the companion library to our previous SD047 GLASS Unusual FX library.
https://hissandaroar.com/v3/soundlibrar ... ctical-fx/
SD048 GLASS Practical FX includes:
GLASS Breaks & Smashes
GLASS Debris - drop, move, scrape, drag
GLASS Shards - single drops, sorted by break, or clean
GLASS Stress cracks, creaks & grinds
GLASS Auto Windscreen - hit, break, crack, twist
GLASS Footsteps - on single fragments, debris, scrapes, twists, drags
GLASS Moves - pane scrapes, edge friction
GLASS Shake - multiple performed
GLASS Pane Hits - small, medium, large - deep resonant ringing & damped
GLASS Dings - wine glass 'ding' empty & w water, then two together x cheers
GLASS Taps - percussive, decay & resonance variations
GLASS Vessel - friction moves & scrapes
GLASS Chandelier Bits - tinkle, handling, pickup, putown, drops
https://hissandaroar.com/v3/soundlibrar ... object-irs
Sweeps were captured in 32 empty glass objects, then filled with water, and then jelly!
This collection of GLASS Object Impulse Responses contains five specific approaches:
1. 32 Empty Glass Object IRs were captured using an MKH8020 mic. The two yard glasses (& other narrow neck bottles) were captured using a DPA4060 mic. These objects can be thought of as a tiny concert hall, with small scale room modes and peaky resonance with a glassy tone. The IRs tend to be short & high frequency, with the total volume and the size of the neck contributing to their tonality.
2. Pitch shifted IRs at half speed & quarter speed.
As with all convolution, frequencies that are common to the source and the IR are accentuated, for example if you convolve a sub bass sound with a violin you get nothing. So as an experiment I tried pitch shifting the 32 Glass Object IRs, and at both half speed and quarter speed the spectrum of the resonance is lowered into potentially useful range, and of course elongated.
3. Underwater IRs Next each of the objects were filled with water and underwater IRs were captured using a hydrophone. As water is denser than air, the speed of sound is faster which equates to higher frequency, faster reflections and strangely harmonic ringy IRs. Pitch shifted underwater IRs at half speed & quarter speed are also included.
4. Jelly IRs. Three of the objects were filled with jelly, and IRs were captured with the hydrophone set in three flavours of jelly. Pitch shifted Jelly IRs at half speed & quarter speed are also included. Jelly causes strange harmonic resonance.
5. Iterated IRs While working on this collection I was reminded of the fascinating work by Alvin Lucier – I Am Sitting In A Room, where Lucier played a recording of his voice into a room, captured the room sound and then replayed it into the room, again recording it. As the process is repeated again and again, the dialogue becomes entirely unintelligible as the iterated room acoustic slowly becomes a harmonic drone.
To achieve this with an IR, I iterated the process playing the captured IR back into the object. As a test, I iterated ten times and found the IRs rapidly became diffuse and accentuated tonal resonance, with blurred transients. Some iterated IRs almost sounding like harmonic feedback while others latched on to low frequencies. Based on the results I decided to include the first and third iterations.
In total this collection contains 345 Impulse Responses.
Sweeps were captured in 43 metal objects, ranging in scale from a soda can to an empty grain silo, along with 3 waterphones and 8 vintage gas tanks.
https://hissandaroar.com/v3/soundlibrar ... e-response