Sound Stories: KEDR Audio
Igor is the owner of KEDR Audio sound design label and was kind enough to have a chat with us about his work, favourite microphones and his best SFX library pack that he's created so far.
Thanks for chatting with us Igor! First question would be where / what sounds would you like to record next for your arsenal of SFX Libraries?
It's a great pleasure to talk with you about geeky stuff, because field recording / sound design are full of those little tricks. I am currently recording a large number of gongs, singing bowls, wind chimes, and Taiko drums. I was able to contact the owners of a huge instruments collection to record experimental solos and professional performances in the studio.
Cinematic sound design is mostly build up from organic or acoustic source material, so recording these kinds of instruments is a real gold.
Do you work on audio post-production projects and can you tell us a bit about some of your work?
Yes, I work in post-production at the Russkoye film company as a sound designer/ FX editor. We are mainly working on series and TV movies. It's very deadline-oriented kind of job, so having large and well organized SFX/ambience template in Pro Tools is a key. And, of course, nice library of your own sounds really helps your job getting done faster and better.
What was the first sound / ambience you ever recorded?
At the very beginning of my career I bought TASCAM DR-100 portable recorder and went to the forest in early autumn to record suburban traffic and some bird ambiences. It was a lot of fun just to get a small device out of your backpack and quickly record environment or any sounds you like.
In fact, I believe that portable recorders with built-in microphones are the most easy and convenient way to record sounds on the go. Professional microphones and recorders are bulky and not always accessible when you need to record something right here and right now.
Of all the sound packs you’ve created, which was the most fun to create and why?
I think its KINETICS: Cinematic Tension. This is an SFX collection for trailers and action scenes. To capture the source material, I used two high-end contact microphones Barcus Berry Planar Wave 4000.
Interesting enough, there are almost no synthetic sounds in this library, and for this purpose I recorded more than three hundred different objects: old doors, pipes, metal structures, fences, bars, glass, creaks and of course a lot of impacts on various objects. I was interested in using only recordings from contact microphones, since their truly unique nature.
What is your favorite piece of recording gear?
It's really hard to pick a single device from such a variety of useful gear, so, I will tell you about two.
First of all, it's Sony PCM D100 - a portable recorder with amazing quality of built-in microphones. This could be an essential item in your backpack, which can be used at any time you need it. Sadly it doesn't have XLR inputs, but I don't think it's a real drawback, considering great quality of its own mics.
Also, I want to mention DPA 4060 microphones. These are tiny lavalier omnidirectional mics that sound designers love for excellent sound quality, compared to their truly miniature size. DPA 4060 have huge low end and great sense of acoustic space (if placed correctly in AB array). And if you need to stealth record something, I don't know any other alternative.
Thanks so much for your time Igor and we hope the New Year is a good one for you and KEDR Audio.