This library focuses on isolated recordings of single insects, mainly from Northern Europe. While all insects have been recorded in the wild in Northern Europe, most also appear in all of Europe, Asia, North Africa and some have been introduced to America and Australia too. For this library I recorded various species of wild bees, wasps, bugs, cicades, grasshoppers, flys, dragonflies, butterflies, ants, sandfleas and underwater bugs. A detailed list of all species is at the end. You will find flybys, wing buzzes, hums, rattles, little feet, stridulations, jumps and even bites.
While I find their crispy, clear and often bassy sounds lovely, some of the noises of the animals can be decribed as annoying, scary, sharp or intensive. But besides for the original recorded species, these noises can be used to create swarms or all kind of insects or little creatures, like elves, aliens and fairies.
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When we did a spotting session with Night, a lot of the things he had to say were about really feeling the woods and the insects. The way he described the opening was that it should feel like waves of wind and insects. And ultimately, that led to a lush, meditative kind of fairytale feeling.
The four strangers are not portrayed as particularly scary and threatening as you might expect, but there are times when they are forced to use violence. Was it a challenge to make those scenes sound scary when the acting was so contrary to their actions?
For the airplane crashes, we leaned into just making it sound as realistic as possible and feeling that very distant, muffled explosion and the reverberation across a great distance. It feels creepy, and I think that's what we liked about it. It was more muffled, so you're not hearing the details; it's just this massive event and they're happening all over the place. All of these airplanes are falling out of the sky and all these people are dead in an instant, but all you hear at that distance is a muffled explosion. That felt like the most terrifying approach.
Finding the right sound for the footsteps and creaks of the four strangers on the porch when they first arrive. Night wanted you to feel their presence, hear them shifting around, and feel their movement on the porch as the camera pans. We had to make sure those creaks and the weapon movement and all of that felt just right, all while being filtered through the wall of the cabin. Balancing all of that was a very delicate process, and it took a few passes.
Sound designer and recordist Frank Bry is releasing the second package of the Insects HD SFX series, packed with amazing bug recordings. We invited him to do an exclusive article about the making of the library and how he recorded the sounds.
The second collection, Flying Insects II, features all new wasps and hornets. The wasps were enjoyable to record. Fall had arrived and it was just starting to get cooler at night. Wasps move a lot slower in the morning and struggle to fly after the cool night. As the sun comes up and begins to shine through the garage windows they either sense the heat or the light and are at the window. They are still not quite awake and were easy to nudge with a stick. They would fall to the floor and start insanely flapping their long wings. Sometimes they landed upside down, and it made for some wonderful long takes of just buzzing. The hornets would just fly in front of the windows without touching the glass and hang there for minutes on end. I was able to record some really great, smooth, steady insect flight sounds.
The Sony PCM D-50 was used in wide mode for recording the swarms. I was able to get a great stereo sound field of them frantically trying to get out the window. I use a small 6-inch camera tripod with this and the PCM-D1. With the legs folded in it acts as a pistol grip. To reduce handing noise even more I sometimes wore those construction type gloves. They are comfortable and allow for easy hand and finger movement when using power tools.
I used the Sony PCM-D1 for most of the close up buzzes, vocalizations, and wing flaps. I really love the way this records bug sounds. Its mics are bright and very sensitive. With the very low level insect recordings, I was able to get a great signal to noise ratio and some very clean recordings.
Many of these sounds were created while working on the David Lynch film Blue Velvet. A lot of those were done by my late husband, Alan Splet. He passed away about 20 years ago, but he was very much at the top of his field in sound at the time. I mean, he turned down E.T. and Raiders of the Lost Ark because he wanted to work with David Lynch.
Anyway, David wanted me to do the production sound for Blue Velvet. And Alan went around recording environments in different parts of North Carolina and got these wonderful, moody summertime insects. Some of them are processed with several layers to give this very dark, Lynchian sort of atmosphere. I also went around doing some insect recording, you know, just to add to the pot.
Some other sounds I recorded while working on the film The Mosquito Coast [directed by Peter Weir, starring Harrison Ford and Helen Mirren]. I went down to Belize while they were shooting and went into the jungle to record insects. That was really fun. There are just so many textures and varieties of insects in the jungle. It was quite an adventure.
Insect sound effects can really take you into a scene and make you feel like you're present there, and that's a powerful tool. It's also difficult to find the sounds of individual mosquitoes or bees, and the collection has some nice recordings like that which is useful in itself.
All sound effects are available, royalty-free, for download and duplication. Sound effects include: birds, chickens, crows, ducks, geese, owls, parrots, peacocks, roosters, turkeys, woodpeckers, cats, cows, dogs, donkeys, elephants, frogs, pigs, bees, crickets, flies, mosquitoes.
Their bodies appear watery because they transform into a slime-like matter, so naturally we accentuated the water sound in this case. For their footsteps and voice, we added a faint sound of a singing bowl instrument. As for their weapons, the sound design is electronic and perhaps more inorganic.
Anyway, the sound of these little baddies make was designed to be sharp. They have a large sword with a transforming mechanism on their legs, so their attacks are razor-sharp, just like a sword, and their movements rapid. As for their voice, their movements are animal-like, so it is more animal and insect-like rather than being focused on sutra-like nuances.
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Coming up with the boss concept itself was interesting. For this one I went with all unsplash images of various animals and insects. My idea was to make some kind of a beast which looked like a hybrid between a reptile and an insect. Ultimately what I did was combine an alligator, a snail, a komodo dragon, a butterfly and a frog to come up with the beast. As is usual with these type of enemies I make, the process mostly just consisted of cutting up the various pictures and collage-ing them together in Photoshop and then exporting the various parts of the monster into After Effects where I animated everything.
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I need a sound effect, which, when repeated a bunch with /playsound, sounds like a swarm of buzzing insects to the player it is being played to. I'd rather not use a resource pack, so if anyone knows of any built-in Minecraft sound files I could use to achieve this effect, please let me know
im working on something to allow you to listen to all the sounds to help with this kind of problem but its not even close to finished yet, because there are so many sounds for each mob. and 20 different pitches for each sounds.
This question about sound might seem trivial to others, but one of my favorite documentaries is Microcosmos. The creators invented tiny microphones for recording insect sounds. I saw it in the cinema with a high fidelity sound system, and it was amazing. Seeing Planet Earth and hearing artificial sounds is a distracting letdown.
Although it may be difficult to differentiate between the foley-produced sounds and natural sounds, I would say that most of the sounds you can hear in BBC Planet Earth would have been added in post-production.
The team mixed the ingredients together inside a stocking, scrunched it up and pressed it against a hard surface. The producers disclosed over aural tricks: the crunch of bones as an animal eats is often replicated by snapping sticks of celery. The sound of a slowly-peeled orange is akin to a predator ripping flesh from a carcass.
Kate Hopkins then denies the accusations that the post-production sound effects "amounted to 'fakery'." She responded by saying that "it is real: the pictures are real, any animal calls are real, but you are still making television. Having sound attached to the picture gives you that sense of being there." 0852c4b9a8
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