Spectacular Sound Effects Volume One [WAV Rip C...
The audio tag lets you provide the URL for an MP3 file that the Alexa service can play while rendering a response. You can use this to embed short, pre-recorded audio within your service's response. For example, you could include sound effects alongside your text-to-speech responses, or provide responses using a voice associated with your brand.
Spectacular Sound Effects Volume One [WAV Rip C...
The largest entity on a CD is called a track. A CD can contain up to 99 tracks (including a data track for mixed mode discs). Each track can in turn have up to 100 indexes, though players which still support this feature have become rarer over time. The vast majority of songs are recorded under index 1, with the pre-gap being index 0. Sometimes hidden tracks are placed at the end of the last track of the disc, often using index 2 or 3, or using the pre-gap as index 0 (this latter usage will result in the track playing as the time counter counts down to time 0:00 at the start of the track, index 1.) This is also the case with some discs offering "101 sound effects", with 100 and 101 being indexed as two and three on track 99. The index, if used, is occasionally put on the track listing as a decimal part of the track number, such as 99.2 or 99.3. (Information Society's Hack was one of very few CD releases to do this, following a release with an equally obscure CD+G feature.) The track and index structure of the CD were carried forward to the DVD format as title and chapter, respectively.
One of the things about comic books that is unique to comics is the humble sound effect. Obviously, films and TV shows are filled with sound effects and novels have described sounds for centuries, but comic books are unique because they're the only form of media where sound effects are written out as a distinct aspect of the story. Sounds are not merely described, they're very much experienced.
There are many sound effects that get used very frequently in comic books, but this is not a list of the most common ones. Instead, these are the most iconic sound effects, the sound effects that become famous in their own right due to their connection to certain characters or certain moments in comic book history. These are the sound effects where all you need to do is hear them, read them or speak aloud and you know exactly what character and/or moment they're connected to. Here, then, are the most iconic comic book sound effects of all-time.
His solution was to create the Scourge of the Underworld, a mysterious master of disguise who would go around the Marvel Universe killing off the lesser-known supervillains in the pages of many of Marvel's comic books of 1985 and 1986. This would lead to him being discovered by Captain America and defeated, but not before he would kill off dozens of "useless" supervillains. It was a striking example of the shared universe quality of Marvel. Whenever the Scourge killed someone, his special gun would give off the sound "Pum" when it fired and then the sound of the bullet made a "spak" noise. Those two sound effects became very familiar in the Marvel Universe in the mid-80s.
One of the most controversial comic book sound effects (probably the most controversial comic book sound effect) occurred in "Amazing Spider-Man" #121 (by Gerry Conway, Gil Kane, John Romita and Tony Mortellaro), when Norman Osborn, who had recently regained his memories of being the Green Goblin (and thus, his memories of Spider-Man's Peter Parker identity), kidnapped Spider-Man's girlfriend, Gwen Stacy, and then threw her off a bridge. She died and Spider-Man ended up almost killing Osborn, but then Osborn ended up seemingly dying at his own hand when he sent his Goblin Glider after Spider-Man; when Spidey ducked, it impaled Obsorn.
When we mentioned the earlier pact between New Genesis and Apokolips, there was another pact made between Darkseid and the brilliant New God known as Metron, where Darkseid would supply Metron with the materials needed to make his special Mobius Chair in exchange for giving Darkseid the Boom Tube technology. Years later, Walter Simonson would also use a number of "boom" sound effects during his run on "Thor," as John Workman was as good at coming up with cool "boom" fonts as he was with coming up with cool "doom" fonts.
Unlike a lot of these other famous sound effects, Spider-Man's webs did not always give off a "thwip" sound. In fact, before Steve Ditko left "Amazing Spider-Man" following "Amazing Spider-Man" #38, the webs really did not actually have a consistent sound that went with them. In fact, in the earliest days of Spider-Man, his webshooters did not make noise at all. However, in the months leading up to his departure, Steve Ditko began to use some new sound effects and one of them was "twhip" for the sound of Spider-Man's webshooters. It didn't seem to be a dedicated thing, but it was there.
As noted in the beginning of the list, superheroes had been accompanied by sound effects for decades before Batman got his own TV series in 1966. However, it is interesting to note that punching sound effects really weren't used in the "Batman" comics books from the mid-1960s, as direct inspirations for the "Batman" TV series. However, that did not deter the producers from adopting the practice of accompanying a punch with a cut to a giant "Biff" or "Bam" or "Pow" drawn sound effect. This was their attempt to adapt comic book sound effects to the TV screen, and it proved to be very popular.
However, it was also very humorous, and for years and years and years (heck, it's still happening now), comic books became derisively associated with sound effects like "Biff! Bam! Pow!" including the introduction of the hackiest headline known to man, a headline that comic readers of many generations would grow to hate, a headline seemingly used every time a reporter wanted to do a story on a new development in the comics, "Biff! Bam! Pow! Comics aren't just for kids anymore!" Annoying, but truly iconic.
The Film: It takes more liberties with physics than it likes to pretend but there's no doubting that Gravity is an incredibly gripping and engrossing film with plenty of visual drama that puts it amongst the more memorable films of recent years. The small cast gives it an intimacy that contrasts nicely with the vastness of space. Visually this film is stunning, so if you have a good TV set prepare yourself, it might make your eyes bleed!The Soundtrack: Gravity didn't win three sound related Oscars by accident. This is a seriously impressive and thoughtful use of effects and placement and the way it pays attention to when noise should and shouldn't be present (due to space being a vacuum) is extremely impressive.
The Film: A surprisingly well observed film on the Napoleonic era, Master & Commander gives Russell Crowe something to get his teeth into and combines some incredible visuals and genuinely tense sequences to excellent effect. Possibly a little on the long side, but still a good watchThe Soundtrack: A big crunching monster of a thing, the score for Master & Commander is visceral, extremely exciting and makes brilliant use of effects spread. Cannonfire never sounded so good.
The Film: Although not quite as clever as it thinks it is, Oblivion is still an entertaining film jam packed with truly stunning imagery and design. Pretty much every visual aspect is utterly gorgeous and Tom Cruise turns in a solid performance too.The Soundtrack: Oblivion is another film that really comes alive on the strength of its score from French act M83. Combine this with some seriously impressive sound effects- the drones in particular sound incredible- and you have a film that should pull you into its post apocalyptic world.
d) Slip Content in Audio EventWhen working with small events from bigger audio files (e.g. ambiences, drones, or sound effects with variations) I love to have the option to place the event start and end exactly where they need to be and then smoothly scroll the content of the file while maintaining the event borders (Alt+Shift+Drag).
b) Audio Render in Place / Export SelectionThese two options let you render the selected events to a new track or quickly export them to a folder without defining a range. Especially the Render in Place function comes in very handy when creating sound effects (-sub mixes) and for quickly rendering virtual instruments and reverb tails etc. This also works with external hardware effects and instruments (Nuendo then does a realtime bounce).
e) Clip PackageWhen two or more sound designers work together on the same project or if you want to keep a layered sound effect for later the Clip Package is a great way to save and exchange a micro layout/arrangement of sound effects and import it in another session, including automation data.
Especially when designing sound effects or mixing film sound it is crucial to have an intuitive, clear and versatile automation system. Recording and editing automation data is one of the very powerful features of Nuendo.
Markers can have a lot of additional data like description, dialogue, actor, foley- or sound effect-type and many many more. With the ADR-Panel activated it provides a lot of great features for recording ADR, sound effects, foley or even music.
a) When working with large sound effects libraries it is crucial to have a search engine / management tool that lets your create databases and and is capable of searching through metadata. Of course the Media is no Sound Miner but you get everything you need to organize and quickly search your sound effects database and get them into your project. Also Metadata editing is possible.
In music, numeric data types can be used to define the tempo of a song (e.g. 120 beats per minute), a length of a section of music (e.g. 4 measures), or parameters such as volume or effects levels (e.g. 6 decibels). Some numbers such as effects levels are best represented as floats (e.g. 0.5 mix of an effect). Strings can be be used to refer to the name of a sound clip (e.g. "OS_CLAP04") or an effect (e.g. "VOLUME"). 041b061a72