posted 02 October 2003 00:30            

Of course I *could* use a sample, as I've done it before. However I find that real-world (field recorded) samples tend to be pretty wimpy ... and of course they have a lot extraneous noise (wind, rain, etc.)

posted 02 October 2003 08:34            

quote:

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Originally posted by Frank Kruse:
wimpy?! try hollywood edge´s signature series (peter michael sullivan edition) with incredible thunder recordings.

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thanks for the tip I'll look into that one...

[/QUOTE]
I´ve come to a way of working where I ask my self: why synthesize when I can stick out a mic and record and edit. why spend days or weeks for synthesizing something that might not even come close to the real event.
[/QUOTE]

reasons in favor of synthesis vs sampling...

1) real event is not readily accessible to you when you suddenly discover the need it ... and/or you really don't like the "field work" required.
2) you want absolute assurance that your sonic event will not sound exactly like someone else's (always a potential problem when using a widely available commercial SFX library, IMHO).
3) you find combing through hours of commercial SFX recordings for just the right sound to extremely tedious and brain-numbing.
4) you spent your limited technology budget on Kyma instead of on $$$ mics & pre-amps.
5) you want more interactive control of the sonic parameters in order to shape the event -- especially important with a longer duration event.
6) your goal is more that of producing an interesting but perhaps somewhat abstract sonic event than one of recreating a very specific reality as precisely as possible (i.e. not a film FX or *specific* theatrical event)
7) potential to learn more about sound and synthesis.

That said, I'll definitely see if I can get my hands/ears on the library sounds you referenced

posted 02 October 2003 10:22            

ThunderSynth.kym

It has various thunders in the presets.

Its RPM (requires petes modules). You'll need a velocity sence keyboard to trigger it. It may help to put some inverted adsr control to the slew, or use wave shapper distortion instead. Delays and reverbs should help aswell.

posted 04 October 2003 09:01            

when I need a car driving by *and* I have the chance to record it why should I synthesize it exept for the sake of it?

;-)

posted 04 October 2003 15:16            

Pete -- thanks for the Kyma-synthesized sound,too.

posted 06 October 2003 06:15            

Have you tried WWW.SOUND-EFFECTS-LIBRARY.COM

I typed in thunder and got back 213 sounds.

If you take the time to download the shockwave player you can play the sounds by simply double clicking on the name and you don't have to wait till the end to hear the next one.

This search includes sounds from The BBC , Sound Storm, Optifex and many more SFX libraries and you don't even have to get up out of your chair.

You only have to buy the sound you want and not the whole library.

I don't like to use this forum as a means of advertising our sister company but I genuinely believe that this would be helpful to you.

Pete.

posted 07 October 2003 22:16            

quote:

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Originally posted by pete:
QUOTE
3) you find combing through hours of commercial SFX recordings for just the right sound to extremely tedious and brain-numbing.

Have you tried WWW.SOUND-EFFECTS-LIBRARY.COM

I typed in thunder and got back 213 sounds.

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No, haven't tried it ...

Yikes!!! 213 "Thunder" sounds to audition!!! That's exactly my point ... I would pass beyond brain numb all the way to brian dead for at least a day if I tried to do it Given past experience, I could almost guarantee I'd get to the end and still not be satisfied with anything straight off-the-shelf anyway ... so it's probably best for me to just get busy building something interactive and highly tweakable.