For frequencies of around 5-6 kHz and up to 16 kHz and above, where the wavelength is smaller than the head size, the main mechanism of localization is built on ILD due to the shadowing effect of the head.
  • The localization effect of spectral cues is particularly prominent in the 5-6 kHz area. Main reason is the dimension of the pinna. They mainly provide horizontal and front-to-back localization and also help to resolve lateral ambiguities.
  • In the 1600-700 Hz area both mechanisms ITD and ILD are active. Wavelengths are similar to the head size. At this point (1500 Hz) we start to see level differences due to head shadowing as well as inter aural phase delay differences.
  • For frequencies of 700-80 Hz, the ITD delivered from inter-aural phase differences is the dominant localization cue, as wavelengths start getting longer than the average head size.
  • At above 80 Hz wavelength are so long that it is very hard for us to localize the sound. This is a gradual fade and therefore it is often overseen that we are capable of locating subwoofers to some extent.
  • And lastly, we have to consider the dynamic cue that is introduced by slight head movements to resolve front-to-back ambiguity and for vertical localization and the visual cue that or eyes provide, that can enhance our hearing perception if we have a visual target we can focus on.

    Spectral Cues

In contrast to the binaural cues, the spectral cues work in a monaural[28] way due to the reflection and diffraction of the individual’s auditory system, mainly from the pinna as well as from the head and shoulders. Where binaural cues derived from IDT and ILD are mainly related to lateralization, the spectral cues are mostly connected to the vertical and front-to-back localization (although the so called „Head Shadowing Effect“ plays a major part in lateralization). Because of the geometry of our auditory system, we can observe different delays between the direct signal that goes straight into to the ear channel and the parts that get reflected, diffracted or absorbed mainly by the pinna, depending on the location of the source and its angle of incidence. All this acts as a filter effect that alters the incident sound spectrum, creating direction depended notches and peaks.[29] In addition to this it must be considered, that the geometry of the pinna differs from individual to individual significantly. It is astonishing that nonetheless our localization capabilities didn’t differ that much. This means that those spectral alterations must be qualified as individualized localization cues that we humans are capable to adapt to. Taking into consideration the dimensions of the pinna (approx. 65 mm on average) we can derive that the related effects will be effectively noticeable at higher frequencies where the wavelength is comparable to the dimension of the pinna. The effect will start around 2-3 kHz and be prominent around 5-6 kHz.[30]


       Cone of Confusion and Head Movement

ITD and ILD are the dominant localization cues at low and high frequencies, but are inadequate of determine the unique position. However, an infinite number of spatial positions exist that possess identical IDT and ILD values. In an idealized model where we disregard the implications the form of the head has and if we assume that the ears are two separate points free in space which build a cone around the inner aural axis in the tree-dimensional-space, we get the form in which these phenomena occur. That is what is called the cone of confusion. An extreme case is when the source is located at 0° at the median plane where sound level and delays to both ears are identically. Another case of identical ITD and ILD is when there are two sound sources at front-back mirror positions (as at azimuth 45° and 135°). There is no obvious way of distinguishing between those front and rear sources with ITD and ILD only. Binaural cues are ambiguous. This ambiguity can be solved by head movement (so called dynamic cue first mentioned by Wallach[31]). If we move our head clockwise and counterclockwise around the vertical axis, we can effectively change ITD, ILD and the sound pressure spectra at the ears. This way we are able to generate more measures and compare the localization cues dynamically to resolve ambiguities.[32]

      Head Related Transfer Functions

As mentioned before, when a sound from a certain position arrives our ears, after interacting with our anatomic structures, his properties have been changed due to the reflection, diffraction and absorption, mainly by the pinna, our head, shoulders and torso. Various localization information obtained from the ITD, ILD and the spectral cues come together, for the auditory system to process them and comprehensively locate the sound source. When you take for example a fixed-point source and a fixed head position, then you can describe this transmission process as a linear time-invariant process[33]. The head related transfer function[34] for each ear describes the overall filtering effect imposed by our anatomical structures and are introduced as an acoustic transfer function of the LTI process that can be displayed in these equations:[35]

(Left Ear HRTF)

(Right Ear HRTF)

PL and PR represent the spectral alterations at the left and right ear. P0 represents the complex-valued sound pressures in the frequency domain at the right and left ear at 0° center head. Due to our unique anatomical structure, each human has its own individual HRTF´s his hearing relies on. They can be measured in a time consuming and complicated process. The main problem is that he has to stand still with measurement microphones in his ears, while sound sources are recorded from all relevant positions that are necessary to create virtual sound sources in the application. This means that basically everyone must have his HRTF´s measured and use its personal ones in theory. But there are two reasons why this is not much of a deal in VR. First, we have head tracking and an open field of view with the head display on that system. This gives us a directional and visual cue and we can disambiguate uncertainties, that may occur due to incompatible HRTF´s and we can slowly learn to get along with them. Secondly it has been shown, that besides all the differences in the measures of HRTF from individuals, there are some basic patterns that work for all humans. These are the so called „Directional-Bands“[36]. They are basically frequency boosts and attenuations related to source positions. Regions around 0,3-06 kHz and 3-6 kHz seem to relate to frontal positions, 8 kHz seems to correspond to the overhead position and the 1,2 kHz and 12 kHz areas appear to be related to the rear perception.[37] This is the reason, why binaural reproduction over headphones using averaged HRTF´s does work.


Distance and Depth Perception

From an acoustic perspective, distance is a term used to describe how far away a source appears to the listener where depth is used to describe the overall front to back distance of a scene and the sense of perspective created.[38]

In terms of distance there are a few basic rules that our hearing applies to determine the distance of a source (apart from the things said to the open and closed sound field). The most obvious one is that we determine distance with level attenuation. But we need a context for that level difference. When a source is moving, we can figure out the relative loudness cue, meaning a scale that is changing and therefore we can extract the information out of it, if a source is nearer or further away. But this mechanism only applies effectively for known sound sources. The brain is more reactive on relative changes in level and spectral differences.[39]

In addition to that, the sound loose energy when its traveling through the air. And since high frequencies have less energy than low frequencies, we perceive sounds that are farer away not only at a lower level, but also duller due the loss of high frequency energy (air damping).

The strongest cues for our distance perception in enclosed rooms, is the ratio between the direct and reverberant sound component (wet/dry ratio). The ratio between the direct signal, the early reflections and the reverberation tail, as well as the composition of the reverberation components and their timings, tells us a lot about the size and geometry of a room and the position of a source in It. As I have described under II. A. 1. b), the initial time delay is part of that impression.

The last rule of distance perception that I want to describe is the motion parallax. When sound is traversing very quickly through our sounds field, it is an indication that it is very close to us, because we know, thanks to our hearing experience, that sound travels through air at a certain speed (approx. 343 m/s at 20°C)[40]. Because it can´t go faster, we can make the assumption that it must be very close to be able to cross our hearing field that suddenly. This phenomenon takes place at very close distances around 0,25 m or less. More about depth of sound sources in the following sub chapter.


Source Width and Envelopment

Sound sources in space can be perceived as small pin-pointed events or subjectively as an event with bigger dimension. This subjective phenomenon is subsidized under the term „Apparent Source Width“. The ASW[41] has been found to relate closely to a binaural measurement known as inter aural cross correlation, which measures the degree of similarity between the signals at the two ears comparing different frequency bands and time windows[42]. If a small-time window is measured (early IACC[43]), that’s up to about 80 MS, then we can see that there is a correlation between the measured early reflections and the broadening of the sound source.[44]

In a reverberant environment it can be hard to tell if a perceived source is „wide“ or just diffuse and hard to localize. Furthermore, it can be quite difficult to distinguish the individual source width of a big sound source from the width of the overall sound stage, which describes the distance perceived between the outer left and right limits of the hole stereophonic scene.

When we try to describe the environmental spatial impression of a sound field, spaciousness can be used to describe the hearing impression of an „open“ space when a sound appears to exist outside of the listeners personal space in his surroundings. On the other side, envelopment is used to describe the sense of immersivity and involvement in a reverberant sound field, with that sound appearing to come from all around.[45]


Spatial Hearing with Multiple Sources


Summing Localization Law for two Sources

The major mechanism can be described with a phenomenon called: two-channel-stereophonic localization[46]. If the two sound sources are emitting the same signal with the same sound level, then the listener will locate a virtual sound source symmetrical in the middle of the two sources. When they are playing at different levels, the source will lean toward the source with the bigger level in the panorama. If the level difference is larger than 15 dB, than the virtual source will be located at the position of the respected real sources the position didn’t change even if you further increase the level difference. And finally, the stereophonic law of sine describes, that when the spatial position of the virtual source is completely determined by the amplitude ratio between the two loudspeaker signals and the pan angle between them in respect to the listeners position, frequency and head radius are irrelevant.


Cocktail Party Effect.

Describes a psychoacoustical effect, that refers to our ability to focus attention on the speech of a specific speaker by disregarding irrelevant information coming from the surroundings[47]. Although the sound components are similar in intensity and frequency, our auditory system is still able to separate the desired signal from the interfering noise signal. „From the physical point of view, one of the predominant elements in the cocktail effect is the spatial separation of noise and speech. In consequence, we know that on the psycho-physiological level, selective listening is governed by our capacity to discriminate sounds from different sources – that is, by our capacity to localize the noise.“[48] That means that the cocktail party effect is a kind of binaural auditory effect associated with the spatial hearing of multiple sources through a comprehensive processing of the binaural sound information’s by the high-level neural system.[49]



  1. Rumsey, „Spatial Audio“, P 2.
  2. Rumsey, „Spatial Audio“, P 22.
  3. Görne. „Tontechnik“. 2011, P 36.
  4. Görne. „Tontechnik“. 2011, P 36.
  5. Görne. „Tontechnik“. 2011, P 32.
  6. Rumsey, „Spatial Audio“, P 8.
  7. Görne. „Tontechnik“. 2011, P 38.
  8. Farrell, „Designing Sounds“ Pp 53, 56-58.
  9. RIR = Room Impulse Response.
  11. Sandmann. „Effekte und Dynamics“. Pp 60-62.
  13. Görne „Tontechnik“. P 86.
  14. Görne Tontechnik“. P 85.
  15. Görne. „Mikrofone in Theorie und Praxis“. P 22-23.
  16. Xie, „Head-Related Transfer Functions and Virtual Auditory Display. P 8.
  18. Görne. „Tontechnik“. 2011, P 128.
  19. Farrell. „Designing Sounds“ P 73.
  20. Farrell. „Designing Sounds“ P 73.
  21. Rumsey, „Spacial Audio“, Pp 21-26.
  22. ITD = Inter Aural Time Delay
  23. Xie, „Head-Related Transfer Functions and Virtual Auditory Display“. Pp 15; Farrell. „Designing Sounds“ P 73.
  24. Görne. „Tontechnik“. 2011, P 126; Raffaseder, „Audiodesign“ P 127.
  25. (0,61 ms) Görne. „Tontechnik“. 2011, P 126; (0,65 ms) Rumsey, „Spacial Audio“, P 22; (0.7 ms) Raffaseder, „Audiodesign“ P 127 and Xie, „Head-Related Transfer Functions and Virtual Auditory Display. P 15.
  27. Farnell. „Designing Sounds“. P 72.
  28. Jin, Corderoy, Carlie, van Schaik. „Spectral Cues in Human Sound Localization“.
  29. Xie, „Head-Related Transfer Functions and Virtual Auditory Display“. Pp 15. Regarding the different theories in science to this phenomena see also Pp 15-17.
  30. Xie, „Head-Related Transfer Functions and Virtual Auditory Display. P 15.
  31. Wallach. „The role of head movement and vestibular and visual cue in sound localization“. Pp 339-354.
  32. Xie, „Head-Related Transfer Functions and Virtual Auditory Display. P 20.
  33. LTI Process = Linear time-invariant process
  34. HRLT = Head related transfer function.
  35. Xie, „Head-Related Transfer Functions and Virtual Auditory Display. P 20.
  36. Blauert. “Spacial Hearing. The Psychophysics of Human Sound Localization” Pp 205-213.
  37. Rumsey, „Spacial Audio“, Pp 25..
  38. Rumsey, „Spacial Audio“, Pp 35.
  39. Brian Hook talk „Oculus Connect: Introduction to Audio in VR“. Released at 29.10.2014 at OculusConnect2014:
  40. Weinzierl. „Handbuch der Studiotechnik“ P 23.
  41. ASW = Apparent Sound Width
  42. Rumsey, „Spacial Audio“, P 37.
  43. IACC = Inter Aural Cross Correlation.
  44. Rumsey, „Spacial Audio“, Pp 36-37.
  45. Rumsey, „Spacial Audio“, P 38.
  46. Boer, „Stereophonic sound reproduction“ Diss.
  47. Weinzierl. „Handbuch der Studiotechnik“ P 118.
  48. Cherry. E. C. „Some experiments on the recognition of speech, witch one and two ears“. J. Acoust. Soc. Am. 25, Pp 975–979.
  49. Xie, „Head-Related Transfer Functions and Virtual Auditory Display. P 28.




Urban City Bundle

General Ambience Series - Urban City 01

Urban City Bundle

General Ambience Series - Urban City 01






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Wwise. Commercial Reference.

– Web-Page. Accessed: 09.11.16.

Boogeyman VR Game. Video. Commercial Reference.

– Web-Page. Accessed: 12.10.16.

Paranormal Activity VR Game. Video. Commercial Reference.

– Web-Page. Accessed: 11.11.16.

Hodgson, Jonathan. Film of a Poem by Charles Bukowski. “The man with the beautiful eyes“.

– Video,Web-Page. Accessed: 16.11.16.

Notes on Blindness VR Experience – ARTE. Video. Commercial Reference.

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Oculus Rift. Commercial Reference. Wep-Page.

– Accessed: 30.11.16

Oculus Rift. Commercial Reference. Wep-Page.

– Accessed: 31.10.16

Oculus Rift. Commercial Reference. Wep-Page.

– Accessed: 30.10.16

Oculus Rift. Commercial Reference. Wep-Page.

– Accessed: 29.11.16

Softube Classic Channel. Commercial Reference. Wep-Page.

– Accessed: 09.01.17

3DCEPTION. Commercial Reference. Wep-Page.

– Accessed: 08.12.16

Myriad. Commercial Reference. Wep-Page.

– Accessed: 02.01.17

Wwise. Commercial Reference.

– Web-Page. Accessed: 12.12.16.

The Pull – ARTE. Video. Commercial Reference.

– Web-Page. Accessed: 10.11.16.

Interstellar OST. Video. Commercial Reference.

– Web-Page. Accessed: 17.11.16.

Facebook 360 Spatial Workstation. Commercial Reference.

– Web-Page. Accessed: 09.11.16.

International Telecommunication Union. Technical Recommendation.

– Web-Page. Accessed: 28.12.16.!!PDF-E.pdf

Wwise. Commercial Reference.

– Web-Page. Accessed: 19.11.16.

NI Kinetik Metall. Commercial Reference.

– Web-Page. Accessed: 02.12.16.

LA-610 MK II. Commercial Reference.

– Web-Page. Accessed: 03.01.16.

SE1X. Commercial Reference.

– Web-Page. Accessed: 09.12.16.

Ableton Live. Commercial Reference.

– Web-Page. Accessed: 27.11.16.

Unity3D. Commercial Reference.

– Web-Page. Accessed: 01.11.16.

Unreal Engine. Commercial Reference.

– Web-Page. Accessed: 26.11.16. umeguidelines Graphic.

– Web-Page. Accessed: 04.12.16. SchoolOfVideoGameAudio-LPaul-Apr2015.pdf

Arturia. Commercial Reference.

– Web-Page. Accessed: 06.11.16.

Arturia. Commercial Reference.

– Web-Page. Accessed: 27.10.16.



Collins, Karen and Kapralos, Bill and Tessler, Holly. „The Oxford Handbook of Interactive Au- dio“. Oxford: Oxford University Press, 2014.

Stevens, Richards and Raybould, Dave. „Game Audio Implementation“. Boca Raton FL: CRC Press, 2016.

LaBelle, Brandon. „Background Noise. Perspectives on Sound Art“. New York: Continuum Int. Publishing Group, 2006.

Farnell, Andrew James. „Designing Sound. Practical synthetic sound design for film, games and interactive media using dataflow“. London: Applied Scientific Press, 2008.

Yewdall, David Lewis. „Practical art of motion picture sound – Forth Edition“. Waltham, MA: Focal Press, 2012.

Raffaseder, Hannes. „Audiodesign – Second Edition“. Hamburg: Hochschule für Angewandte Wissenschaften Hamburg, 2010.

Leenders, Matts Johan. „Sound Für Videospiele. Besondere Kriterien und Techniken bei der Ton- und Musikproduktion für Computer- und Videospiele. Marburg: Schüren Verlag GmbH, 2012.

Augoyard, Jean-Franç and Torgue, Henry. „Sonic Experience. A guide to Everyday Sounds“. Québec: McGill-Queen´s University Press, 2005.

Xie, Bosun. „Head-related transfer function and virtual auditory display – Second Edition“. Palantion, FL: J. Ross Publishing, 2013.

Rumsey, Francis. „Spatial Audio“. Burlington MA: Focal Press, 2003.

Beck, Jay and Grajeda, Tony. „Lowering the boom: critical studies in film sound“. Champaign: University of Illinois at Urbana-Champaign, 2008.

Görne, Thomas. „Tontechnik: Schwingungen und Wellen, Hören, Schallwandler, Impulsantwort, Faltung, Sigma-Delta-Wandler, Stereo, Surround, WFS, Regiegeräte, tontechnische Prax is“. München: Carl Hanser Verlag GmbH & Co. KG, 2006.

Görne, Thomas. „Mikrofone in Theorie und Praxis“. Aachen: Elektor-Verlag GmbH, 2007.

Boll, Monika. „Nachtprogramm: Intellektuelle Gründungsdebatten in der frühen Bundes-

republik“. Münster: Lit Verlag, 2004.

Udo Zindel, Wolfgang Rein. „Das Radio-Feature: Ein Werkstattbuch. Inklusive CD mit Hör-

spielen. Praktischer Journalismus Band 34, 2. Aufl. Konstanz: UVK, 2007.

Crook, Tim. „Radio Drama. Theory and practice“. London; New York: Routledge, 1999.

Collins, Karen. „Game Sound“ Cambridge MA: MIT Press, 2008.

Herkman, Juha and Humanen, Taisto and Oinonen Paavo. „Intermediality and Media Change“. Tampere: Tampere University Press, 2012.

Hand, J. Richard and Traynor, Mary. „The Radio Drama Handbook“. New York: Continuum- books, 2011.

Poe, Edgar Ellen. „Edgar Ellen Poe: Essays and Reviews“. New York: The Library of America, 1984.

Cherry. E. C. „Some experiments on the recognition of speech, witch one and two ears“. J. Acoust. Soc. Am. 25, Cambridge MA: Massachusetts Institute of Technology, 1953.

Lanza, Joseph. „Elevator Music. A Surreal History of Muzak, Easy-Listening and other Mood- songs“. Ann Arbor MI: University of Michigan Press, 2007.

Huiberts, Sander. „Captivatting Sound“. Portsmouth: University of Portsmouth, 2010.

Coen, Annabel J. „Music as a Source of Emotion in Film“ Chapter 13 of Justin, Patric N. „Hand- book of Music and Emotion: Theory, Research, Applications“. Oxford: Oxford University Press, 2012.

Boer, Klaus. „Stereophonic sound reproduction“. Dissertation. Delf: Institute of Technology, 1940.

Wallach, Hans „The role of head movement and vestibular and visual cue in sound localization“. Swarthmore College, 1940

Sandmann, Thomas. „Effekte & Dynamics“ Bergkirchen: PPVMedien, 2001.

Roberts-Breslin, Jan.. „Making Media“. Burlington MA: Elsevier, 2008.

Lilli, Waldemar. „Grundlagen der Stereotypisierung“. Goettingen: Hogrefe, 1982.

Chion, Michel. „Audio-Vision Sound on Screen“. New York: Columbia University Press, 1994.

Kane, Brian. „Sound Unseen. Acoustic Sound in Theory and Practice“. New York: Oxford University Press, 2014.

Blauert, Jens “Spacial Hearing. The Psychophysics of Human Sound Localization”. Stuttgart: Hirzel Verlag, 1974.

Marks, Aaron, „The complete guide to Game Audio. For Composers, Musicians, Sound Designers and Game Developers“. Burlington MA: Elsevier, 2009.

Weinzierl, Stephan. Handbuch der Audiotechnik Band I“. Heidelberg: Springer Verlag, 2008.

Der Beitrag 3D-Audio For Sound Designers Part I – Spatial Hearing erschien zuerst auf Systematic Sound.

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Field Recording, Sound Design & Game Audio Sources Fri, 20 Nov 2020 15:39:16 +0000 I have put an extensive list of more than 100 resources that might come in useful if you are interested in Field Recording, Sound Design, SFX creation, Filmsound and Game Audio. Check out some blog sites, social media groups, podcasts or YouTube channels. There is some interesting stuff to discover there.

Der Beitrag Field Recording, Sound Design & Game Audio Sources erschien zuerst auf Systematic Sound.


Here you can find more than 100 resources that might come in useful if you are interested in Field Recording, Sound Design, SFX creation, Filmsound and Game Audio. Check out some blog sites, social media groups, podcasts or YouTube channels. There is some interesting stuff to discover there.

Cheers, Daniel

Tonebenders PodcastPodcast
Audiophiles Podcast (Music production)Podcast
LA Post Production Podcast (Audio Post & Sound Design)Podcast
Soundworks Collection PodcastPodcast
Twenty Thousand HertzPodcast
The Game Audio PodcastPodcast
The Asoundeffect PodcastPodcast
The Sound Design Academy PodcastPodcast
Immersive Audio PodcastPodcast
Sound Design Live PodcastPodcast
Game Audio PodcastsPodcast
Soundbytes (Sound Design, Game Audio)Podcast
Sonic FieldBlog
Sound Art & Field Recording BlogBlog
Field Recording BlogBlog
LostChoclateLab (Game Audio Blog)Blog
The Pro Audio Files (Audio Tech, Music Production & Sound Design)Blog
Gareth Fry (Location Sound, Sound Design Blog)Blog
PSE (Blog Sound Effects Recording)Blog
Audiokinetic Wwise BlogBlog
Unreal Engine 4 Audio BlogBlog
Technical Field Recording by Ian Smith (Field Recording Blog)Blog
Nicolas Titeux (Sound Design)Blog
Sound Librarian Blog & TutorialsBlog
Creating Sound (Sound Design Blog)Blog
WeSoundEffects (Sound Design & Recording Blog)Blog
Asoundeffect Blog & NewsBlog
FMOD & Unity Learning ResourceBlog
The Sound Space (Pete Smith, Field & Nature Sound Recording)Blog
Adam Croft (Game Audio Learning Resource)Blog
Designing Sound (Blog Sound Design)Blog
Game Industry Career Guide (Game Audio Blog)Blog
Field Recording BlogBlog
BoomBox Post (Blog Sound Effects Recording)Blog
Sounds Like Noise (Blog Field Recording Blog)Blog
Wildmountainechoes (Field Recording Blog)Blog
Bedroomproducer Blog (Free VST, DAW, Sounds, News, etc)Blog
Guido Helbling (Blog Sound Design, Field Recording, Film Sound)Blog
Everyday Listening - Sound Art, Field Recording & Sound Design Blog.Blog
David Dumais Audio (Game Audio Blog)Blog
Quiet Planet (Gordon Hampton is a legend in Nature Sound Recording / No SSL certificate, but its safe!)Blog
Soundworks Collection BlogBlog
The Sound Architect (Game Audio, Film Sound, News)Blog
Audioshade (Field Recording Blog)Blog
Fmod BlogBlog
Avosound (Field Recording Articles, News, Tutorials)Blog
Natur Tilgner (Legend of Nature Sound Recording)Blog
Game Audio Courses, Blog & VideosBlog
Gamesoundcon (Game Audio Blog, Industry news, survey)sBlog
Attackmagazin (Music Production, Sound Design, Modular Synth)Blog
Randy Thom Sound For Film & Sound DesignbBlog
Lewitt Audio Blog (Field Recording Diary I and II by Daniel Meuser)Blog
Cinematic Sound TraineeBlog
Acoustic Ecology Institute (Acoustic Ecology)Blog
Space Audio (Field Recording Blog)Blog
Epic Sound (Guide to SFX creation)Blog
Sound Ark (Blog Field Recording, Sound Map)Blog
Thomas Rex Beverly (Field Recording, Nature Sounds)Blog
Acoustic Nature (Field Recording Blog)Blog
Gamasutra (Game Audio Blog, Industry News, Jobs, Tutorials)Blog
Naturtonmeister (Nature Sound Blog / No SSL certificate, but its safe!)Blog
Creative Field Recording Blog
Icons8 (UI Sound Design)Blog
Wolffilms (Film Sound Design, Location Sound Tutorials, German)Blog
Krotos Audio BlogBlog
Sound Mind Michał Fojcik (Blog, Recording, Sound Design)Blog
Creative Field Recording Blog
344 audio (Postpro, Sound Design)Blog
Alessandro Famá (FMOD & Wwise Implementation)Blog
Phil Michalski (Blog Sound Design)Blog
Audio Engineering (RD)Social Media
Audio Post Production (RD)Social Media
Free Instruments, Effects (RD)Social Media
Production & Post-Production Sound for Film (RD)Social Media
Advanced Production (RD)Social Media
Sound Design (RD)Social Media
Game Audio (RD)Social Media
Pro Tools (RD)Social Media
Unity 3D (RD)Social Media
Unreal Engine 4 (RD)Social Media
How to make that sounds (RD)Social Media
Location Sound (RD)Social Media
Game Sound Design (FB)Social Media
Facebook 360 Spacial Sound (FB)Social Media
Indie Game Audio (FB)Social Media
Video Game Composers (FB)Social Media
Sound Design (FB)Social Media
The Foley Artist (FB)Social Media
Sound Design (FB)Social Media
Sound Design Only (FB)Social Media
SoundGirls (FB)Social Media
Field Recording (FB)Social Media
Field Recording (FB)Social Media
Sound Design (FB)Social Media
Sound Design (FB)Social Media
Unity Developers (FB)Social Media
Hey Audio Student (FB)Social Media
Production & Post-Production Sound for Film/Video (FB)Social Media
Sound Design (DC)Social Media
Reddit Pro Audio Network (DC)Social Media
Game Audio Playthrough (DC)Social Media
Blip Sounds (DC)Social Media
Cujo Sound (DC)Social Media
Stack Exchange Sound Design (Forum, Community centered around Sound Design)Social Media
Twitter #GameaudioSocial Media
Twitter #SounddesignSocial Media
Twitter #FilmsoundSocial Media
Twitter #ProaudioSocial Media
Richard Devine (Sound Design, Experimental MusicYoutube
Game Audio AnalysisYoutube
Aaron Brown Sound DesignYoutube
Cujo SoundYoutube
Marshall McGeeYoutube
Akash Thakkar (Wwise, Fmod, Reaper, Job advice, Sound Design)Youtube
Reel Talk (Game Audio Demo Reel Feedback)Youtube
8-Bit Music Theory (Game Music Composition)Youtube
Game Score Fanfare (Game Music Composition)Youtube
Sound Spark Chase (Game Audio, Sound Design)Youtube
Victor Zottmann Sound DesignYoutube
INDEPTH Sound Design Youtube
Rick Allen SFX Recording & Sound DesignYoutube
Nathan Smith (Recording, Sound Design)Youtube
The Audio Programmer (Audio Programing)Youtube
Dan Reynolds (UE4 Audio Implementation)Youtube
George Vlad (Nature & Wildlife Sound Recording)
Watson Wu (SFX Recording)
Robbie Elias (SFX Recordings)
Joe Hudson (UE4 Audio Implementation)Youtube
Alex Knickerbocker (SFX Recording)
X-Raym (Reaper Tutoral & Scripts)Youtube
Christopher Scullion (Sound Design & Music Production)
Greg White (Modular Synth & Experimental Music)
Travis Fodor (Sound Design, Modular Synth)
FmodTV (FMOD Implmenetation)Youtube
Russian Punch Production (Game Audio & Implementation)Youtube
Eytan Krief (Sound Design)Youtube
Audiokinetic (Wwise Implmentation)Youtube
Dude 837 (Max/MSP)Youtube
Anastasia Devana (Fabric & Fmod)Youtube
Game Audio AnalysisYoutube
Jake Butineau (Game Audio Composition)Youtube
Film Sound Tutorials (Film Sound, Dialog Editing)Youtube
Scott Game Sounds (Fmod, Wwise, Unity, UE4)Youtube
Alessandro Famá (Fmod, Unity)Youtube
Reaper Blog VideosYoutube
Game Audio Resource (Wwise, UE4)Youtube
Video Game Music Academy (Game Music Composition)Youtube
Beat Therapy (Game Music, Sound Design, Fmod)Youtube
Steven Melin (Game Music Composition & Industry Advice)Youtube
Hiss & Roar - Sound EffectsYoutube
The SFX Guy (Sound Design & Game Audio)Youtube
Cinema SoundYoutube
Benni Knob (Audio Post Pro, Sound Design)Youtube
Ongaku Concept (Game Music)Youtube
Inside the scope (Film Music Composition)Youtube
Andrew Huang (Music Production, Modular Synth, Experimental)Youtube
ADSR (Sound Design, Musicproduction)Youtube
Eric Kühn (Audio Pos-Pro, Music Production, Sound Design & Game Audio)Youtube
Academy Originals (Film Making, Film Sound, Sound Design)Youtube
Pure Data (Playlist)Youtube
JUCE (Audio Programming)Youtube
Getting Started With MaxMSP (Playlist)Youtube
Musicradar (Music Tech, News, Sound Design & Music Production Tutorials)Youtube
Into the Lair (Music Production Tutorials)Youtube
Inside Synthesis (Sound Design)Youtube
Imphenzia (Game Dev, Game Audio, SFX recording)Youtube
Game From Scratch (GameDev, Game Audio)Youtube
Curtis Judd (Location Sound, Gear, News & Tutorals)Youtube
Designing Sound Youtube
The Recordist (Sound Effects Recording)Youtube
BlinkFarm (Film Sound, Sound Effects)Youtube
TEDx Talks on the subject of Sound DesignYoutube
Pheeks Coaching Corner (Sound Design)Youtube
SeamlessR (Sound Design)Youtube
Generative and Procedural Sound Design (Playlist)Youtube
Junky XL (Film Sound Composition)Youtube
XSSR Music Academy (Music Production, Sound Design)Youtube
David Farmer (Sound Effects Recording)Youtube
School Of Video Game Audio (Playlist)Youtube
cactuzz sound (Sound Design)Youtube
Ben Minto (Game Audio, Gun Sound Recording)Vimeo
Sound Design Tutorials (Sound Design)Twitch
Reel Talk (Game Audio Demo Reel Feedback)Twitch
Game Audio Hour (Game Audio Talk)Twitch
Sound Effects SearchUtility
The Bible of Getting a Job in Game Audio (Florian Titus Ardelean)Utility
Audio GANG (Game Audio Network & News)Utility
Audio Industry NewsUtility
Pro Audio ForumUtility
GDC Vault (Game Audio)Utility
Sound Map For Nature SoundsUtility
Book FMOD Game Audio Utility
Cryengine Tutorials (Specially on Game Audio Implementation)Utility
News Blog & Tutorials on Game AudioUtility
Standard for Sound Effects MetadataUtility
App for Monitoring Aircraft NoiseUtility
Noise Map USUtility
How to record Impulse ResponsesUtility
Soundlister (Find Audio Professionals, Audio Jobs)Utility (Audiojobs)Utility
SPARTA (Best Sounding Free Spatial Audio Real-time Applications )Utility
ambiX v0.2.10 (Free Ambisonic plug-in suite)Utility
Envelop for M4L (Free Spacial Audio Mixing Suite For MaxForLive)Utility
IEM Plug-in Suite (Free Spacial Audio & Ambisonic Mixing Plugin Suite)Utility
Online regEx debuggerUtility
ndc Plugs (Free VST Plugins collection)Utility
Motion Picture Editors Guide (Wages, Contracts, Holidays)Utility
GRM-Player (Free Sound Design Player)Utility
Unity 3D Learning resourceUtility
Sound Particles (Free E-Book about 3D Audio)Utility
World Forum Of Acoustic EcologyUtility
Xeno Canto (Archive for Birdsong)Utility
Western Soundscape Archive (Soundscapes and Sounds Collection)Utility
DPA Mic University (Microphone Technique)Utility
Sengpil Audio (Audio Calculations, Acoustics and Microphone Technique)Utility
Schoeps Image Assistant (Audio Calculations)Utility
How to make a noise (Beginner Synth & Sound Design E-Book)Utility
ASK (Synth & Sound Design Tutorials)Utility



Urban City Bundle

General Ambience Series - Urban City 01

Urban City Bundle

General Ambience Series - Urban City 01


Suggested price: 5,99

Minimum price: 3,99

Der Beitrag Field Recording, Sound Design & Game Audio Sources erschien zuerst auf Systematic Sound.

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November Updates & Black Friday Sale 2020 Thu, 19 Nov 2020 17:28:30 +0000 Der Beitrag November Updates & Black Friday Sale 2020 erschien zuerst auf Systematic Sound.


Black Friday Sale

November Updates

Under the hood improvements:

Improved Server speed settings, added new access points for EU, US and ASIA for better, faster & more reliable worldwide distribution.

New packing format to make downloading, and decompressing more reliable and robust.

Homepage tweaks: Sound search bar is now on top. Followed by the News & Blogpost section.

New Covers

New cover art for: Suburban 01, Urban City 01, Coastal 01, Towns & Villages 01 and Nightscapes 01.

Content Updates:


Urban City 01:

1.2 – Added new audio files: 

Busy Street Traffic Construction Din Pedestrians

Busy Street Traffic Roar Cars Passing 01

Busy Street Traffic Roar Cars Passing 02

Children Playground Screaming Pedestrians Traffic Rumble

Construction Site Close Up 01

Construction Site Close Up 02

Construction Site Spacious

Distant City Air Tone Traffic Roar Faint Trains

Traffic Roar Cars Trains Passing Cobblestone 01

Traffic Roar Cars Trains Passing Cobblestone 02

Traffic Roar Cars Trains Passing Cobblestone 03

Tunnel Traffic Roar Car Slaps Train Rumble

1.3 – Added new audio files:

Backyard After Rain Water Dripping Dry Thunder

Backyard Alleyway Hum Birdsong

Backyard Dry Thunder Claps

Backyard Fountains Rain Thunder Growl Walla

Backyard Wet Sirens Traffic


Suburban 01:

1.2 – Added new audio files: 

AMBSubn_Backyard Modern Gardener_SYSO_SYSO001.wav

AMBSubn_Backyard Modern Offices_SYSO_SYSO001.wav

AMBSubn_Backyard Modern Spring_SYSO_SYSO001.wav

AMBSubn_Backyard Rain Pouring Down Thunder_SYSO_SYSO001.wav

AMBSubn_Backyard Rain Traffic Television Bleed_SYSO_SYSO001.wav

AMBSubn_Backyard Rain Water Dripping Humm_SYSO_SYSO001.wav

AMBSubn_Backyard Soft Rain Distant Traffic_SYSO_SYSO001.wav

AMBSubn_Backyard Soft Rain Distant Train_SYSO_SYSO001.wav

AMBSubn_Backyard Walla Bleed From Houses_SYSO_SYSO001.wav


Seat Ibiza 2019:

1.1 – Added new audio files:

VEHTire_Car Driving-Car Driving Tires  AB FR

VEHTire_Car Driving-Car Driving Tires AB BK

VEHHorn_Car Honks Various 01 M01

VEHHorn_Car Honks Various 01 M02

VEHHorn_Car Honks Various 01 MS

VEHHorn_Car Honks Various 02 M01

VEHHorn_Car Honks Various 02 M02

VEHHorn_Car Honks Various 02 MS

VEHHorn_Car Honks Various 03 M01

VEHHorn_Car Honks Various 03 M02

VEHHorn_Car Honks Various 03 MS

VEHHorn_Car Honks Various 04 M01

VEHHorn_Car Honks Various 04 M02

VEHHorn_Car Honks Various 04 MS

VEHHorn_Car Honks Various 05 M01

VEHHorn_Car Honks Various 05 M02

VEHHorn_Car Honks Various 05 MS

VEHBy_Car Pass-By-Car Pass-By Fast Speed M01

VEHBy_Car Pass-By-Car Pass-By Fast Speed M02

VEHBy_Car Pass-By-Car Pass-By Fast Speed MS

VEHBy_Car Pass-By-Car Pass-By Fast Speed ORTF

VEHBy_Car Pass-By-Car Pass-By Medium Speed M01

VEHBy_Car Pass-By-Car Pass-By Medium Speed M02

VEHBy_Car Pass-By-Car Pass-By Medium Speed MS

VEHBy_Car Pass-By-Car Pass-By Medium Speed ORTF

VEHBy_Car Pass-By-Car Pass-By Slow Speed M01

VEHBy_Car Pass-By-Car Pass-By Slow Speed M02

VEHBy_Car Pass-By-Car Pass-By Slow Speed MS

VEHBy_Car Pass-By-Car Pass-By Slow Speed ORTF

VEHBy_Start Close Drive Away-Start Close Drive Away Various M01

VEHBy_Start Close Drive Away-Start Close Drive Away Various ORTF

VEHBy_Start Corner Stop By-Start Corner Drive By M01

VEHBy_Start Corner Stop By-Start Corner Drive By ORTF

Der Beitrag November Updates & Black Friday Sale 2020 erschien zuerst auf Systematic Sound.

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The Rural Soundscape Of The Countryside And How To Characterize It Tue, 17 Nov 2020 16:22:35 +0000 This article analyzes the the rural soundscape of the countryside and describes the physical & acoustic properties of the environment.

Der Beitrag The Rural Soundscape Of The Countryside And How To Characterize It erschien zuerst auf Systematic Sound.



Hi my name is Daniel Meuser, and I’m the owner of Systematic Sound, an independent label for professional high quality Sound Effects. This article is not an academic paper. The reason I’m writing this is that I went out to record ambiences in the countryside last summer and I wanted to analyze this topic, and put the experiences I made recording out in the field, into a better perspective. The quiet rural soundscape is a space that is getting more and more rare. As an active member of the acoustic ecology movement it is important to me to raise awareness special character of these regions and why it is worth to protect the so called „Quiet Areas“ (Directive 2002/49/EC of the European Parliament and of the Council relating to the assessment and management of environmental noise, June 2002.), to which I also count rural soundscapes.

But what constitutes a „rural soundscapes“, what does define the sound of the countryside and how can we find a in general a analytical way to describe the sonic characteristics of these environments?

A) The Landscape, a way to describe the physical properties of an environment.


There are many ways to describe an environment with it’s physical properties. In this context, we will take a look at the sound sources & events within that space and its acoustic properties, that can be experienced by a listener. The semantics we use to describe an acoustic environment are based on the descriptions of the visual, which need to be reinterpreted according to the special features of the acoustic world. It therefore makes sense to first of all describe the main aspects of the landscape before we focus on the acoustic conditions that constitute of the soundscape of a region.

We can part from two perspectives in this endeavor: The term rural soundscape“ derives from an anthropophonic point of view. This describes the area outside towns or villages that is defined by human activities like agriculture, leisure or recreational activities and transportation.

If we left the human perspective out of the equation, we would need to look at the natural characteristics of the countryside to describe its acoustic properties. These consists of the physical properties of the terrain, its climate & biology, that together build all sorts of landmarks and biotopes with their distinctive sound. 

If we take a look at the various physical properties of an environment, it can come in very handy to use the concept of the landscape to be able to properly acknowledge those factors. Physical properties can be of tangible and intangible nature. When we look at the tangible physical properties, the main elements are composed by the natural topography of the environment. It‘s Geography

and landforms, such as hills, planes, woodlands, rivers, valleys, lakes, that are typical for landscapes described as countryside. Not only do they build the visual frame of a place, they also have a deep impact on the acoustics of it and what kind of biotope can develop there. Although everything related to vegetation and living species is part of its Biology, which is another important factor in terms of the Biophony of an environment. And lastly there can even be human elements too that might have transformed the physical contours of a landscape to a considerable amount, like building structures or specific cases of human land-forming such as the construction of walls, the leveling of areas for agricultural use, etc.

When we lay down those three factors (Geography, Biology and human factor), then it might be smart to try to define the rural environment or countryside landscape in a subtractive way. This would exclude areas with specific geography with specific climate conditions, Biology or the characteristics of the human factor, that doesn’t match with the ones described in the definition above. On base of these properties, we can make the following assumptions:


  • There must be a certain degree of human activity, in contrast to genuine natural environments & biotopes that are untouched by humans. The degree of human activity must be different from industrial areas, suburban residential areas or urban cities, towns or villages. Since those environments are more industrialized and/or have a higher population density, there is usually more human activity in general. With the exception of the motorways, these areas also show more traffic activity vs. more low-level roads and less traffic activity in the countryside. Since the countryside evolves around towns & villages, it is very likely to encounter heavy agricultural use. Farms and fields, vineyards, cattle, etc. In order to ensure intensive agriculture, the fields must be laid out on flat ground. This is one of the many reasons that transformed the countryside into an environment of open vegetation & manly flat planes with soft hills (specially in central Europe, Germany, where I have been mainly recording). We will find places of leisure and recreation like bike trails, amusement parks, ski lifts and slopes, horse riding trails, off-road trails etc.
  • If we focus on the biological ecosystems that define an environment, then the lines of distinction are fluid. Well maintained woodlands exhibit a certain degree of agricultural activity and should be included into the definition of countryside landscape. On the other hand, old primeval forests with fully intact ecosystems that are not altered by human activity should be excluded by this definition and another term should be used that is more suitable to describe primeval natural landscapes. Same goes for swamps, moors, riparian zones, jungles, tundra & taiga, glaciers and deserts. These environments are usually defined by pretty specific biological or climatical factors which make them usually not suited for agricultural usage and where human activity is very reduced. The environments I’m trying to describe here are the last resorts for wildlife as well as wild flora and fauna. Prairies can be seen as the natural native form of the fields and farmlands that are at the heart of the modern-day countryside.
  • Geographically, there is not an effective way to describe the term rural countryside. For this reason, I would opt to only exclude very specific geographic landscapes & formations like canyons, glacial & high alpine mountain regions, coasts, etc. But since humans have always preferred generally flat treeless expanses of fertile soil for their agricultural needs, the typical topography are fairly open planes, soft hills and river valleys that offer a better protection from wind and the cold.

B) From Landscape to Soundscape

Now what has all of this to do with field recording and the concept of the soundscape? It has to do with the semantics that we use to describe the sounds of environments in a broader scale (vs. the sound of a specific source). The terminology for sounds derives from descriptions of the visual. Now that we have analyzed what the unique properties of the rural landscape are, we can now show how these circumstances influence the soundscape of this environment. A soundscape is a sound or combination of sounds that forms or arises from an immersive environment including all sources of sound found in a natural environment (Biophony), the sounds of weather phenomena & the acoustic properties produced by the physical topography landscape or by geothermal events (Geophony), as well as human activities that make noise referred to as (Anthrophony). If we consider these basic ingredients, we have now to discover which sounds are significant to the rural soundscape because of their rareness, abundance or repetition or because of their power and domination over the remaining acoustic events.

At the heart of any soundscape is the keynote sound. It serves as anchor or fundamental, that, like in a musical piece, serves as a reference point that sets the tone & mood of a landscape. This is usually created by ist geography and climate. When we take into consideration the typical topography and vegetation of the countryside that mainly consists of open planes, wild meadows, grasslands with bushes and fairly open woodlands with soft hills and valleys where you can find grapevines and other crops of limited height of growth, then one has to come to the conclusion that it is very likely, that this environment will predominantly have the acoustic properties of an open field.

When there are less obtrusive landmarks and lower vegetation, there are less obstacles for the wind to circulate freely through those environments. It’s therefore that the sound of the wind softly rustling through the vegetation sets the predominant keynote sound for the countryside in general. There is even an archetypal and musical character attributed it it when we compare it with „a giant wind harp“ (R. Murray Schaefer; The Soundscape, Our Sonic Environment and the Tuning of the World; S. 22-23.). The different types of grasses, bushes & crops of different heights, small trees, scattered hedges with their various types and forms of foliage, all these plants make different noises when they are stimulated by the wind. Each grassland, each type of crop, each forest has its own keynote sound. This creates an abundance of different wind sounds that are worth to be discovered. In the countryside it is possible to hear the wind from a far perspective, sounding similar to a deep roar that sets the tone for the soundscape from a distance. On sites with hills or irregular topography, there might be different air flows, creating local turbulences & wind cells that can have an impact on the acoustics of a place, making auditory communication a lot more difficult. Sound wave propagation can be scattered pretty significantly under windy conditions. The rustling of the vegetation on the spot gets louder too, reducing the hearing range even further. This has a significant impact on wildlife communication and the species habituating those ecosystems have adapted to these circumstances. For that reason it it very important to check the weather (especially wind) before to head to the recording location. I like to use for this. Wind is a weather condition, and therefore variable by nature. It is subject to atmospheric and thermal influences. These are significantly influenced by climate and the geography of a location. Wind is a physical force. It is essentially the manifestation of an energy exchange that is based on a gradient. That is why it always takes the path of least resistance and depends on the strength of the gradient. Apart from the atmospheric and local thermal influences, the day-night cycle creates a stable framework for the weather phenomenon of the wind. As soon as the first sunlight hits the surfaces, temperature hot-spots start to build, due to the uneven terrain. This is a point in time when the air pressure gradient begins to develop, which causes the wind to blow. The you are on location, then it really depends what sound of wind you are after. Do you want to record a far, cinematic perspective or close one with a lot of detail? Are you after more static sounds that roars gently or do you want to record a more variable wind with heavy blows setting some highlights? Not only your relative position in the sound field matters, also the vegetation of your immediate and further away surroundings matter. Especially if you want to make close-up detailed wind sound recordings, then the differences in the physiognomy matter. The shape, size and thickness of the foliage if trees and bushes, as well as the form and size of crop, grasses and herbaceous broadleaves can sound surprisingly different when stimulated by the wind.

The wind is not the only weather condition that that has an influence on the soundscape of the countryside. The heat of the sun, that dries out the fields in late summer changes the physiology of the crop considerable. It gets lighter and more porous making the rustling of the wind sound lighter with a soft sizzle. You can even hear light crackles and pops as the sun heats up the crop. The sun also increases insect activity and you will start hearing all sorts of buzzing & humming. In the absence of high structures or trees, an open field offers the chance to record rain and thunder in a very natural way without excessive reverberation. But thats also the reason why it is quite difficult record under such conditions. Due to the lack of those higher structures, it can be quite challenging to find places where you can install the recording equipment safe from rain and humidity. I might share some tricks on how to record rain safely in a future blogpost. If we compare the sounds of urban rain to rain recorded in the countryside, then it will more often then not sound softer, because the dense vegetation on natural ground dampens the impact sound of the water drops significantly in comparison to harder surfaces like concrete or cobblestone.

Wheat Field Dry Soft Sizzle Close

by Daniel Meuser | General Ambience Series - Rural Countryside 01

Meadow Windy Detailed Close

by Daniel Meuser | General Ambience Series - Rural Countryside 01

Open Plane Deep Rumble Distant

by Daniel Meuser | General Ambience Series - Rural Countryside 01

Trees Creaking Windy Distant Roaring

by Daniel Meuser | General Ambience Series - Rural Countryside 01


Wildlife has adapted to this fact and relocates the majority of the communicative activity to a time before this happens (dawn), when there is only a slight thermal inflow due to the evenly cooled down surface temperatures at night. The other optimal point of time for communication is at dusk, after the surface has been heated up fairly even by the sun. This is the reason why we can experience the beautiful phenomenon of the Dawn Chorus, where birdsong activity peaks at its maximum a beautifully orchestration where each creature has its acoustic niche. The sound of the dawn chorus also stands for the sounds of the seasons (especially spring).

Dawn Chorus 01

by Daniel Meuser | General Ambience Series - Rural Countryside 01

Dawn Chorus 0

by Daniel Meuser | General Ambience Series - Rural Countryside 01



Another example of a keynote sound would be the omnipresent rushing of a river or stream that is amplified inside a valley, giving the environment a distinctive tone. I could experience this at the “Nahetal” (Alley with a river in the south-west part of Germany) but also at the Rhine River valley (although here, the noise of industrial shipping masked everything else).

Distant Creek Bubbling Lively

by Daniel Meuser | Sounds Of Nature – Flowing Water 01

As we said earlier, human activity is significantly more reduced in comparison to more densely populated environments. Wider and more open space with less human activity leads to potentially longer noise-free intervals and less overlapping sounds and therefore less energy accumulating at any given point of time. Wide spaces also mean less echoing or reverberation reducing the overlapping of broadband sounds and unfavorable effects like masking even further. Under such circumstances we start regaining acoustic perspective. The listener is able to hear further in the distance and will be able to distinguish between acoustic foreground and background. That’s why it makes sense to describe the rural soundscape of the countryside as a „Hi-Fi Soundscape, which possesses a favorable signal to noise ratio. In these environments we are able to distinguish single sources, if they are close by or distant. We can differentiate between foreground and background sounds. Sounds in the foreground usually have more importance to the listener. They can give him clues about changes in the environment, the relative positions of creatures or objects. The listener will usually be able to estimate how the different actors are moving through the terrain. These so-called “Signals” are listened to consciously.  The main actors here are humans and wildlife that lives in the rural countryside.

On the human side, there are the sounds of the farm that can be quite powerful and dominant. They are the noises of work, of hard labor, of heavy harvesting equipment. Of hooves trotting, metal plows and straw ballets bumping on the ground and the sound of engines and metal rattling which derives from the operation of huge harvesting machines and tractors (Technophony). The voices of farm animals can also set the tone of the farm soundscape with occasional peaks that set some highlights. This is especially true for large groups of cattle when all voices mesh together into a distinctive tone that is typical for each species. The sounds and voices of farm animals belong ,to the classification of domestic sounds which can also be of functional character.


Farm Cow Stables

by Daniel Meuser | General Ambience Series – Rural Countryside 01

Farm Horses Pasture

by Daniel Meuser | General Ambience Series - Rural Countryside 01



The signal of dogs barking is typically interpreted as a warning sight that an intruder has entered the territory of the farm. The call of the rooster on the other hand is a signal that is widely interpreted as the announcement that a new day has begun. It is a sight of civilization that gives the working day structure. In this same category are the sounds of light industrialization that can be found scattered through the countryside.

Farm Guard Dogs Barking Aggressively

by Daniel Meuser | General Ambience Series - Rural Countryside 01



Those sources of noise would be something like the humming of pipeline compressors, the metal clanking oil wells, the deep roar of windmills, etc.. And then there is the omnipresent obstructive sound of traffic and transportation: Trains, highways, and air traffic produce a roaring mash of sounds, a powerful wall of sound that can travel huge distances and dominate entire landmarks. Therefore is is highly recommended to scout for highways and flightpaths or train routes before heading into the field. Useful tools are obviously: Google Maps, Apps like Flightaware, noise pollution maps like the National Transportation Noise Map or the Noise Observation & Information Service for Europe.

The Biophony of the countryside can be very diverse and rich if one listens carefully. You can find plenty of birds, mammals, amphibians and insects living in this environment making all sorts of sounds with their vocalizations or activities. One of the most obvious and beautiful sounds to enjoy is a nearby solo of a songbird will certainly be heard as a single foreground event. In the European countryside you can find plenty of birdsong. One species dominate the scene with their beautiful musical solos (like the Nightingale),

Nightingale Song Solo

by Daniel Meuser | General Ambience Series - Rural Countryside 01



and other species with their collective voices (like the Sparrow).

Sparrows Calls Many

by Daniel Meuser | General Ambience Series – Towns & Villages 01



One could ask: Why is it described as pleasant and not nerve wrecking by listeners most of the time (although bird song can exhibit quiet high amplitude and frequency modulation)? This might be because it is deeply connected with our anthropogenic past. It is very likely that a high density of birdsong is an indicator for an intact ecosystem with a high biodiversity. This would lead our ancestors to find good, fertile land with lots of water reservoirs and plenty of plants and wildlife to feed from. This might explain the positive connotation that birdsong has to us humans. And it is no coincidence that birdsong has something musical, as it may have been the origin of music itself.


Mammals usually populate the lower part of the spectrum with their voices and find this way their perfect niche. Some species like foxes, wolves and deer use the time at dusk or dawn to their periods of highest vocal activity. They choose reverberant use the humid woodland or forest environment to amplify their voice. They even change their voice to accommodate for the echoes. One of the most famous examples is the terrifying vixen scream of the fox, the majestic howl of the wolf and the eerie hooting of the eagle owl.


Wolves Howling

by Daniel Meuser | General Ambience Series - Rural Nightscapes 01



In autumn the deep rotting and barking of deer that resonates through the forest can be a dominating sound of a landscape specially at twilight. This is another typical sound that stand for a season. In the German-speaking area, the red deer is also called the “king of the forest”. This is thanks to its imposing antlers and impressive deep roaring.

Deer Rutting

by Daniel Meuser | Autumn Forest Vol. 01



Small rivers, streams, ponds and pools are embedded in the idyll of the rural countryside. Wet meadows with wild grasses, moors and swamps may be as well part of those ecosystems that build these environments. These are the home of many amphibian and reptile species. Probably one of the most well-known and signals are the sounds of the frog chorus, with is intensive and loud croaking that builds another important backbone of the soundscape of the rural countryside.

Frogs Croaking

by Daniel Meuser | General Ambience Series - Rural Countryside 01



The other main elements constituting the natural sound of the lake site are the sounds and vocalizations of waterbirds. Ducks, geese, Cormorants or Cranes can populate lakes in big numbers dominating a scene acoustically.

Lakesite Cormorants Chattering

by Daniel Meuser | Autumn Forest Vol. 01



The sounds of insects play another important role in the rural soundscape. In the European countryside, where I have been recording most of the time, you can hear flies, wasps, bees and bugs humming, buzzing and flying around once the sun heats up the atmosphere so that these insects are able to fly. Another very prominent sound that can be heard in wild meadow and fields during the warm summer-days is the chirping of crickets, grasshoppers and (mostly in southern Europe) of cicadas, which can be even active deep into the night if temperatures don’t fall too quickly. In uneven terrain, where local spots heat up differently, I could hear crickets chirping at different rates building a complex inter-modulating chorus including different tonalities. This is a good indicator for a rather high insect population and rather many different species that only on dominant species. This can be seen as an indicator for a healthy ecosystem with a rather high biodiversity.

Dry Meadow Insects Buzzing Crickets Chirping

by Daniel Meuser | General Ambience Series – Rural Countryside 01

Insects Bees Buzzing Close-Up

by Daniel Meuser | General Ambience Series – Rural Countryside 01

But the concept of the soundscape goes further than the mere definition of the acoustic environment, it also includes the listeners perspective. When we try to characterize an acoustic environment from the perspective of a human listener, then there are psychological and sociological aspects that come to play.

Here, we can recur to the concepts of the „Psychoscape“. This describes personal factors and historical and socio-cultural factors on how we may perceive sound. Typical personal factors might be the individual sensitivity or attitude towards a sound that is developed by each listener depending on experiences he made in life. It is directly related to the state of mind of the individual and whether he experiences the situation in which he perceives the sound as positive or negative. Symbolism we give to sounds can derive from personal factors as well as from historic socio-cultural development which is anchored in the collective perception of a community.

A so called „Soundmark“,  is a community sound which is unique, or possesses qualities which make it specially regarded or noticed by the people in that community.  An example that can also be heard in the countryside is the ringing of church bells. There are many ways to describe this sound depending on the perspective of the listener. For a Christian that hears the bells ringing in the distance from a nearby town, it might be sacred noise that interrupts the monotony of the secular silence. It might give him structure and orientation in his working day or even remind him of civilization that breaks indolence of idleness.


Church Bells Ringing Distant Windy Roar

by Daniel Meuser |



In regions with intensive agriculture, it might even be the sound of the cattle. In the alpine regions in Europe, specifically in Switzerland, people celebrate the so called „Almauftrieb“ in spring (which refers to when the cattle drive moves from the valley barns to the alpine pastures) and the „Almabtrieb“ in autumn (where the cattle is been drive back to the valley barns). If there were no accidents on the Alm (pasture) during the summer, in many areas the cattle is decorated elaborately, and the cattle drive through the villages or towns is celebrated with music, feasts and dance events in the towns and villages. 



If you went all until the end: Thank you for reading this article. I hope you found it useful and interesting. If you have any further questions or just want to say “hello” just drop me a message here:


About the Author:

Daniel is a graduated Sound Designer and Field Recordist from Germany, who completed his Bachelor in Sound and Music Production at the Darmstadt University of Applied Sciences in 2017. He has a passion for interactive creative sound design and complex field recordings. He has worked in the areas of game audio, library creation, advertising, broadcast and film. His influences range from Pierre Schaeffer’s early Musique Concrète to the 8-bit chiptune sounds in retro video games, the powerful sound of electronic dance music and the hyper-realistic sound of Hollywood films. He also knows that great sounds can be found even in our daily lives. R. Murray Schaeffer’s principles of Acoustic Ecology sparked his passion for field recording and led him to the conclusion that he wanted to be a better listener and not want to distinguish one sound from another. And finally, Bernie Krause and Gordon Hempton showed him the wonderful world of Biophony and the sounds of nature, which are becoming increasingly rare. Systematic Sound has been part of the Soundly Pro Library since 2020. In the same year, he was invited to join the Artlist.IO platform, on which he was thrilled to create some exclusive sound effects libraries. In 2019 Daniel has been working for BOOM Library and Dynamedion as a Field Recordist and Sound Designer where he was involved in creating sound libraries as well as audio assets for external clients. In 2018 he mainly worked on various short and feature films. He wrote articles about his work as a field recordist for microphone manufacturers like Lewitt Microfones, Austria. He also worked in the field of acoustic ecology as a contributor to The Global Composition 2018 conference. In 2017 Daniel was mainly active in the field of interactive game audio design, where he was involved in the production of Crytek’s game “Hunt: Showdown”, which won the German Developer Award for best audio in 2018.

Please check out my latest SFX Libraries, where you can find the sound that I used in this article and many more!



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Happy Halloween 2020! Tue, 03 Nov 2020 16:21:43 +0000 I wanted to do this funny little Halloween clip, but then I almost burned one of my Rycotes!!! I thought that the flames would go up through the hole at the top, but then the pressure went it’s way through the mouth and a big flame got spitted towards one of my mic arrays. I […]

Der Beitrag Happy Halloween 2020! erschien zuerst auf Systematic Sound.


I wanted to do this funny little Halloween clip, but then I almost burned one of my Rycotes!!!
I thought that the flames would go up through the hole at the top, but then the pressure went it’s way through the mouth and a big flame got spitted towards one of my mic arrays. I could react fast enough and no damage was done. Anyway, hope you had a great halloween. Take care everybody.

ps: Something HOT is coming out in November at Systematic Sound 😉

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Five exclusive Libraries on Artlist.IO Sun, 27 Sep 2020 06:33:24 +0000 New high quality sounds made by SYSTEMATIC SOUND on Artlist.IO.

Der Beitrag Five exclusive Libraries on Artlist.IO erschien zuerst auf Systematic Sound.

In July 2020 I got busy producing five new SFX libraries for Artlist.IO. They cover a broad range of different sounds. Form more natural and organic sounding to heavy processed and designed content.

The first one was “The Espresso Ritual”. There you will find everything you need for your espresso commercial or even as foley material on films. Its basically you baristas dream library. Used several different mics, perspective etc. and condensed everything into really nice, ich and detailed sounding assets.


Next is “Talking Robots”. This library features a nice collection of classic text-to-speech sounds, classic humanoid vocal phrases, abstract and futuristic to inspection sounding robot vocalizations. This release was pretty design heavy.


For the “Animal Farm” I did some animal close-up vocalizations. The aim was to get them as clean and direct as possible, blending out the acoustical background as much as possible. This was quite post-pro heavy, but the result is a recording that sounds like recorded in a foley stage.


“Cloth, Fabrics And Accessories” gives you a basic cloth movement foley sound collection that will come in handy for every sound editor to add character and expression.


“Under Construction” features a nice collection of isolated construction sounds as well as hole scenes. It features different tools, activities and vehicles. A friend of mine owns a construction company and I got access to a construction site and got the privilege to tell the workers exactly what I needed, resolution in really detailed and clean recordings.


You can preview all sounds here.

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New Year, new firework recording. Happy 2020! Wed, 22 Jan 2020 07:29:58 +0000 Der Beitrag New Year, new firework recording. Happy 2020! erschien zuerst auf Systematic Sound.


Let’s record some fireworks!

Why wait with the new year’s resolution if you can start recording amazing things straight away! I wanted to record some fireworks for a long time and finally found a way to get it done without the hassles of extra permissions, etc. I found a frozen plane near my hometown and decided to record lots of different fireworks there at New Years eve. Got up early at 4am and packed everything that I needed. I bough fireworks for approximately 100 € and got a nice selection of rockets, firecrackers, and rocket batteries.

Planning A Multi Mic Recording Session

The first question that raised was: What kind of recording do I want to make and how am I going to do it? I wanted to get detailed and clean explosion recording of fireworks. I wanted to get the initial swish, the boom and sizzle from the explosions. Therefore, I had to use different microphones at different positions and angles. I realized that can only use 8 channels on my recorder and recorded everything in 192 kHz and 32 bit float format to get the highest fidelity and avoid any clipping of the recorders. I used an SD-Mixpre 10 II that served me well at temperatures around zero degree Celsius. The Beilen Li-Ion batteries did a great job as well and got me covered throughout the whole production.

Setup In The Field

Regarding the microphone setup, I used a close-up dynamic microphone. A Sennheiser MD-20. Putting a dynamic omni close to the source would give me a nice impact sound without too much proximity effect. The second mic setup was a close-perspective MS-Shotgut to get all the detail and a focused sound. I used a Senneheiser MKH 418s for that task, because I knew it can handle high SPL. The I positioned a middle distance MS-Setup consisting of a Sennheiser MKH-8050 and MKH-30. This would be the Main rig to capture the whole scene. The I want to capture the sizzle of the rockets exploding in the air. I used a long Shotgun for that reason, a Sennheiser MKH 8070, pointing in the air to the point where I guessed the explosion to happen. The last mic setup consisted of a stereo pair of Sennheiser MKH-8040 microphones in an ORTF array apron. 50 meters away to catch the reverb tail.

The Result

Now it was time to clean up the recordings and do a proper mix. I did some taming on the huge dynamics that were a result of the 32bit float recordings and then I did a lot of denoising (but without killing the sound) and after that I looked out for excessive bass, birds and other resonances from distant traffic or aircrafts etc. The result can be seen in the image below: This shows a missile battery with a lot of consecutive rockets fired in a short amount of time.

Video of the recording session

This little Fireworks Library will be avalible at the end of January 2020.
Thanks guys for the read. Hope you enjoyed the article! If you have any question or feedback, praise or whatever, don’t hesitate to drop me a line:

Fireworks Recording Session
[KGVID poster=”” width=”1279″ height=”720″][/KGVID]

Der Beitrag New Year, new firework recording. Happy 2020! erschien zuerst auf Systematic Sound.

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Systematic Sound is here! Fri, 22 Nov 2019 20:36:19 +0000 Der Beitrag Systematic Sound is here! erschien zuerst auf Systematic Sound.





Systematic Sound – A new independet SFX label is born!

Systematic Sound is a independent Sound Effects label founded in 2019 by Field Recordist and Sound Designer Daniel Meuser. Im am passionate about sound and my mission is to capture the most engaging and evocative sounds for my customers. Sound effects have incredible power to immerse and inspire! They’re more than just tools: They’re creative works with great potential to enhance the projects you create and work on.





What can Systematic Sound offer to you? 


As a Field Recordist, I hunt any sound you can imagine out in the field. These can be ambience or nature sounds, foley or metal impacts, vehicle sounds or even animal or human sounds. I plan complex recording sessions, mix and desing unique Sound Effects and categorize them. I create, curate and distribute sound libraries and data bases.



Professional Quality Standards


We take audio post-production seriously. All sounds are cleaned, sorted and mixed with great attention to detail to ensure the high quality standards our clients expect. If the sound is suppose to sound natural, we will make sure it does sound as natual and less processed as possible.




High Quality Productions


As a small independent SFX label, I try to offer affordable sound packs at the highest quality possible. I use state of the art recording equipment to guarantee the professional quality of the recordings in terms of technical specifications, fidelity and performance.





Professional Documentation and Metadata



And last but not least, you can expect precise, meaningful and extensive metadata embedded into my sounds. This includes systematic sound descriptions and of course beautiful artwork.


I will post articles about gear, recording, and sound effects on my blog. Follow me on Instagram, facebook or Soundcloud to get the latest updates and news.

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