For various technical reasons, the frequency bandwidth of telephones is limited to a range of about 300Hz to 3000Hz. Telephones will cut out very low sounds (below 300Hz) and very high sounds (above 3000Hz).
I know this is probably been said, and I know there is a preset on the effects panel in Adobe Audition. Though using a preset feels like cheating and samples will sound the same. I want to know is there a way to make it a little more convincing? In the sample below there is mouth breathing, is this done during recording or can it be done after with distortion? and how?
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Put a high pass filter at 300 Hz, a low pass at 3300 Hz, and compress the heck out of it (compression will help with the breathing noises). You might want to add a little distortion to replicate the carbon microphones that at least used to be common in telephones. If you have a chance to record the audio, put the mic as close to the talent's mouth as a telephone mic would be to better replicate capture of breathing and mouth noises. And I would just use a cheap dynamic mic for it.
The synthesizer comes with sounds a number of things that could be considered sound effects - helicopter, seashore, telephone ring, etc. All the things the General MIDI standard says a soundfont should provide. You can select any of these sounds for an instrument using View / Mixer.
I am very particular about the way I'd like my orchestra to sound, so I try adjusting the reverb and chorus effects in the mixer. Problem is, there is no discernable difference in sound. Could this be yet ANOTHER bug or is my hearing just too bad to detect these differences which would then be infinitesimal(in my opinion)?
To use the sound effects, you have to load this soundfont inside Musescore Synthesizer and verify it is at the top of the soundfont list. Then, you have to select the sound effect you want to use with the MuseScore Mixer "Sound" box.
at one of our theatres we have a telephone that rings with a simple push of a button. we have a transformer hardwired to the ringer in the telephone, there is a foot switch housed in an abs case, and the transformer is housed in another abs case. it runs on a simple 230/240v 13amp plug. this is a lot of work when you could just buy an external ringer and hardwire that. I have had to repair the telephone ringer may times, because I detent make it ;) but it is normally really simple, its just a cheep terminal blocks screws wiggles loose.
Its actually quite hard to do ringing properly as a sound effect. The problem is the need to make the ring fade naturally. The way I do it is to have an effect that goes "brrr___brrr.....long.....decay....." that is several seconds long, and then play it using a loop so that you get the "Brrr_brrr..." and then the "brrr_brrr" plus full decay monty. I've not explained it well but it does sound the part and you can cut the effect after any number of half-rings and it sounds "right".
Getting the decay after the ringing stops is everything in terms of a natural sound, which is what makes it hard to do well. Especially if you want to stop the phone ringing after an arbitrary number of rings when an Actor picks the thing up.
You need to adjust the position of the gongs on the old style phones for best sound, but most of the modern phones with electronic sounders will work perfectly well - except you may need to provide some of them with 50V DC as well.
I got asked to make a similar effect (IE a phone ring) and I have done it using an old army field telephone, plugged into just a normal ringer (though when I go for the technical rehearsal I'm going to see if the prop phone actually works as a phone) this means all I have to do is click the ringer and it rings, sounding like a real telephone, in the right place, at the right volume. Other advantage is that if I get the prop phone working then the ring will stop as soon at the phone is picked up, and I will be able to speak to the guy answering it, prompting him if necessary.
cost to do : 0 because I already had the field telephone (I happen to be an army cadet with an interest in these things.) the ringer was found on the wall in my hall, and I used a bit of old cat5 to use just 2 runs on it...
The Universal Telephone Ring
Another of the most often heard sound effects - especially in TV shows produced at Universal Studios during the '70s and '80s - is the sound of a telephone ringing.This sound effect was especially made famous by opening every episode of "The Rockford Files," heard just before Jim Rockford's answering machine automatically picked up the phone.
Sound Designer Ben Burtt, in an interview with Bantha Tracks Newsletter in August of 1982, called Universal's telephone one of his least favorite sound effects. "No matter where the scene is, an office, an outside payphone, or deep in a cave - all Universal telephones will ring with the same 'tittle-little-little-ling.' I don't like it because it's so artificial."
Sound Editor Mark Mangini thinks it should be retired, especially since most copies of the sound have a "wow" distortion in them (occurring during the transfer of the sound when the speed of the recording was wobbling) - which is most obvious during the end reverberation. Regardless of this, Mangini most recently used the infamous phone ring in “Anchorman: The Legend of Ron Burgundy” – a film which takes place in the '70s, when the sound effect was heard on television most often.
A stock sound effect is a prerecorded sound effect intended to be reused with an entertainment product, as opposed to creating a new and unique sound effect. It is intended to work within a sound effect library.
As far back as Ancient Greece, sound effects have been used in entertainment productions. Sound effects (also known as sound FX, SFX, or simply FX) are used to enhance theatre, radio, film, television, video games, and online media.
Sound effects were originally added to productions by creating the sounds needed in real-time. Various devices and props were utilized to approximate the actual sounds, including coconut shells for horse hooves, and a sheet of metal for thunder. With the advent of radio and specifically radio dramas, the role of sound effects became more important. When cinema went from silent to "talkies", sound effects became a large part of this new medium, too.
Audio recording technology continued to evolve, making it easier to record and replay sound. As this happened, the more commonly used and harder-to-replicate sound effects were pre-recorded to make them more accessible. Prerecording also allowed the same sound effect to be used many times.
Both producers' and listeners' sensibilities began evolving with the technology, and the need for more realistic sound effects or for using the "real" sound increased. Therefore, a more urgent need developed for prerecorded sound effects.
Over time, the quality of audio recording and playback increased, as did the demand for a wider variety of highly specific sounds. For example, rather than use a generic gunshot, a producer might request a gunshot from a specific type of gun, shot under precise conditions. Access to "real" sound effects became increasingly important to producers.
These collections of prerecorded sound effects, both real and artificial, began to be referred to as stock sound effects and were organized into libraries. As their usage increased, stock sound effects libraries became the valuable assets of sound design artists and production companies. Some stock sound effects have been reused so many times that they have become easily recognizable and even clich. Examples of these include the scream of a red-tailed hawk, castle thunder, or the Wilhelm and Howie screams.
Many of the original sound effects libraries originated in the mid to late 1950s from film and television studios that employed the artists who created them, such as Warner Bros. and Hanna-Barbera. Audio Fidelity Records was one of the first record labels to join in releasing compilations from the late 1950s to the early 1970s,[1] notably Elektra alongside Jac Holzman's released Authentic Sound Effects in 1964 as a 13 volume series.[2] Over time, independent companies such as Sound Ideas and Hollywood Edge became involved, both distributing the major studios' libraries as well as making their own available to the public.
The internet ushered in a new generation of technology, entertainment media, and sound effects libraries. Sounddogs became the first to distribute sound effects libraries over the internet and Soundrangers became the first to create an all-new sound effects library for internet-based entertainment. Dozens of other websites now provide stock sounds for movies, video games, and software. Others such as Freesound aim to provide free sound effects under the public domain.
Over the years, with the evolution of sound recording technology and new formats, the format used for sound effects libraries also evolved. Sound libraries are now available on many types of media, including vinyl records, reel-to-reel tape, cassette tapes, compact discs, hard drives, and via the internet. Sound effects libraries now include more complex, layered, and mixed sounds along with a wider variety of incidental real-world sounds.
"No matter where the scene is, an office, an outside payphone, or deep in a cave - all Universal telephones will ring with the same 'tittle-little-little-ling.' I don't like it because it's so artificial."[5] 0852c4b9a8
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