Editing Sound effect (section)

== Recording ==
[[File:A man is recording sound effects, 1930s.jpg|thumbnail|A man recording the sound of a [[saw]] in the 1930s]]

The most realistic sound effects may originate from original sources; the closest sound to machine-gun fire could be an original recording of actual machine guns.

Despite this, real life and actual practice do not always coincide with theory. When recordings of real life do not sound realistic on playback, Foley and effects are used to create more convincing sounds. For example, the realistic sound of bacon frying can be the crumpling of cellophane, while rain may be recorded as salt falling on a piece of tin foil.

Less realistic sound effects are [[digital synthesizer|digitally synthesized]] or [[sampling (music)|sampled]] and sequenced (the same recording played repeatedly using a sequencer). When the producer or content creator demands high-fidelity sound effects, the [[Sound editor (filmmaking)|sound editor]] usually must augment his available library with new sound effects recorded in the field.

When the required sound effect is of a small subject, such as scissors cutting, cloth ripping, or footsteps, the sound effect is best recorded in a studio, under controlled conditions in a process known as [[Foley (filmmaking)|Foley]]. Many sound effects cannot be recorded in a studio, such as explosions, gunfire, and automobile or aircraft maneuvers. These effects must be recorded by a professional [[audio engineer]].

When such ''big'' sounds are required, the recordist will begin contacting professionals or technicians in the same way a producer may arrange a crew; if the recordist needs an explosion, they may contact a demolition company to see if any buildings are scheduled to be destroyed with explosives in the near future. If the recordist requires a volley of [[cannon]] fire, they may contact [[historical re-enactors]] or gun enthusiasts.

Depending on the effect, recordists may use several [[Digital Audio Tape|DAT]], [[hard disk]], or [[Nagra]] recorders and a large number of microphones.  During a [[cannon]]- and [[musket]]-fire recording session for the 2003 film ''[[The Alamo (2004 film)|The Alamo]]'', conducted by [[Jon Johnson]] and [[Charles Maynes]], two to three DAT machines were used.  One machine was stationed near the cannon itself, so it could record the actual firing. Another was stationed several hundred yards away, below the trajectory of the ball, to record the sound of the cannonball passing by. When the crew recorded musket fire, a set of microphones were arrayed close to the target (in this case a [[swine]] carcass) to record the musket-ball impacts.

A counter-example is the common technique for recording an automobile. For recording ''onboard'' car sounds (which include the car interiors), a three-[[microphone]] technique is common. Two microphones record the engine directly: one is taped to the underside of the hood, near the engine block.  The second microphone is covered in a [[wind screen]] and tightly attached to the rear bumper, within an inch or so of the tailpipe. The third microphone, which is often a [[stereo]] microphone, is stationed inside the car to get the car interior.

Having all of these tracks at once gives a [[sound designer]] or [[audio engineer]] a great deal of control over how they want the car to sound. In order to make the car more ominous or low, they can mix in more of the tailpipe recording; if they want the car to sound like it is running full throttle, they can mix in more of the engine recording and reduce the interior perspective. In cartoons, a pencil being dragged down a washboard may be used to simulate the sound of a sputtering engine.

What is considered today to be the first recorded sound effect was of [[Big Ben]] striking 10:30, 10:45, and 11:00. It was recorded on a brown [[wax cylinder]] by technicians at Edison House in London on July 16, 1890. This recording is currently in the public domain.