Your Props Sound Small - Here's the Foley Fix Reverb Can't Do

Main ideas / lessons

• “Resonance chambers” in Foley: To make props sound bigger than life (and/or change their tone/character), Foley artists use resonators—often by attaching an object to, or coupling it with, another “body” that moves air differently.
• Borrow a second body when needed: Some props on their own can’t move enough air or don’t produce the desired resonance. In that case, you don’t use the extra body merely to make it louder—you use it to increase size, change tone, and shape the sound.
• Not all props behave the same: Even if two setups use “the same type of object,” differences like whether the sound is resonating vs. dampened greatly affect the final tone.
• Reverb presets can’t replicate real object differences: Different resonant objects produce unique tonal outcomes that generic reverb presets typically won’t match.
• Interaction matters: The sound is shaped not only by the resonator “on its own,” but also by how the object interconnects with the material and the resonator’s surface characteristics.
• Performance/placement affects perspective: Intensity and distance from the microphone are important so the sound matches the camera/scene perspective.
• Key resonators: wood and metal: Wood (alongside metal) is described as an essential resonator set for Foley work.

Concepts highlighted

• Cosplay vs real props
  • Example: a cosplay sword doesn’t sound like a real weapon.
  • Resonance-chamber techniques can make the sound feel more authentic and alive by changing its character/tone.
• Hinges as a “classic” resonance-chamber example
  • Hinges attached to a resonance chamber can yield multiple tones for different settings/objects.
  • Example: a metal door → large gate → more “hall-like” positioning.

Methodology / instructions (detailed)

Step 1: Determine whether the prop needs reinforcement

• If a prop cannot move enough air or doesn’t resonate as desired, pair it with another body (couple it to a resonator) to change tone/size.

Step 2: Compare resonance behavior

Test different resonator setups to see whether the object produces:

• Resonating tone
• Dampened tone

Then select the version that matches the scene’s intended character.

Step 3: Change tone by changing the coupled materials/surfaces

• Use different surfaces or resonators (not just different reverb amounts/presets) to create distinct tones.
• Consider how the object’s sound interconnects with the resonator material.

Step 4: Match perspective

Adjust:

• Intensity of the captured sound
• Distance from the microphone

Goal: the sound should align with the scene’s perspective.

Step 5: Use wood and metal as primary resonators

Wood is emphasized as highly valuable; metal is also mentioned as important.

Practical guidance:

• Get a wooden desk or table
• Ensure it has a nice tone
• Perform a knocking test to judge resonance
• Fit it to your studio scale (bigger isn’t required, but tone quality is)
• Place items like a keyboard on it if you need a way to work with it

Step 6: When attachment isn’t possible, use alternative resonant objects

• If the resonance chamber can’t be attached because the resonance is too small, look for a different object/material that resonates naturally.
• Example: a branch may resonate too little, so an antler may produce a more natural resonance.

Step 7: Think “out of the box” for Foley resonators

• Seek everyday items that naturally resonate, especially those that also offer storage or variety.
• Example: a suitcase as a resonance chamber
  • Tip: choose one with four wheels so you can spin it in place
  • Collect additional suitcases with different materials (e.g., metal/leather) for varied tone

Step 8: Build/obtain resonator surfaces for home studios

• Mentions a free manual (download link in description) for building modular wood surfaces:
  • A smaller “modular wood surface”
  • A larger “pro wood surfaces”
• Also references a stone surface as a “fundament” (foundation) for home-studio recording/editing.

Step 9: Use desk/table resonance for common Foley actions

Many Foley sounds happen on desks/tables (eating, office work), so a resonant tabletop is a high-utility asset.

Additional opportunities/events mentioned

• Travel/workshop opportunity (Sardinia, October)
  • Three spots left to work with him live in a studio on the island of Sardinia.
• Cologne/Gamescom meetup (barbecue)
  • If you’re around Cologne during Gamescom, he hosts a free barbecue at his place (45-minute drive from Cologne).
  • Rules: no alcohol and no pork
  • Link in description to sign up

Speaker / sources

• Bastian Gerner — senior Foley artist, host of the video (“The Foley Teacher”).