I suggest the swish of a knife through the air. Hitting a metal object (parried by another blade, or hitting armour or a shield) would be better served by clang. If a knife struck a living body, the dominant noise would be the cry of pain; chopping at a dead body would be more of a thud or thwack (correct me if I'm wrong, I haven't tried this personally but it's just meat).
1. a. A hissing sound like that produced by a switch or similar slender object moved rapidly through the air or an object moving swiftly in contact with water; movement accompanied by such sound.
Knife Cutting Sound Download
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Today I'm cutting cardboard with a knife and scissors. Many cutting, scratching and rustling noises.Pure ASMR - a series of audio tracks with different noises which help you to relax and sometimes cause an awesome ASMR feeling. No talking, no roleplays, no faces, no video at all. Just a pure ASMR. Enjoy and relax!
Typically, when the sound of a knife cutting (mainly for fight scenes or other weapon sounds) is required, Foley artists use the sound of the metal blade slicing against another hard surface, such as a rock, concrete or another knife blade. This gives the exaggerated metal slice we would all recognise. So, first up I used a large kitchen knife and recorded the action of it slicing against a marble worktop and another knife for good measure.
Now I had all three elements of each slice sound ready to go. The knife slicing against metal and marble, the skin slice sound using vegetables and the fleshy blood and guts sound using jelly, rice and water with cornflour. I assigned a track in Logic for each take. Then I dragged the bounced versions for each session onto a stereo audio track and applied a small amount of compression on each. I used Logics slice tool to split the audio regions for each take and align them up so each of the sounds would play together. It often takes a bit of playing around with timings an audio levels to get the right sound and going on the specifications the user had given me I did my best to match the sounds.
I briefly worked in a restaurant kitchen in Hong Kong under a British chef. He objected to the sound I made when slicing onions, and warned me not to be a 'board tapper'. I duly spent the next weeks learning to slice onions his way, though I wasn't able to match the speed I'd been accustomed to using the method I'm more practised in.
I've lived in Asia for many years, and use a Chinese vegetable knife/ Chinese chef's knife (CCK - NOT a cleaver) to cut almost everything. These tall, relatively straight-edged knives are used by Chinese chefs for the majority of tasks, and are employed using either a 'push cut' to force the blade through denser materials, a 'chop cut' in which the whole edge hits the board more or less parallel to it, or a 'draw cut' in which the tip of the blade is drawn back through softer materials, the angle at which the knife is held and the depth of the material being cut together determining how much of the edge's length does the cutting.
European chefs typically use French-/ German-style chef's knives with long, pointed, curved blades and favour a 'rocker' cut (during which the tip of the blade stays in contact with the board) for slicing medium-density ingredients like onions, as taught by Jamie Oliver et al.
The rocker cut is quiet and sustains high frequencies, although like the push cut it does require some vertical force from the cook's arm. The chop cut also sustains high frequencies and requires little force, relying instead upon a heavier blade to let gravity do the work, but it is noisy. (The draw cut is almost silent and can be very precise, but is slower partly because it requires the movement of the whole arm.) Each has its different applications.
Whilst this kind of non-cut tapping is a separate matter, its various reasons cast light upon the types of issues surrounding human sounds in the kitchen, amid the roaring and grinding and hissing, churning, and beeping of various machines. Noise itself, clearly, isn't the problem.
I've come across the 'board-tapper' criticism elsewhere, in books, and often wondered whether this is mostly a tech thing (curved blades rock, straight blades tap), a culinary chauvinism thing (Asians tap, and cheap CCKs are not welcome in non-Asian kitchens), or a kitchen-hierarchy thing (chefs de commis should be seen and not heard).
As the extra noise probably equates to extra wear on the blade it could be a 'maintenance thing', and reasonably so were it not that most cooks don't sharpen other cooks' knives. Although the vast majority of jobbing chefs in the West use standard, serviceable implements made by the likes of Victorinox, not artworks of folded steel by artisan knifemakers, a heightened awareness of luxury goods everywhere has inevitably led to a heightened interest how they should be cared for - but as the explosion of interest in craft knifemaking has been very much an Internet-enabled phenomenon, its roots don't go back far enough to explain the prejudice. Outside of Japan, at least, using posh knives for mundane work is a relatively new thing.
There are people in this world that get annoyed by different things that don't bother other people. For some of those people, it's noise ... someone tapping their foot, chewing gum, etc. It's possible that there's a legitimate reason for this pet peeve, but sometimes it's something really odd like 'I had a friend who used to do that, and my partner left me for them, and so when I hear it reminds me of that' ... but it's subconscious, and they couldn't explain it without a year or two of therapy. I've also known people who were sensitive to sound (and he complained that I spoke too loudly ... but he always spoke loudly, and I'd subconsciously match my levels to his ... and he hated wearing hearing protection).
There have been a number of articles on noise levels in restaurants in the past few years and most focus on the patrons (and there are even apps for patrons to track noise levels, but many of the observations about lack of sound dampening still hold true:
Sometimes, we have to factor in multiple considerations when deciding how to do something. In project management, there's the adage of "good, cheap, fast. pick two", in how you have to sacrifice quality, cost, or speed and can't have all three. Some chefs will cut off the top & bottom of bell peppers so that they can make equally sized sticks. I cut off the sides and bottom so I waste less. Neither way is "bad", but we just have different priorities.
In your particular case, the chef has decided that the noise level (or at least, lack of tapping noise) is more important to them. Someone else might optimize for speed and be okay with a certain level of noise. Someone else might have space for you to do your prep further away so you're not bothering them. There are just different trade-offs to try to get to the optimal solution for a particular situation. And it may not even be constant with a given chef -- someone who would otherwise prioritize speed might have a hangover and have a day when they'd prefer quiet.
In software engineering, it's important that very large projects have a consistent style to their programming. (Much like how a restaurant needs to serve consistent food, and its kitchen needs to run in a consistent manner.) Often, different programming style choices aren't better or worse. What's important is that, overall, the style is consistent so that everyone can read everyone else's work in the program.
What was happening was that the newcomers to my team were letting their egos get ahead of teamwork. I even tried to guide the team towards ways of improving our style, but the developers who wanted to follow their preferred style never put in the time needed to overall improve the style that we, as a team, followed.
In contrast, I once worked for a lead developer who did micromanage how I did my work. The problems that arose were because the lead was a control freak and didn't know how to let go. They had less to do with the minutiae of any specific programming topic. In one case, we discussed some problematic areas in our workflow. The lead developer quickly became illogical. I should have found another job shortly after the conversation.
Thus: I urge you to reflect a bit more on the team dynamics of your experience. Was your old boss (chef) a micromanager or a control freak? Did you let your ego run away? Or, do you need to be more careful in choosing where you work, making sure that your chopping style is appreciated?
Austin quintet Knife in the Water have taken their moniker from the early Roman Polanski movie Nz w Wodzie for a reason: the parallel between their music and the slow dread and bare-wrought tension of the film is uncanny. My first exposure to the band came nearly seven years ago, and it's weird to have that same 1998 debut album before me once again in a glossier, non-self-released edition. With a slightly separated remastering revealing the sharp edges of Cisco Ryder's restrained cymbals, Bill McCullough's smoky and swooping pedal steel, and John Brewington's rumbling bass, the debut remains as breathtaking as the first time I saw them, the solemn pacing of the disc as sure as a southern gentleman's gait, a Texas Two-Step, or Leatherface's limp (which may all be the same walk).
From the opening breath of their epic signature song, "One Sound", the whispered vocals and lonesome reverberations of guitarist Aaron Blount and the harmonic siren song and Baptist organ undertow of girlfriend Laura Krause suck me under. Their voices lace together like star-crossed white trash to stir up Blount's tales of the dark, silty bottom of the hick id. His tales drift between the honky-tonking body choppery of "I Sent You Up", to the more nuanced and character-driven dirge of "Married Woman", and back into more expansive moments of barren countryside dread for "Norma". 152ee80cbc
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