(Not the actual box)
One of the rooms featured in the Game Audio Tutorial features a small group of spooky sounds, one of my favorites out of this group is the Spooky Musical Jewellery Box because there is a little bit of a story behind it. The sound itself isn't really that innovative in fact it's a bit of a horror classic/cliché but it still works.
I came across the wind up musical jewelry box at my parents house. It sounds quite old and spooky as it is but as it played it got slower and slower becoming more eerie as it did. I recorded the box at several speeds but ultimately decided that the slowest recording was the most spooky. (see original recording)
Recently I have also been experimenting with creating my own impulse responses using a starting pistol and sine wave sweeps. One of the better impulses I recorded was taken on my street using the starting pistol and my Sony D50 (two bits of kit that are quickly becoming invaluable). I set up the D50 about 25m away down the street and fired the pistol a couple of times to get the impulse.
To make the music box a bit more spooky and interesting (or more clichéd) I decided to add a little reverb to it, after a bit of experimenting I decided to process it using waves IR with my street impulse. I think it gives the sound a very eerie feel probably because of the impulse response's less than prefect recording and odd echo.
Or at least that's what I think, I'd like to hear any comment's if you have any!
The Spooky Music Box was originally recorded with a Sony D50 Internal Mics X/Y @ 96k/24bit. I then processed the sound in Waves IR using a custom impulse response I recorded on my street using a .22 caliber starting pistol and the Sony D50 Internal Mics AB positioning @ 96k/24bit.
Just recently I have bought myself a Sony D-50 handheld recorder for grabbing quick sounds and carrying about when the FR-2 and blimp are a little inconvenient. One of the features that really sold this to me over the others available, was the ability to do both X/Y and 120° AB mic positioning*, which would mean that it would be great (in theory) for recording quick spot fx, ambiences and impulse responses.
So here's two things that I recorded today which otherwise probably would have been missed;
Recorded @ 96k 24bit Sony D-50 Internal Mics X/Y
Recorded @ 96k 24bit Sony D-50 Internal Mics AB
Finally if you're possibly wondering why there haven't been that many Game Audio Tutorial recording posts recently, it's because I've been implementing all these sounds into the UDK.
I recently came across a slightly obscure interview with sound designer and supervising sound editor Tim Prebble on my hard drive. The interview has some great discussions on sound fx recording, sound design and his work on Black Sheep. Great Listening.
Interview By Radio NZ; http://www.radionz.co.nz/national/music/talk?result_551217_result_page=P